| Exposition | | | | •?There is a helpful technique for writing |
| This family was a victim of a problem they could | | | | a comparison. If you follow it, your comparisons |
| have avoided-a problem that, according to Florida | | | | will benefit. |
| park rangers, hundreds of visitors suffer each | | | | •?Before writing a comparison draw up a |
| year. "Several times a month," ranger Rod Torres | | | | chart and fill it in, to make certain you have all the |
| of O'Leno State Park said, "people get scared and | | | | elements necessary to write a comparison. As in |
| leave the park in the middle of the night." Those | | | | the model below, list the two items being |
| people picked the wrong kind of park to visit. Not | | | | compared, and the criteria by which they will be |
| that there was anything wrong with the park: The | | | | compared. If you do not make such a chart, |
| hikers camped next to them loved the wild | | | | there is a chance you will have a hole in your |
| isolation of it. But it just wasn't the kind of place | | | | comparison.o Criteria O'Leno Lloyd Beacho noise |
| the couple from New Jersey had in mind when | | | | quiet noisyo people solitude available busy |
| they decided to camp out on this trip through | | | | crowdso water resources river to swim and |
| Florida. If they had known about the different | | | | canoe Atlantic beacho natural features forest |
| kinds of parks in Florida, they might have stayed | | | | beacho wildlife abundant, forest type fish and |
| in a place they loved. | | | | seabirds |
| Comments on exposition: | | | | •?Then choose whether to "down the |
| •?Exposition is explanatory writing | | | | columns" or "across the rows" in writing your |
| •?Exposition can be an incidental part of | | | | description. Either describes all of O'Leno and |
| a description or a narration, or it can be the heart | | | | compares it to all of Lloyd Beach by working |
| of an article | | | | "down" columns two and three, or takes the first |
| •?Aside from clarity, the key problem | | | | category, "noise" and compares the two parks in |
| with exposition is credibility. What makes your | | | | terms of it, then the next category, and so on |
| explanation? Believable? Normally, writers solve | | | | "across the rows." |
| this problem by citing authorities who have good | | | | •?Once you commit to a "down" or |
| credentials and good reason to be experts in the | | | | "across" strategy, stick with it till the end of the |
| subject. | | | | comparison. |
| •?This paragraph also happens to serve | | | | Process Analysis |
| as the justifier or "nut graf" for the little article: | | | | [Note: I couldn't think of a way to write the |
| the paragraph that, after an indirect opening, | | | | following paragraphs that followed naturally from |
| specifies the topic of the article, why it is | | | | the previous material. For the next paragraph, |
| important, and what is to come. | | | | pretend you are reading an article on how to put |
| Definition | | | | up a particular brand of tent.] When you find the |
| "Park" is difficult to define in Florida, because there | | | | park you are looking for, you will need to make |
| are so many kinds of parks. Basically, a park is a | | | | camp. One person can set up the Family Proof |
| place to go for outdoor recreation-to swim, picnic, | | | | Tent, though it is easier with two, yet almost |
| hike, camp, walk the dog, play tennis, paddle your | | | | impossible with three or more. Here's how: First, |
| canoe, and, in some places take rides in miniature | | | | clear a 9 by 9 foot area of snags, limbs, and |
| trains or swish down a waterslide. Florida has a | | | | anything that might pierce the bottom of the tent. |
| rich variety of parks, ranging from acres of RVs | | | | Unfold the tent so that the corners of the |
| ringed around recreation halls, to impenetrable | | | | waterproof bottom form a square. Peg down the |
| mangrove wilderness. To make things more | | | | corners of the bottom. Next, snap together all |
| complicated, not all of them are called "parks," and | | | | four external tent-poles (they are held together |
| even the ones called "parks" come in several | | | | by shock cords to ake sure you get the pieces |
| varieties. | | | | matched up). Place a pole near each of the pegs. |
| Comments on definition: | | | | Thread each pole through the two loops leading |
| •?Never define anything by the | | | | toward the top of the tent. After you have all |
| "according to Webster's" method. Meaning is found | | | | four poles in place, lift one of the poles. While |
| in the world, not in the dictionary. Bring the world | | | | holding the pole up, pull its guyrope tight and peg |
| into your story and use it to define your terms. | | | | the guyrope down, so that the pole is held up by |
| •?Saying what something is NOT can | | | | the guyrope and the pegs on opposing sides of |
| help readers; but make a strong effort to say | | | | the tent bottom. Lift the pole on the opposite side |
| what it IS. | | | | of the tent in the same way, but this time, fit it |
| Description | | | | into the upper end of the standing pole before |
| O'Leno is a good example of a state park in | | | | securing its guywire. Assemble the two remaining |
| Florida. Surrounded by the tall, shaded woods of a | | | | tent poles in a similar manner. Finally, unroll the |
| beautiful hardwood forest, the Santa Fe River | | | | front flap to form an awning. Prop up the awning |
| disappears in a large, slowly swirling, tree-lined pool. | | | | with the two remaining poles and secure them |
| After appearing intermittently in scattered | | | | with guyrope. Now you are ready to move in. |
| sinkholes, the river rises three miles downstream | | | | Comments on process analysis: |
| in a big boil, then continues on to meet the | | | | •?In describing how a process happens |
| Suwannee and the sea. Nearby, stands of | | | | or how to perform a series of actions, always |
| cypress mirror themselves in the still waters, walls | | | | think of your Readers: can they follow this? |
| of dense river swamp rise before you, sudden | | | | •?Analyze the process into a series of |
| sinkholes open in the woodlands-rich with cool | | | | steps. Put the steps into sequence. |
| ferns and mosses. Farther from the river, | | | | •?Then isolate the steps: number then, |
| expanses of longleaf pinelands stretch across | | | | use bullets, put them in separate paragraphs |
| rolling hills. In the midst of this lovely setting, you | | | | •?Use illustrations keyed to the steps |
| find 65 campsites, 18 rustic cabins, and a pavilion | | | | when appropriate: people can often read diagrams |
| for group meetings. A diving platform marks a | | | | better than they can read lists of steps |
| good place to swim in the soft, cool waters of | | | | •?Always ask an outsider to read your |
| the Santa Fe, and canoeing up this dark river is | | | | process analysis to see if it can be followed. Once |
| like traveling backwards in time in the direction of | | | | you are close to a subject, it is difficult to know |
| original Florida. | | | | when you have left something out. |
| Comments on description: | | | | Persuasion |
| •?Description is not what you saw, but | | | | Before you go camping in Florida, plan ahead. |
| what readers need to see in order to imagine the | | | | Don't wind up in the wilds when you want to be |
| scene, person, object, etc. | | | | near Disney World, and don't wind up on a |
| •?Description requires you to record a | | | | concrete RV pad when you really want the |
| series of detailed observations. Be especially | | | | forest primeval. Find out what parks are available, |
| careful to make real observations. The success of | | | | and what they are like. Get good information on |
| a description lies in the difference between what a | | | | what to expect, and what your options are. This |
| reader can imagine and what you actually saw | | | | can make all the difference in the quality of your |
| and recorded; from that gap arises a spark of | | | | vacation. |
| engagement. | | | | Comments on persuasion: |
| •?Use sensory language. Go light on | | | | •?This paragraph is but a small example |
| adjectives and adverbs. Look for ways to | | | | of the kind of writing used widely in editorials and |
| describe action. Pay special attention to the sound | | | | columns, and it uses a direct, exhortatory |
| and rhythm of words; use these when you can | | | | approach: Believe Me and Do It! |
| think that your language is not so much describing | | | | •?This persuasive paragraph also serves |
| a thing as describing a frame around the thing-a | | | | as the ending to this little article and brings a |
| frame so vivid that your reader can pour his or | | | | sense of closure in the form of, OK, now get up |
| her imagination into it and "see" the thing-even | | | | and act!" |
| though you never showed it. Portray. Also evoke. | | | | •?To persuade people to change their |
| •?The key problem in description is to | | | | minds or take an action, more is needed than |
| avoid being static or flat. Adopt a strategy that | | | | your opinion or sense of conviction. You need to |
| makes your description into a little story: move | | | | supply them with the information, analysis, and |
| from far to near, left to right, old to new, or, as | | | | context they need to form their own opinions, |
| in this example, down a river, to give your | | | | make their own judgments, and take action. |
| description a natural flow. Think of description as a | | | | •?Remember: Readers are interested in |
| little narrative in which the visual characteristics | | | | only one opinion--their own. If you can help them |
| unfold in a natural, interesting, dramatic order. | | | | formulate and deepen that opinion, they will be |
| Think of what pieces readers need, in what order, | | | | glad they read your article. |
| to construct a scene. Try making the description | | | | Narration |
| a little dramatic revelation, like watching an actor | | | | Around 2 a.m. something woke Charles Hanson |
| put on a costume--where you cannot decipher | | | | up. He lay in the dark listening. Something felt |
| what the costume means until many of the parts | | | | wrong. Outside, crickets sang, tree-frogs |
| are in place. | | | | chirruped. Across the distant forest floated two |
| •?Never tease readers or withhold | | | | muffled hoots from a barred owl. It was too |
| descriptive detail, unless for some strange reason | | | | quiet. At home in New Jersey, the nights are filled |
| that is the nature of your writing. Lay it out. Give | | | | with the busy, comforting sounds of traffic. You |
| your description away as generously as the world | | | | always have the comforting knowledge that other |
| gives away sights. Let it show as transparently as | | | | people are all around you. And light: At home he |
| seeing. | | | | can read in bed by the glow of the streetlight. It |
| •?The cognitive difficulty in description is | | | | was too quiet. And much too dark. Even starlight |
| simple: People see all-at-once. But they read | | | | failed to penetrate the 80-foot canopy of trees |
| sequentially, one-part-at-the-time, in a series of | | | | the camper was parked beneath. It was the |
| pieces. Choose the pieces. Sequence them so | | | | darkest dark he had ever seen. He felt for the |
| they add up. Think: Readers first read this, now | | | | flashlight beside his bunk. It was gone. He found |
| this, now this; what do they need next? | | | | where his pants were hanging and, as he felt the |
| •?Remember, you never just describe | | | | pockets for a box of matches, something rustled |
| something: The description is always part of a | | | | in the leaves right outside the window, inches |
| larger point. Use the description to make your | | | | from his face. He heard his wife, Wanda, hold her |
| point, or to move your story along. | | | | breath; she was awake, too. Then, whatever, |
| Comparison | | | | was outside in the darkness also breathed, and |
| Forest and river dominate O'Leno State Park. By | | | | the huge silence of the night seemed to come |
| contrast, Lloyd Beach State Recreation Area, | | | | inside the camper, stifling them. It was then he |
| near Fort Lauderdale, is dominated by the oily | | | | decided to pack up and move to a motel. |
| bodies of sun-worshippers who crowd into it | | | | Comments on narration: |
| every summer weekend. Where O'Leno gives | | | | •?Normally chronological (though |
| you so much quiet you can hear the leaves | | | | sometimes uses flashbacks) |
| whispering, Lloyd Beach is a place of boisterous | | | | •?A sequential presentation of the |
| activity. You can walk a few yards in O'Leno and | | | | events that add up to a story. |
| pass beyond every sign of human civilization. | | | | •?A narrative differs from a mere listing |
| When you walk at Lloyd Beach, you have to be | | | | of events. Narration usually contains characters, a |
| careful to step over the picnic baskets, umbrellas, | | | | setting, a conflict, and a resolution. Time and place |
| jam boxes, and browning bodies. At night, O'Leno | | | | and person are normally established. In this |
| wraps itself with the silence of crickets and owls. | | | | paragraph, the "story" components are: a |
| Lloyd Beach is busy with fishermen till well past | | | | protagonist (Hanson), a setting (the park), a goal |
| midnight. If you want to fish near town, or dive | | | | (to camp), an obstacle (nature), a climax (his |
| into the busy bustle of an urban beach, Lloyd | | | | panic), and a resolution (leaving). |
| Beach is the place to go. But if you want to stand | | | | •?Specific details always help a story, but |
| at the edge of civilization and look across time | | | | so does interpretive language. You don't just lay |
| into an older natural world, O'Leno is the park to | | | | the words on the page; you point them in the |
| visit. | | | | direction of a story. •? |
| Comments on comparison: | | | | |