Next, the author introduces four elements of personal essays, which the author can learn from when writing:
First, style. Personal essays have a strong personal style and should be written in the first person. As an author, you must put your perspective right, don't be afraid to express your thoughts, and the author should truly and boldly share his profound experience when writing. Only in this way can you impress the readers.
Second, the form. Personal essays are at the junction of novels and poems, including personal memoirs. It is difficult for the author to learn to express his personal experience in the form of stories and polish it with poetic techniques, because the balance between stories and poems makes essays attractive-elastic. Only a flexible party can adapt to the changeable form, but it is profound and can show wonderful personal experiences.
Third, drama. Personal essays are not stereotyped writing as taught in ancient schools. Personal essay is a narrative based on real life. Only when writing about real life itself is full of drama can the author integrate his own experience into the drama and attract readers' attention.
Fourth, truth. The most important point of personal essays is truth. Papers are usually based on what really happened. The author will have a profound internal interpretation of this, but will not fully explain it. Readers must distinguish for themselves. A wonderful article is like a dialogue between the author and the reader. When reading the first paragraph, the reader will find what he wants to hear. When reading a whole article, it will bring readers an idea, a memory and an emotion enriched by the author's experience. Because of this, * * * songs came into being.
Let's enjoy an article about how a famous author did the above four points. Excerpted from a theme of George R. Clay, The Fourth Type (200 1 spring issue).
Title: Where it all started.
Content: Tuesday, June 9th, about 1 1: 30, a normal morning. An amazing thing happened to me, but when I think about it, it seems nothing.
This is Cambridge. I thought the garbage was collected every Wednesday morning, but there seems to be a mistake. Anyway, I drove all the way down Mass Avenue and then turned into LEE Street, trying to find a parking place, only to find myself stuck behind the sanitation garbage truck. Lee street is not a main road, so it is a one-way street. Cars are parked on both sides of the road, so it is impossible to pass. The garbage is orange, which is the kind of engineering vehicle. Two workers are cleaning, one on each side of the street. The man who works in the west (on my left) is a small man with gray hair and gold-rimmed glasses. He looks like an assistant clerk, except that he has no arms, and he has a look of "Don't stare at me". The other one is ugly: there is a cross mark on his chin, which is a bit like Fernade Le Lang. He is listless, strong and slow at work. He was patient with those trash cans, lifted them gracefully and handled them gently without any resentment. Although his face was slightly disgusted, he just expressed the meaning that "this kind of work is really terrible". While cleaning the east side of LCC Street, he stopped outside a house with a garden. Looking around on the sidewalk, I found that no one else paid attention to myself; He looked into the window again to make sure there was no room; Then, carefully, he made up his mind, raised his long right leg and jumped in. He crossed a long road along the street and came to the middle of the garden, where many plants with big leaves and flowers of different colors were planted. He crouched down, crouched down, crouched down again, then suddenly buried his face in the largest leaf, took a deep breath for a long time, and didn't look up for at least half a minute. During the whole process, I can't see any change in his mood, unhappy, unhappy and nervous. He just stood expressionless, then carefully withdrew from the garden and went on working. I think flannery O 'Connor was right-that's where it all started: to feel.
The above is a meaningful story. How did the author let you follow a sanitation garbage truck and then realize that "everything comes from feelings"?
Next, I will share the four elements involved in this article:
1 style. Clay is talking to you: something happened this morning. He said, not very important, but wonderful. As a reader, you will immediately succumb to this style of writing, because it is like a friend talking to you.
2. Form. The full-text narrative is clear, and the whole story is completed in one paragraph.
3. dramatic. As a reader, you will know that the beginning of the story is old-fashioned, but when the lazy big man appears, walks on the sidewalk and writes that he bends down and becomes lower and lower, you begin to be attracted. What is he doing? It was not until he suddenly buried his face in the biggest leaf and sucked for at least half a minute that the big man began to touch you.
4. the truth. Clay stopped here, and the man went on with his work, expressionless, but completely new. Then I quoted flannery O 'Connor as saying that everything comes from feeling.
In The Art of Non-fiction Writing, Lee Tekander describes four skills to master personal prose writing:
First, the description of retouching. Don't artificially pursue accuracy, but strengthen the dramatic effect of characters and scene settings.
Second, use dialogue. Reshape the dialogue scene in your mind, but don't write about the dialogue that didn't happen.
Third, add an internal perspective. Let readers see the reality through your eyes.
Fourth, lock the target in the scene. This scene is action-oriented, cinematic and three-dimensional. Their sense of picture is based on touching details that allow readers to enter it.
This article describes the writing skills of personal essays, hoping to be useful to you.