Writing, Writing, Writing: Structure

 

IMPORTANT ASPECTS OF WRITING

(1)  After watching the film, pick an aspect of "tradition" of the Toda and write detailed notes about it

(2) watch the film again and take notes

(3) Compare both sets of notes

(4) compare your notes to others

• differences between writing (1) (field notes) from memory (lack of detail, and the potential to collapse events and time, among others) and (2) writing while actually in a place (noting more detail, movement of people throughout spaces, variations at different times of day, and other aspects of in-site descriptions). 
• the different possible perspectives on places and events, what anthropologists call positionality; 
• the plethora of detail to be written about; 
• different writing styles; 
• differences in focus, (e.g., writing more about people and their interactions versus writing more about the physical space). 
• all of these are important to consider when writing descriptive field notes, as well as the importance of writing during or as soon after participant-observation experiences as possible. 

Tips and tricks for writers

• write every day
• reread and edit your writing
• find writing/editing partners that you trust for feedback
• Save every edition
• go back to your notes on a regular basis
• Allow your writing to mirror the "inductive" research process

We can Understand ethnography as having 3 basic strategies (noting that no research account can ever be "true"):

• straight forward description
• semi-fictionalized accounts
• creative-nonfiction (fictionalized accounts)

The article linked here discusses these various strategies HERE

What makes a story great and a great storyteller?

• identify a story you find compelling.What details and emotions are evoked in your own imagination? What does the author do to hold your interest?
• What do you hope will resonate with readers after they finish your work?
• Ruth Behar has a concept called the "vulnerable observer"--it states that good ethnography is written with the ethnographer being emotionally vulnerable
• "Ladder of emotion" (Hart)
• Far (away from those you observe-less emotional content)
• Near (close to those you observe-more evocative emotional content) 
• You may go up and down this ladder as you write to keep your reader's interest
• Try writing from a far and close perspective

"Types of Tails"

• realist tales-writer attempts to assume an objective stance in writing their narrative. It is usually written in an "institutional voice." It is focused on theory and make take on a documentary tone. The piece is premised on the authority of the writer/ethnographer (no longer in favor-imperialist)
• confessional tales-The writer is present in their ethnography in that they talk about how they collected their research, how it impacted them, how they went about the writing process. The reader follows the fieldworker through the journey of discovery.
• impressionistic tales-draw the reader into a dramatic story as your device. Utilizes literary and creative nonfiction devices. Characters are developed and their stories are presented in a literary structure. Through fiction one can draw on the totality of their experiences in the field.
• advocacy/critical tales-written with the overt stated purpose to enact social change (critical ethnography) in the service of justice. diametrically opposed to the objective stance.
• collaborative tales-a response to what is perceived as "knowledge appropriation". Here the ethnographer writes with a member of that culture. This is an attempt to diminish the power asymmetry between the researcher and the culture they study.
• experimental tales-reflexive positioning to help establish credibility. can be seen as narcissistic or navel gazing. (postmodern writing)

Story Arcs:

• this is the overall structure of your ethnography rather than the details. It is when you step back and consider the entire structure. (plot)
  
• written work should capture the flow of the dynamic ethnographic experience of fieldwork
• Events are not static categories which occur in a chronological order. They are constantly unfolding. Following transformations: physical, emotional, intellectual -which the ethnographer experiences

• A PLOT emerges when the storyteller carefully selects and arranges materials so that larger meaning can emerge. For larger meanings that connect and resonate with people outside of that culture. diminish the chance that your group will be fetishized by having the meanings be relatable.
• Stages:
• Exposition: introduce the reader to the world of ethnographic research, introduce the characters and give background information. Don't reveal too much too soon. Details will come out as your ethnography unfolds. Give them enough to set the stage and peak their interest.
• Rising Action: Plot point which describe action and the dynamic nature of your ethnographic experience. Readers want action not just facts. Through these plot points, further details may be revealed.
• take the readers into the immediacy of a scene, dramatic action, vivid conversation, and forward moving plots"
• bulid a tension that keeps readers reading through literary devices
• pacing-go quickly through less important bits and slow down with details for the important stuff
• action verbs
• cliff hangers: close out each plot point with a dramatic twist that leaves readers hanging-don't give conclusions too soon. Build evidence through experience into the climax of your plot. (creates tension)
• Crisis: everything hangs in the balance and the story could go a number of different ways for your informants. Like a wave about to break.
• Climax: This wave creates a climax, where things are resolved. We learn the outcome. 
• Falling Action: tie up loose ends and draw conclusions or pose further questions. Ends with a kicker that leaves the reader wanting to know more.

MAP YOUR ETHNOGRAPHY AND WRITE A KICKER FOR YOUR ENDING.