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Keep related words together   Choice of paragraph structure[ edit ] The most important unit of meaning in every literary work is the paragraph. Although each sentence conveys a thought, a literary work is not just a sequence of, say, eighty thoughts; it is rather a development of one central thesis through certain steps.
Those steps are paragraphs. Within an effective paragraph the sentences support and extend one another in various ways, making a single, usually complex, unfolding idea. Having something to say, the writer merely says it—and goes on to do just the same in the following paragraph.
How trying it is to live in these times! Soulwise, these are trying times. I will tell you why; so shall my anticipation prevent your discovery, and your secrecy to the king and queen moult no feather.
What a piece of work is a man! And yet, to me, what is this quintessence of dust?
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way — in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.
One Christmas was so much like another, in those years, around the sea-town corner now, and out of all sound except the distant speaking of the voices I sometimes hear a moment before sleep, that I can never remember whether it snowed for six days and six nights when I was twelve or whether it snowed for twelve days and twelve nights when I was six; or whether the ice broke and the skating grocer vanished like a snowman through a white trap-door on that same Christmas Day that the mince-pies finished Uncle Arnold and we tobogganed down the seaward hill, all the afternoon, on the best tea-tray, and Mrs.
Griffiths complained, and we threw a snowball at her niece, and my hands burned so, with the heat and the cold, when I held them in front of the fire, that I cried for twenty minutes and then had some jelly.
In his dream he was shutting the front door with its strawberry windows and lemon windows and windows like white clouds and windows like clear water in a country stream.
Two dozen panes squared round the one big pane, colored of fruit wines and gelatins and cool water ices. He remembered his father holding him up as a child. And at last the strawberry glass perpetually bathed the town in roseate warmth, carpeted the world in pink sunrise, and made the cut lawn seem imported from some Persian rug bazaar.
The strawberry window, best of all, cured people of their paleness, warmed the cold rain, and set the blowing, shifting February snows afire. Moreover, I am cognizant of the interrelatedness of all communities and states. I cannot sit idly by in Atlanta and not be concerned about what happens in Birmingham.
Injustice anywhere is a threat to justice everywhere. We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly.
Never again can we afford to live with the narrow, provincial "outside agitator" idea. Anyone who lives inside the United States can never be considered an outsider anywhere within its bounds.
The writer's voice is a rather vague metaphorical term by which some critics refer to distinctive features of a written work in terms of spoken utterance.
The voice of a literary work is then the specific group of characteristics displayed by the narrator or poetic "speaker" or, in some uses, the actual author behind themassessed in terms of tone, style, or personality. Distinctions between various kinds of narrative voice tend to be distinctions between kinds of narrator in terms of how they address the reader rather than in terms of their perception of events, as in the distinct concept of point of view.
Likewise in non-narrative poems, distinctions can be made between the personal voice of a private lyric and the assumed voice the persona of a dramatic monologue.
It is perfectly understandable that an aspiring writer could fall in love with the work of a brilliant literary figure for example, William Faulkner or William S. Burroughs and then try to emulate that literary voice, but when an amateur aims deliberately for the sort of mature voice found in seasoned professionals, the result is likely to be literarily pretentious and largely unreadable.
In fact, this sort of literary pretentiousness is a clear mark of an amateur. Such an effect is achieved simply by writing often and carefully. Spending creative energy in the service of the way sentences read as prose is likely to be at the expense of the characters or story.
Writers should concentrate on characters and story and let their voice take care of itself. In some instances, voice is defined nearly the same as style;   in others, as genre literary mode  point of view,  mood or tone.The Write Source authors are updating their classic handbooks through Thoughtful Learning!In these revised handbooks, you'll find great models, topics, instruction, rutadeltambor.com Writers Inc A Student Handbook For Writing Learning Download Ebook Pdf added by Poppy Smith on November 04 This is a pdf of Writers Inc A Student Handbook For Writing Learning that visitor could be grabbed it with no cost at rutadeltambor.com Writer Inc: A Student Handbook for Writing & Learning by Patrick Sebranek, Christian R.
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