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Tips for Writing a Successful Literacy Narrative Paper

March 24, 2020

What is a literacy narrative? If you have just started college, the literacy narrative is often one of the first assignments you will receive in your English Lit classes. This type of paper is a fun, entertaining way for writers to discuss memorable and important moments in their lives that have shaped the way you read, speak and write. This is why teachers like assigning them and students enjoy writing them. There are plenty of popular writers who have used the literacy narrative as a way to familiarize themselves with the audience. There are essentially three objectives when writing this essay:

  • To give the student’s teachers and classmates a chance to know something about them;
  • To explain their relationship with their writing abilitiesand reading;
  • To recognize how reading and writing impacts their lives.

Successful Literacy Narrative Paper

Great Literacy Narrative Writing in Eight Steps

  1. Sit down at the computer and take a trip down memory lane. Think back to when you first started learning to write. Perhaps it was your name or even a simple sentence. Also picture your earliest experiences with reading. What can you remember as the first things you read? What about books that your parents read to you as a young child? If you are having a difficult time with this, it might help to as your parents or an older sibling if they recall your first experiences with reading and writing.
  2. Decide upon the memory that you would like to share in your literacy narrative. Close your eyes and let thoughts and ideas flow. How do you feel? Does it put you in a good mood? Does it make you feel sentimental or even anxious? Summarizing what you remember about this experience.
  3. Discuss what this memory says about you as a person, how it shapes your worldview and how it influences your current path in life.
  4. As with all essays, start with an introduction paragraph describing the memory in brief terms, giving the reader a sense of what to expect.
  5. In the second paragraph, set the stage in which the memory is set. How old were you? Where were you? Who were you with? The more vivid you are, the better the reader will relate.
  6. Next, go into detail about what occurred. During this process of reading, writing or speaking, did you succeed? Or perhaps you failed? Did it make you feel confident or embarrassed? Were you encouraged or teased? Even if the memories were negative, do nothold back.
  7. Was there a resolution? If so, explain what happened. If not, discuss the effects both at that time and in the present.
  8. Think about how this experience has shaped your life today. Transitional words are a good way to connect your ideas and thoughts together.

Literacy Narrative Paper to Check for Free ( The Great Gatsby under the Freytag Pyramid )

Freytag is renowned for his investigation of the structure of very vintage Greek and Shakespearean drama. According to Freytag, a drama is split up into five components, or acts:

  • exposition
  • increasing activity
  • climax (or rotating point)
  • dropping activity
  • disaster (depending upon if the drama is a comical presentation or a tragedy)

A comical presentation is a drama in which the protagonist, or major feature, is better off at the end of the article than he or she was at the beginning; a tragedy is the opposite. Freytag’s investigation of spectacular structure is occasionally comprised via a visual help renowned as Freytag’s Pyramid.

Exposition

In the exposition, the backdrop data that is required to realise the article correctly is provided. Such data encompasses the protagonist, the antagonist, the rudimentary confrontation, the setting, and so forth. The exposition finishes with the inciting instant, which is the lone occurrence in the story’s activity without which there would be no story. The inciting instant groups the remainder of the article in shift starting with the second proceed, the increasing action.

Rising action

During the increasing activity, the rudimentary confrontation is perplexing by the introduction of associated lesser confrontations, encompassing diverse obstacles that block the protagonist’s try to come to his or her goal. Secondary confrontations can encompass adversaries of lesser significance than the story’s antagonist, who may work with the antagonist or individually, by and for themselves…

Climax (turning point)

The third proceed is that of the climax, or rotating issue, which brands a change, for the better or the poorer, in the protagonist’s affairs. If the article is a comical presentation, things will have gone awfully for the protagonist up to this point; now, the surge, so to talk, will turn, and things will start to proceed well for him or her. If the article is a tragedy, the converse state of activities will ensue, with things going from good to awful for the protagonist.

Falling action

During the dropping activity, the confrontation between the protagonist and the antagonist unravels, with the protagonist triumphant or mislaying against the antagonist. The dropping activity might comprise a instant of last suspense, throughout which the last conclusion of the confrontation is in doubt.

Denouement or catastrophe

The comical presentation finishes with a denouement in which the protagonist is better off than he or she was at the story’s outset. The tragedy finishes with a disaster in which the protagonist is poorer off than he or she was at the starting of the narrative. Although Freytag’s investigation of spectacular structure is founded on five-act performances, it can be directed (sometimes in a changed manner) to short tales and books as well.

Narrative Structure of The Great Gatsby

Early in the innovative we discover that persons understand who Gatsby is, that he has a ton of cash, and that he inhabits close to our other characters.  We furthermore discover a little about Tom and Daisy’s marriage.  This is introduction, or exposition.

Then, we discover that Daisy and Gatsby had a connection previous and that Gatsby’s aims in approaching back were to win back Daisy.  He proceeds through large pains to organise this.  These are actions of rising action.

The climax, or confrontation, happens when our centered feature faces a change in power.  Up until this issue, Gatsby was gradually profiting power in the wooing of Daisy.  The confrontation happens in the inn room when Gatsby and Tom force Daisy to make a conclusion and she doesn’t make a clear-cut one.

Falling action occurs very quickly in the innovative with Daisy and Tom going dwelling and residing there.  Most of the dropping activity happens out-of-doors the narration as Tom has a mystery dialogue with Wilson premier Wilson to head over to Gatsby’s house.

The conspicuous resolution of this innovative is the murdering of our centered feature and the try of Tom and Daisy to stay together.

Form and Structure of The Great Gatsby

Form and structure are nearly associated to issue of view. Before composing a innovative, an scribe has to inquire himself: who is to notify the story? And in what alignment will events be told? The prime difficulty in responding the second inquiry is how to handle time. Do I notify the article directly through from starting to end? Do I start in the middle and use flashbacks?

As numerous detractors have sharp out, the procedure Fitzgerald adopts in The Great Gatsby is a bright one. He begins the innovative in the present, giving us, in the first three sections, a glimpse of the four major locales of the novel:

  • Daisy’s dwelling in East Egg (Chapter I)
  • The valley of ashes and New York (Chapter II)
  • Gatsby’s dwelling in West Egg (Chapter III)

Having established the individual characteristics and setting in the first three sections, he then narrates the major events of the article in Chapters IV to IX, utilising Chapters IV, VI, and VII to step-by-step disclose the article of Gatsby’s past. The past and present arrive simultaneously at the end of the innovative in Chapter IX.

Fitzgerald not only values imagery and reflection, but furthermore issue of outlook, symbolism, and satire in “The Great Gatsby.” The contrive is notified as part of a border article, significance a article inside a article, from the issue of outlook of Nick Carraway, one of the major individual characteristics, who has arrive from the midwest to discover the bond market. Nick discovers much more in his meet with Jay Gatsby. Through this first-person (“I”) narrative method, Fitgerald is adept to inject much of his own insight into the narrative by having Nick interpret much of Fitzgerald’s own sentiments about life. The symbolism, particularly in the setting of the innovative, is an significant stylistic element. West and East Egg are two locations with resisting standards that can be mismatched giving insight into the ethics of each place. Finally, Fitzgerald values satire, particularly when recounting the lavish, vulgar parties Gatsby hurls and the use of “Great” in the name of the novel. In the end, there is not anything actually “great” about Gatsby or the east and Nick comes back dwelling to the Midwest where he realises the standards of the culture.

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