Writing Exercise: “Code Switch”
- Read a little bit about the linguistic concept of “code-switching.”
- Now, let’s apply it to your creative writing. Create a dramatic situation in which a first-person narrator has to switch between two different types of language in her narration and in her dialogue, e.g. her dialogue with her best friend is informal but, in telling the story to a wider audience, she uses proper grammar and more meditative language.
- For an added challenge, you can add in a third act of code-switching, i.e. your narrator might talk one way in her narration, one way to her best friend on the phone, and one way with her mother while they are out to lunch.
Note: Please take care to avoid cultural appropriation with this exercise in code-switching. To do so, you might try taking on acts of code-switching that are familiar to you and your discourses.
In “Backstabbing,” students are practicing their abilities in creating a scene that hinges on the drama of subtext, dialogue, and conflict.
In the “Debate” writing exercise, students are asked to create two characters—political candidates—with unique syntax and diction in order to debate a phony issue, like whether muffins should actually be called cake, for example. In doing so, they learn how to format dialogue; to progress action through dialogue; and how to demonstrate a character’s values, motivations, and background through dialogue.
I keep returning again & again to these underlined lines in “The Library of Babel” by Borges: “If honor and wisdom and happiness are not for me, let them be for others. Let heaven exist, though my place be in hell.”
And they make me think of my namesake Emilia’s lines in Othello: “Let heaven and men and devils cry, let them all / All, all cry shame against me, yet I’ll speak,” which I have tattooed on my back. My ars poetica, my body magic.
In this reading exercise, students are responding to and annotating different literary devices and features—including dialogue, active voice, unique diction, etcetera—in the opening pages of five chapters (13–18) of the class’s icebreaker text, Harry Potter and the Goblet of Fire.
In “Step 1,” I’m asking students to develop their skills in the imperative and descriptive moods so that a character and/or narrator can demonstrate or walk through an concept or action. They will base their preliminary discussion on “The Unforgivable Curses” chapter of Harry Potter and the Goblet of Fire, the semester’s icebreaker text, as well as read the opening pages of Lorrie Moore’s “How To Be an Other Woman.” In doing so, they will likewise refer to some of the terminology we’ve gone over in previous classes—diction, syntax, dialogue, concrete details, point of view—and demonstrate their understanding of that terminology by relying on those literary concepts to make an effective piece.
In this reading discussion prompt, students are asked to consider what elements contribute to our understanding of character in this “Guess Who” game in which students draw a character who appears in chapters 3–12 of Harry Potter and the Goblet of Fire and then describe them by answering a series of questions. They will use their descriptions to come up with three clues about the character: one is a concrete detail about the character’s appearance, the second is to identify a scene in which they appear, and the third is a literary craft element that helps reveal their character.