Building the Arc
Every sentence is its own little story, and, ideally, there is drama in every single sentence, and it has a motion, it has a shape, and the shape, to me, feels like this. It's building. It doesn't necessarily go down the way an ending does. I'm sure there are musical connections here, but it definitely goes up. The jury foreman unfolded the paper and said, "We find the defendant guilty," in a voice that was hard to hear, which may have been because she had a cold. Where is the big idea, what I call the power word, in that sentence? Where's the big idea? Who knows?
Unfolded the paper.
Unfolded the paper, really? I'm gonna ask for another suggestion.
Guilty, the word guilty. The big news is guilty. Where is it located? Smack dab in the middle, embedded, and then we go on to the voice and the health of the jury foreman. If you've got a moment when a defendant is named guilty, put that at the end, and maybe you have the cold, you might not even, you might lose the cold, but...
the voice of the jury foreman was hard to hear as she unfolded the paper and said, "We find the defendant guilty." He told me he liked my hair, and my long legs, and the gap between my teeth, and my eyes. (audience laughter) Of this list of details, and this has to do with lists of details in general, which is the one that stands out for you, the most interesting of this person's traits?
The gap between my teeth, naturally. The others pale by comparison, and with the gap. He told me he liked my hair, my long legs, my eyes, and the gap between my teeth. Feel the difference? Every sentence, there are always exceptions, but as a rule, let your sentences end on the power word, let your paragraph end on the power sentence, let your chapter end on the power paragraph, and let your book end very powerfully. I have to confess, as I say this, the youngest of my sons said to me one day when he was a teenager, "Do you know "that every time you walk out of the room you, "as you're leaving, you close with a zinger?" (laughing) And I realized, okay, I maybe took that too far. There was a Tiffany style lamp and gold patterned wallpaper and stuffed heads of endangered species of animals covering the walls from his various trips to Africa with his uncle Billy who used to work on Wall Street. What are you most interested in in this sentence?
Yes, endangered, stuffed heads of endangered species of animals in the middle.
Everyone’s got a story to tell. Some are funny. Some are inspiring. Others are tragic. But no matter how compelling your story might seem, it won’t resonate with readers unless you’re able to effectively translate your concept onto the page.
Celebrated journalist, novelist and memoirist Joyce Maynard will give you the tools you need to transform your brilliant idea into an absorbing memoir that readers won’t be able to put down.
Maynard will begin by walking you through the process of identifying your story and how best to tell it. She’ll then help you develop your story through language, story structure, dramatic tension, dialogue, description and editing. Finally, she’ll address the challenges of the writing life, such as how to create a productive practice, design a comfortable writing space, deal with rejection and find an audience.
In this class, you’ll learn how to:
- Understand the difference between telling what happened and exploring your journey.
- Figure out what to include in your story and what to cut out.
- Decide on a point of view, a point of entry and a structure.
- Get over your fears of revealing embarrassing truths about yourself.
- Stop worrying about being judged.
- Deal with loneliness and find your tribe.
- Develop the arc of a sentence, a paragraph and a story.
- Listen to the sound and rhythm of your sentences.