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April 16. Le Guinn: 10. Crowding and Leaping (pg.117-126) 

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April 16. Le Guinn: 10. Crowding and Leaping (pg.117-126) 

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"What you leap over is what you leave out. And what you leave out is infinitely more than what you leave in. There's got to the white space around the word, silence around the voice. Listing is not describing. Only the relevant belongs." (pg. 118) I think this is true because there has to be the opposite of what you are posing. Such as to how in that sentence that what is relevant should belong. Also that listing is not describing. When I read that I immediately thought of a grocery list because even though you may list out that you made need tomatoes, lettuce, ham, cheese, to make your meal that does not describe to the reader or the audience what either one of those items looks like or how they may feel in the palm of your hands. I think also when mentioned that what you leave out is more than what you leave in speaks volumes because sometimes silence speaks louder than words. I think of my friends who go through depression and self-harm specifically when i read that sentence. They're not often to speak on what is happening with them but they are to keep quite. Same thing within my writing as well. I think of a lot of what you add in but to keep things short and so that I keep it simple I leave out more than I should.

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April 9: Le Guinn: Indirect narration, or what tells (93-116)

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April 9: Le Guinn: Indirect narration, or what tells (93-116)

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"There are a limited number of plots (some say seven, some say twelve, some say thirty). There is no limit to the number of stories. Everybody in the world has their story; every meeting of one person with another may begin a story." (pg. 95) I completing agree with where Le Guinn was talking about how there is a story out of two people meeting. As to those stories being told can be at a wedding. Meeting one person with another begins a story for both individually and as a pair. I view as this as to like how a couple or a pair of bestfriends each have their own story and plot to how they got to where they are and why did it happen, as well as when. Its beautiful and fascinating to know that that is true and I didn't of it the way Le Guinn did only after the reading. It makes sense to me now and these stories can be told and have various plots as there are various stories and each can be similar but are more often different from each other as the story continues. Now I see where my interactions and meetings with new people can and will be a story with a plot I am now and forever interested in how these stories and plots will be written. But only time will tell how they will go.

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April 2nd: Le Guinn: 7. Point of View and Voice(61-92)

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April 2nd: Le Guinn: 7. Point of View and Voice(61-92)

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"FURTHER READING: Look at a bunch of stories in an anthology or pull down a bunch of novels from your shelf (from as wide a span of time as possible) and identify the viewpoint character(s) and the point(s) of view of the narration. Notice if they change, and if so, how often." (pg. 69) I definitely had to do this and even though I do not have an actual physical library at my home I do keep track of the list of books in which I have read and I tried to identify the viewpoint characters and the view of the narration. The majority of books that I read usually are in a book series but have new characters in each book so therefore they can also be stand alones and be read out of order and such as well. I like reading these books because I get to know the thoughts, opinions, concerns, questions, and voice an perspective of the two main characters as I am put in there position every other chapter. So chapter one can be from the main female role and chapter 2 can be from the main male role. I like these narration and point of view for the various reasons. I can relate more and get an insight on the characters. That helps me with developing who they are and how I can become familiar with what they are going thru.

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March 19. Le Guinn: Verbs: person and tense  (pg. 43-60)

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March 19. Le Guinn: Verbs: person and tense  (pg. 43-60)

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"Present-tense narration persuades people that it's "more real" because it sounds like eyewitness narration. And the reason most writers give for using it is that it's "more immediate." Some justify it aggressively: "We live in the present, not the past." (pg. 51) I completely agree that when reading and the author is using present-tense narration it does make me feel as though I am in the book along with the characters in the room viewing everything and experiencing the emotions, thoughts, concerns and the vibes that are coming and going through the situation and the characters. It makes me feel as though I am part of the problem and that I will be part of the solution because I am getting invested in the book and that by doing all that I will be adding my own emotions, thoughts, concerns, and such to the book, characters and the problem. It makes me feel as I am one with the book and I like that feeling as it keeps me wanting to read more.

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This handout explains and describes the sequence of verb tenses in English.

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March 12. Le Guinn: Sentence Length and Complex Syntax (pg. 20-42)

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March 12. Le Guinn: Sentence Length and Complex Syntax (pg. 20-42)

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"To think or talk about after writing: If either part of the exercise forced you into writing in a way you'd never ordinarily choose to write, consider whether this was enjoyable, useful, maddening, enlightening, etc., and why." (33) Often times where i am put to write about something I don't normally do I like to reflect back on what I wrote. However, I often forget to look and think back about how I was feeling when I wrote something that is usually out of my element. I know what types of writing I like doing but I hardly like to step out of my comfort zone with writing and don't often write about things that are out of my usual. I have mixed emotions about the writing exercises I am put to do but I believe that doing so can and has helped me as a writer in more ways than I could ever realize.

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March 5. Le Guinn: 1.The Sound of Your Writing (Pg. 1-19)

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March 5. Le Guinn: 1.The Sound of Your Writing (Pg. 1-19)

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"The test of a sentence is, Does it sound right?" (pg. 1) I feel as though as a multilingual learner, speaker, and writer I relate to this the most as often times when I am writing I whisper to myself what it is that I am writing in hopes that it pleasing to the ear. After writing, a sentence or paragraph or two I go back and read out loud what I had just written so that my ears can be the judge of what I wrote. They assist me in checking if what I had written on paper makes sense and can easily be understood by myself because if it does not then it may not make sense to my audience. I must always remember that my audience should not assume what it is that I am saying. They should be able to tell what it is that I am saying by my writing. They should have no difficulty with understanding my writing.

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"When we talk about figurative language, we that in the poem there is a figure - an image - that is, a concrete, nonliteral, informing representation of something. This "something" might be a person, a thing, or an abstraction." (Pg. 92) I relate to this on so many levels as I have always used figurative language is my writing and in my speech. Especially on getting my feelings across to someone else. I use figurative languae to help me in explaining how I feel about someone else or about how I feel about myself to someone else. As for example, in the past after my first big heartbreak I used something along the lines of "it felt like as if I was a rock that had been kicked to fall slowly inside of a volcano," when I was trying to tell my best friend how heart broken I was after what had happened.

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Feb. 18. Oliver: Diction, Tone, Voice (pg. 76-91)

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Feb. 18. Oliver: Diction, Tone, Voice (pg. 76-91)

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"This LYRIC POEM is brief, concentrated, has usually no more than a single subject, and focus and no more than a single voice, and is more likely to employ a simple and natural rather than an intricate or composed musicality." I like this and I feel as though that a lot of poems should be this way all of the time. It makes it a lot easier for the reader to follow along and keep track of whats occurring in the poem. I find it best that there is only a single subject during these kinds of poems because it doesn't have the reader think that there is more than one thing to focus on and keep track of its changes.

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Feb. 11. Oliver: Given some Forms, Verse that is Free (pg. 58 - 75) 

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Feb. 11. Oliver: Given some Forms, Verse that is Free (pg. 58 - 75) 

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"Speech entered the poem. The poem was no longer a lecture, it was time spent with a friend. Its music was the music of conversation." (pg. 70) This peaked my interest and had reminded me that sometimes in music and in writing much is about a conversation. In music the artist(s) can have the lyrics written as a conversation between two characters. This has always been interesting to me because it shows what kind of relationship the two characters have. This can relate to how the reader and the writer interact. It shows in poetry what kind of relationship they have or seek.

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"It takes no more than two or three lines for a rhythm, and a feeling of pleasure in that rhythm...is one of the most powerful of pleasures, and when we feel a pleasurable rhythm we hope it will continue." (pg. 42) I completely relate to this as because of once a pleasurable rhythm is mentioned I do hope it continues as it sounds pleasing to the ear. If it was to change throughout the poem I feel like that kills the vibes and it makes for an awkward or uncomfortable sound to the ear. I prefer for there to be a pleasurable rhythm in the poem.

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Jan. 22. Le Guinn: The peer group workshop 

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Jan. 22. Le Guinn: The peer group workshop 

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What stood out to me about this reading was when Le Guinn had mentioned that the writing in which you are critiquing is impersonal. The knowledge the reader holds on the author is irrevelant. It is the writing that is under discussion and not the writer. I thought this was important because usually when you are familiar with someone such as the writer you first think of who they are as a person rather than what they put on paper.

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After this reading, what caught my attention was that sometimes a writer could do something that is not pleasing to the audience and because it is not in favor of the group it can elicit criticism for its raw execution. However, the idea was to why the author had done this "awful" experiment can cause for the readers to lose something that could be well worth cherishing. An example of this could be when the writer used unusual fashioning of lines in the poem.

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Sounds in a poem can be important. They are used by the writer in a sense that if they want to make their writings sound beautiful or if they want to make it sound awful to the ear. They use it to set a tone when the poem is read out-loud. Often the author or writer uses sound in some way were they attempt to make the words in the writing a way to give the readers to feel a certain way. For example, like "Stop" and "Go" The word "stop" doesn't
rustle with activity as "go" does.