Lesson 2

Writing a Personal Narrative 

Now that we know what narrative writing is. We want to understand how to write it! Below, you'll find a video that shows what kind of language to use in a narrative. Next, we will read more from Suzanne Davis.

The key to writing a fascinating and powerful personal narrative is how you help a reader experience the story. A good personal narrative essay shows what happened and how you felt.  It doesn’t tell what happened like a report of events. It follows the writing mantra of “show: don’t tell.” It has a lot of vivid description, emotion, and other elements that re-create your story.

Here are things you can include your personal narrative:

Vivid Description: As you write your story try to add the five senses to your story. What did you see?  What did you hear? What did you taste? What did you smell? What did you touch? Not every story has all five senses. That’s fine. Focus on describing the setting, characters, and actions in your story.  Use the senses that are most relevant to your story. 

Zoom in on important moments: There are pieces of your story that are more significant or interesting than other elements of your story.  Select a few important moments in your story and add more detail and description to those parts. It’s like taking a photo of birds. You can capture the whole picture of the birds, but if you want to feature a bluebird, or cardinal or another type of bird, you would zoom in on that bird.  You would see up close the colors of the feathers on its wings, the size of the bird’s feet, and how it is flying in the skying. You can do the same with your story. Zooming will draw the reader into important moments.

Emotion: In a personal narrative essay, readers want to feel a connection to what you felt. If you were nervous or scared in the story then describe that. Describe how you felt at different times during your story.

Dialogue: Can you add dialogue between yourself and another person? Some stories only have one person, so it may not be possible to add dialogue.  But character dialogue can add excitement.  If you add dialogue choose important things people said.  Be careful not to have too much dialogue in your personal narrative essay. Your readers want to see other kinds of action too.

In medias res: In medias res is a Latin phrase that means “in the midst of things” Encyclopedia Britannica https://www.britannica.com/art/in-medias-res-literature.

 In medias res is a technique where the writer begins his/her narrative at a point of action or a crucial moment in the story.  Then the narrative “flashes back” to the beginning of the story.  This writing strategy immerses readers in a story. It’s a way to make readers feel what you felt at that moment.  In medias res, is a wonderful technique to use in personal narratives. Test it out and see if it suits your personal narrative essay.

Strong description helps a reader experience what you've experienced, whether it was an event, an interaction, or simply a place. Even though you could never capture it perfectly, you should try to approximate sensations, feelings, and details as closely as you can. Your most vivid description will be that which gives your reader a way to imagine being themselves as of your story.

Imagery:

Imagery is a device that you have likely encountered in your studies before: it refers to language used to 'paint a scene' for the reader, directing their attention to striking details. Here are a few examples from http://www.literarydevices.com/imagery:

• Example #1: Taste

  • On rainy afternoons, embroidering with a group of friends on the begonia porch, she would lose the thread of the conversation and a tear of nostalgia would salt her palate when she saw the strips of damp earth and the piles of mud that the earthworms had pushed up in the garden. Those secret tastes, defeated in the past by oranges and rhubarb, broke out into an irrepressible urge when she began to weep. She went back to eating earth. The first time she did it almost out of curiosity, sure that the bad taste would be the best cure for the temptation. And, in fact, she could not bear the earth in her mouth. But she persevered, overcome by the growing anxiety, and little by little she was getting back her ancestral appetite, the taste of primary minerals, the unbridled satisfaction of what was the original food. (One Hundred Years of Solitude by Gabriel García Márquez)
    
    

• Example #2: Sound

  • My little horse must think it queer

  • To stop without a farmhouse near

  • Between the woods and frozen lake

  • The darkest evening of the year. He gives his harness bells a shake

  • To ask if there is some mistake.

  • The only other sound’s the sweep

  • Of easy wind and downy flake. (“Stopping by Woods on a Snowy Evening” by Robert Frost)

• Example #3: Sight

  • Outside, even through the shut window-pane, the world looked cold. Down in the street little eddies of wind were whirling dust and torn paper into spirals, and though the sun was shining and the sky a harsh blue, there seemed to be no colour in anything, except the posters that were plastered everywhere. The black mustachioed face gazed down from every commanding corner. There was one on the house-front immediately opposite. BIG BROTHER IS WATCHING YOU, the caption said, while the dark eyes looked deep into Winston’s own. Down at street level another poster, torn at one corner, flapped fitfully in the wind, alternately covering and uncovering the single word INGSOC. In the far distance a helicopter skimmed down between the roofs, hovered for an instant like a bluebottle, and darted away again with a curving flight. (1984 by George Orwell)

• Example #4: Smell

  • In the period of which we speak, there reigned in the cities a stench barely conceivable to us modern men and women. The streets stank of manure, the courtyards of urine, the stairwells stank of moldering wood and rat droppings, the kitchens of spoiled cabbage and mutton fat; the unaired parlors stank of stale dust, the bedrooms of greasy sheets, damp featherbeds, and the pungently sweet aroma of chamber pots. The stench of sulfur rose from the chimneys, the stench of caustic lyes from the tanneries, and from the slaughterhouses came the stench of congealed blood. People stank of sweat and unwashed clothes; from their mouths came the stench of rotting teeth, from their bellies that of onions, and from their bodies, if they were no longer very young, came the stench of rancid cheese and sour milk and tumorous disease. (Perfume: The Story of a Murderer by Patrick Suskind)

You might notice, too, that the above examples appeal to many different senses. Beyond just visual detail, good imagery can be considered sensory language: words that help me see, but also words that help me taste, touch, smell, and hear the story. Go back and identify a word, phrase, or sentence that suggests one of these non­ visual sensations; what about this line is so striking? Imagery might also apply figurative language to describe more creatively. Devices like metaphor, simile, and personification, or hyperbole can enhance description by pushing beyond literal meanings.

(Adapted from: EmpoWord by Shane Abrams)