Metaphor by Metaphor

How do we move from an exterior to the inner life of a character? One method:

• exterior description of character and setting (at least three sentences)
• explicit thoughts about the setting (one sentence): “He thought,” “she thought”
• implicit thoughts/interior monologue (at least three sentences)
• character’s past or
• inner life
• explicit thoughts about the setting (one sentence)
• exterior description of character and setting (at least three sentences)

What breaks readers out of a character’s inner life? Abrupt movement back up this scale of closeness.

Try it.

Which of the objections (generated by either you or a peer) to your thesis or supporting points are most likely to be presented by your audience? Of these, which do you want to refute or concede?

How can you directly refute?

If you are conceding, what is the greater “support” to your thesis you can explicitly mention?

Brainstorm a brief plan for replying to each objection you are likely to encounter.

What worked well as you wrote poems for class this semester? What could have been better? If you had another week to finish this assignment, how would you use that time? Describe the process of assembling the portfolio: what did you do first? Why? When did you know you were finished with the portfolio? Why did you include the poems you did?