As in much process pedagogy, Burroway is instilling a sense of importance for process in writing. While this will certainly create tension, Burroway’s main purpose is to simply maintain the writer’s attention to balance. The Patterns of Power, following the arc of the story, described as “a power struggle between equal forces” creates more boundaries for the previous section. The war must be fought by opposing factions, so to speak, and they, according to Writing Fiction, must be equal.
3.) Have the fighting dive through a series of battles the last battle being the largest. 4.) Have a walking away from the fight. There is much more to this framework than given, but it allows for the new writer to apply the previous sections “fundamentals” appropriately and with ease. “A story is a war” and his four imperatives: 1.) Get your fighters fighting. The Arc of the Story begins with a quote by editor Mel McKee. While she doesn't mean for the writer to follow these formats identically, she expresses the importance of including them. Much as in They Say/ I Say, Burroway begins to give a manner of framework for new writers. The text is also interspersed with relevant quotes from renowned authors and textsĪs well. The strategy is most effective andĪccurately achieves its goal. Burroway spends some time discussing these fundamental aspects byĮngaging in examples and revealing how flat pieces would be without them.
The implication is that while you can still have a good story without one of theseĮlements, you cannot have a great story. Burroway refers to these three elements of story as the “necessary features of story form”. The highlight of the section: Conflict,Crisis, and Resolution. Naturally there is more to the chapter beyond the introduction. Elbow looks within his writing and believes that it is only good when we have achieved actively incorporating our voice. What draws us to writing, according to Burroway, is the need to show that we have observed something worth speaking about. Very similar to Peter Elbow's theory of voice within writing. She wants her readers to intrinsically believe in their skills as writers and she wants them to have the confidence that the skills reside within them. Burroway says that we write because we are sensitive observers and that, essentially, we write to be alive.īurroway’s opening paragraphs reveal much of her pedagogical stance towards the creation of creative texts. If that is the case, then how those listeners were entranced by the story at hand enough to forget the dangers that may have been imminent was a powerful aspect of the stories. Chapter 7, The Tower and the Net, begins with the sentence: “hat makes you want to write?” Before writing it was likely, says Janet Burroway, that natural storytellers used their skills to distract friends from beleaguering or dangerous situations.
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