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Just as we can describe the personalities of our friends, as readers we can describe the personality of a piece of writing.
Diederich: (1961 & 1974) found that the professional writers and editors in his study emphasized style, individuality, originality, interest and sincerity the personal qualities revealed by the writing, which he decided to call flavor, although they themselves called it style (8). Seventeen teachers K-12 (1984) Beaverton, Oregon: Analytical Assessment Model Committee working with Diederichs findings decided to call it voice and elaborated on its description. Simultaneously, groups in Montana, Florida and other sites were coming up with similar rubrics.
Some Six-trait rubrics describe a writers voice as being as distinct: As individual as fingerprints.
Or this one?
Grandpa Tommys dad used to say, A cowful is a great sufficiency. According to my research, the rumen of a mature cow can hold over 300 pounds. And by anybodys standards that is a substantial quantity. Say you had a cowful of pocket change. Youd almost need a cow to keep it in. Say you had a cowful of wet laundry. It would take a forklift to get it in the dryer. Say you had a cowful of manure. Well, I guess a lot of us do.
The voices of . . .
1. Jerry Seinfeld
Seinlanguage. Bantam Books, 1993.
2. Baxter Black
A Cowful of Cowboy Poetry. Coyote Cowboy Company, 2000.
3. Emily Dickinson
The Poems of Emily Dickinson. Harvard University Press, 1951.
4. Erma Bombeck
If Life Is a Bowl of Cherries, What Am I Doing in the Pits? Fawcett Books, 1990.
B. The writer crafts the writing with an awareness and respect for the audience and the purpose for writing.
C. The tone of the writing adds interest to the message and is appropriate for the purpose and audience. D. The reader feels a strong interaction with the writer, sensing the person behind the words. E. The writer takes a risk by revealing who he or she is consistently throughout the piece. F. Expository or persuasive writing reflects a strong commitment to the topic by showing why the reader needs to know this and why he or she should care. G. Narrative writing is honest, personal, and engaging and makes you think about, and react to, the authors ideas and point of view.
9.
Variety of Voice
Abstract Ambiguous Analytical Anecdotal Angry Austere Bland Boring Cinematic Classical Colloquial Concise Confessional Contemptuous Conventional Cool Cynical Decadent Derivative Dreamlike Dreary Earthy Elegaic Emphatic Epigrammatical Evocative Experimental Fashionable farcical Fatalistic Flamboyant Gimmicky Heavy Heroic Hysterical Incoherent Ironic Irreverent Journalistic Juvenile Lyrical Melodramatic Metaphorical Metaphysical Minimalist Monotonous Mournful Mystical Nostalgic Objective Obscure Ominous Parody Philosophical Poetical Poemical Political Pompous Pragmatic Precious Pretentious Profound Psychological Puritanical Realistic Repetitious Rhythmic Romantic Sarcastic Sardonic Satirical Sensuous Sentimental Sharp Stilted Sophisticated Stark Subjective Subtle Superficial Surrealistic Symbolic Trite Urbane Vague Venomous Whimsical Witty Wordy
Caddyshack?
(screenplay)
So appropriate voice, it seems, should fit the writers purpose. How about the audience or genre?
Hey, Monty. Whats up, compadre? Surfs up here, and I am down with the beach life. Got to go; the ice in my drink is getting low. See you next week. Maybe.
Chaz
And/or it could be thought of as created through the use of other colors (red, white and blue used in certain proportions create lavender).
In that sense the writer mixes traits like an artist mixes colors to create voice.
Word choice helps create voice. Sentence fluency helps create voice. Ideas help create voice.
Listen to this story from Luci Tapahonsos Saanii Dahataal: The Women are Singing.
Discuss with your colleagues: How would you describe the authors voice? Which descriptors from the rubric fit? How does word choice contribute to the voice? How does sentence fluency contribute to voice? How are ideas and voice related in this piece?
What has research shown about beginning writers and their choice of topics?
private writing
public writing
Next we could guide them through the analysis of anonymous sample papers.
Anonymous, because they will feel no risk in being critical. We can help them to apply the terms in the rubric. They can begin to understand the process of evaluation that precedes revision. (We seem to be moving up Blooms taxonomy.)
They have been introduced to the trait through interesting literature, they have done an activity to further their understanding, they have analyzed anonymous sample papers to help them see what strong voice looks like in writing from people their age.
Now what?
TIME TO WRITE! How about a paper that suits our focus on the trait of voice well? Any ideas?
Only magic or amazing talent can make that first draft good enough to consider a finished project.
Veteran teachers know there is no magic here. (Although they do often have some pretty good tricks up their sleeves) What happens next takes hard work.
Although the next steps in the writing process can help students to improve not only individual papers but also their writing skills,
To focus on a desired trait. As part of the total grade. To keep track of a students improvement in a specific writing skill.
More suggestions
Fulwiler, Toby. (2004). The Working Writer. Upper Saddle River: Prentice Hall. Knorr, Jeff & Schell, Tim. (2001). Mooring Against the Tide: Writing Fiction and Poetry. Upper Saddle River: Prentice Hall. Lane, Barry. (1993). After THE END: Teaching and Learning Creative Revision. Portsmouth: Boynton Cook. Macrorie, Ken. (1980). Telling Writing: 3rd Edition. US: Hayden Book Company. Murray, Donald M. (1985). A Writer Teaches Writing. US: Houghton Mifflin Company.
The end.
Spandel, Vicki. (2005). The 9 Rights of Every Writer: A Guide for Teachers. New Hampshire: Heinmann. Starkey, David. (1998). Teaching Writing Creatively. Portsmouth: Boynton/Cook. Steele, Alexander. (2003). Gotham Writers Workshop Writing Fiction: The Practical Guide from New Yorks Acclaimed Creative Writing School. New York: Bloomsbury. Stepp, Carl Sessions. (2000). Writing as Craft and Magic. Lincolnwood: NTC Contemporary Publishing Group.