REALISM:   Broadly defined as "the faithful representation of reality" or

"verisimilitude," realism is a literary technique practiced by many schools of writing. Although strictly speaking, realism is a technique, it also denotes a particular kind of subject matter, especially the representation of middle-class life. A reaction against romanticism, an interest in scientific method, the systematizing of the study of documentary history, and the influence of rational philosophy all affected the rise of realism.

According to William Harmon and Hugh Holman, "Where romanticists transcend the immediate to find the ideal, and naturalists plumb the actual or superficial to find the scientific laws that control its actions, realists center their attention to a remarkable degree on the immediate, the here and now, the specific action, and the verifiable consequence" (A Handbook to Literature 428).

Characteristics

(from Richard Chase, The American Novel and Its Tradition)

Renders reality closely and in comprehensive detail. Selective presentation of reality with an emphasis on verisimilitude, even at the expense of a well-made plot.

Character is more important than action and plot; complex ethical choices are often the subject. Characters appear in their real complexity of temperament and motive; they are in explicable relation to nature, to each other, to their social class, to their own past.

Events will usually be plausible. Realistic novels avoid the sensational,

dramatic elements of naturalistic novels and romances.

Diction is natural vernacular, not heightened or poetic; tone may be comic, satiric, or matter-of-fact.

Objectivity in presentation becomes increasingly important: overt authorial comments or intrusions diminish 

from Fred Wah, Canada's poet laureate

What is so poignant about The Enpipe Line is not its length (over 70,000 km) or its capacity (barrels of words per day, the poem as tanker) but, quite simply, its presence. On-line for over a year, and now in a print edition, the project resonates as a manifestation of mindfulness, a manifesto on devotion to our world and inscribing that attention into the earth and water works of our imagination and our desire for a sustaining world. These poems, drawings, stories, statements – words and gestures, are more than anathemas to Enbridge’s Northern Gateway proposal; they are actual and necessary functions of being here, measures of our own animal presence, and witness to a threatening greed and ignorance. Kilometre after kilometre, The Enpipe Line occupies its space by writing in it.

ENGL 271 Workshopping Guidelines

We will be workshopping every week from now on. Normally we will have work to give our group the week before so they have time to spend with it. For next class, bring something short (1 – 2 pages) to workshop on the spot and 2 – 4 pages for the week following. If you can coordinate over email, your selection can be longer (à 4 pages).

Remember that the workshopping goal is to improve everyone’s writing; all that goes on should be to that end. It should not be a forum to show off so bring work that you want your group to make marks on and fix up; do not bring a poem that is a precious jewel you have perfected over years. Workshopping is not a forum to pat each other on the back and say “That’s great”—you can say that, but you also have to be a tough editor and help make it better. On the other hand, be aware that too much criticism might overwhelm an author so be aware of their process.

When your writing is being workshopped, remember that you are the artist and you have the final call on changes. However, it is an opportunity to have three other good readers help edit your work so take advantage of it to its fullest.

From now on attendance is crucial but, just in case, share emails or phone numbers so that if someone misses, they can stay in the workshopping loop.

Work hard at making a good chemistry—workshopping is the single best way to improve your writing so personally make sure your group is clicking.

Author responsibilities:

            --choose 2 – 4 pages of your work and print 4 copies to bring to your group

            --choose work that is not a rough first draft but something you want help with

            --at the workshop read the work aloud (or at least part of it)

            --as the group comments, make notes but do not make ‘rebuttals’

            --take the verbal and written comments with you and consider them at home,

            leaving or taking the advice

Reader responsibilities:

            --make notes / edits on the printed page

            --comment on parts / elements that are working and not working

            --be comprehensive; the more you write the better

            --at the workshop verbally mention the most important points

--work within the parameters of what the author is trying to do; simply saying ‘I do not like this kind of poem’ does nothing to help the author

--at all times be respectful of the author

A Few Screenplay Principles

--“reading script” vs “shooting script” (includes more camera direction)

 --write only simple visuals and dialogue. 

--some camera direction only when crucial: “P.O.V.”, “CLOSE”, and “FAVORING”

--one page of screenplay equates very roughly to one minute of film

    •      OS  -- Off Screen

    •      VO  --  Voice Over

    •      SUPER – Superimposed (usually titles or notes)

    •      EXT --  Exterior Shot

    •      INT –  Interior Shot

    •      FADE OUT –at the end of the film (or a long passage of time w/ FADE IN)

a few links:

local lit events and news: http://theculturemill.blogspot.com/

largest and oldest online lit mag: http://jacketmagazine.com/00/home.shtml

can po site: http://www.ditchpoetry.com/

press that focuses on northern bc lit: http://www.caitlin-press.com/

local speculative and YA fiction press: http://store.bundoranpress.com/