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Writing Guide with Handbook

4.3 Glance at Genre: Conflict, Detail, and Revelation

Writing Guide with Handbook4.3 Glance at Genre: Conflict, Detail, and Revelation

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Table of contents
  1. Preface
  2. The Things We Carry: Experience, Culture, and Language
    1. 1 Unit Introduction
    2. 1 The Digital World: Building on What You Already Know to Respond Critically
      1. Introduction
      2. 1.1 "Reading" to Understand and Respond
      3. 1.2 Social Media Trailblazer: Selena Gomez
      4. 1.3 Glance at Critical Response: Rhetoric and Critical Thinking
      5. 1.4 Annotated Student Sample: Social Media Post and Responses on Voter Suppression
      6. 1.5 Writing Process: Thinking Critically About a “Text”
      7. 1.6 Evaluation: Intention vs. Execution
      8. 1.7 Spotlight on … Academia
      9. 1.8 Portfolio: Tracing Writing Development
      10. Further Reading
      11. Works Cited
    3. 2 Language, Identity, and Culture: Exploring, Employing, Embracing
      1. Introduction
      2. 2.1 Seeds of Self
      3. 2.2 Identity Trailblazer: Cathy Park Hong
      4. 2.3 Glance at the Issues: Oppression and Reclamation
      5. 2.4 Annotated Sample Reading from The Souls of Black Folk by W. E. B. Du Bois
      6. 2.5 Writing Process: Thinking Critically about How Identity Is Constructed Through Writing
      7. 2.6 Evaluation: Antiracism and Inclusivity
      8. 2.7 Spotlight on … Variations of English
      9. 2.8 Portfolio: Decolonizing Self
      10. Further Reading
      11. Works Cited
    4. 3 Literacy Narrative: Building Bridges, Bridging Gaps
      1. Introduction
      2. 3.1 Identity and Expression
      3. 3.2 Literacy Narrative Trailblazer: Tara Westover
      4. 3.3 Glance at Genre: The Literacy Narrative
      5. 3.4 Annotated Sample Reading: from Narrative of the Life of Frederick Douglass by Frederick Douglass
      6. 3.5 Writing Process: Tracing the Beginnings of Literacy
      7. 3.6 Editing Focus: Sentence Structure
      8. 3.7 Evaluation: Self-Evaluating
      9. 3.8 Spotlight on … The Digital Archive of Literacy Narratives (DALN)
      10. 3.9 Portfolio: A Literacy Artifact
      11. Further Reading
      12. Works Cited
      13. Works Consulted
  3. Bridging the Divide Between Personal Identity and Academia
    1. 2 Unit Introduction
    2. 4 Memoir or Personal Narrative: Learning Lessons from the Personal
      1. Introduction
      2. 4.1 Exploring the Past to Understand the Present
      3. 4.2 Memoir Trailblazer: Ta-Nehisi Coates
      4. 4.3 Glance at Genre: Conflict, Detail, and Revelation
      5. 4.4 Annotated Sample Reading: from Life on the Mississippi by Mark Twain
      6. 4.5 Writing Process: Making the Personal Public
      7. 4.6 Editing Focus: More on Characterization and Point of View
      8. 4.7 Evaluation: Structure and Organization
      9. 4.8 Spotlight on … Multilingual Writers
      10. 4.9 Portfolio: Filtered Memories
      11. Further Reading
      12. Works Cited
    3. 5 Profile: Telling a Rich and Compelling Story
      1. Introduction
      2. 5.1 Profiles as Inspiration
      3. 5.2 Profile Trailblazer: Veronica Chambers
      4. 5.3 Glance at Genre: Subject, Angle, Background, and Description
      5. 5.4 Annotated Sample Reading: “Remembering John Lewis” by Carla D. Hayden
      6. 5.5 Writing Process: Focusing on the Angle of Your Subject
      7. 5.6 Editing Focus: Verb Tense Consistency
      8. 5.7 Evaluation: Text as Personal Introduction
      9. 5.8 Spotlight on … Profiling a Cultural Artifact
      10. 5.9 Portfolio: Subject as a Reflection of Self
      11. Works Cited
    4. 6 Proposal: Writing About Problems and Solutions
      1. Introduction
      2. 6.1 Proposing Change: Thinking Critically About Problems and Solutions
      3. 6.2 Proposal Trailblazer: Atul Gawande
      4. 6.3 Glance at Genre: Features of Proposals
      5. 6.4 Annotated Student Sample: “Slowing Climate Change” by Shawn Krukowski
      6. 6.5 Writing Process: Creating a Proposal
      7. 6.6 Editing Focus: Subject-Verb Agreement
      8. 6.7 Evaluation: Conventions, Clarity, and Coherence
      9. 6.8 Spotlight on … Technical Writing as a Career
      10. 6.9 Portfolio: Reflecting on Problems and Solutions
      11. Further Reading
      12. Works Cited
    5. 7 Evaluation or Review: Would You Recommend It?
      1. Introduction
      2. 7.1 Thumbs Up or Down?
      3. 7.2 Review Trailblazer: Michiko Kakutani
      4. 7.3 Glance at Genre: Criteria, Evidence, Evaluation
      5. 7.4 Annotated Student Sample: "Black Representation in Film" by Caelia Marshall
      6. 7.5 Writing Process: Thinking Critically About Entertainment
      7. 7.6 Editing Focus: Quotations
      8. 7.7 Evaluation: Effect on Audience
      9. 7.8 Spotlight on … Language and Culture
      10. 7.9 Portfolio: What the Arts Say About You
      11. Further Reading
      12. Works Cited
    6. 8 Analytical Report: Writing from Facts
      1. Introduction
      2. 8.1 Information and Critical Thinking
      3. 8.2 Analytical Report Trailblazer: Barbara Ehrenreich
      4. 8.3 Glance at Genre: Informal and Formal Analytical Reports
      5. 8.4 Annotated Student Sample: "U.S. Response to COVID-19" by Trevor Garcia
      6. 8.5 Writing Process: Creating an Analytical Report
      7. 8.6 Editing Focus: Commas with Nonessential and Essential Information
      8. 8.7 Evaluation: Reviewing the Final Draft
      9. 8.8 Spotlight on … Discipline-Specific and Technical Language
      10. 8.9 Portfolio: Evidence and Objectivity
      11. Further Reading
      12. Works Cited
    7. 9 Rhetorical Analysis: Interpreting the Art of Rhetoric
      1. Introduction
      2. 9.1 Breaking the Whole into Its Parts
      3. 9.2 Rhetorical Analysis Trailblazer: Jamil Smith
      4. 9.3 Glance at Genre: Rhetorical Strategies
      5. 9.4 Annotated Student Sample: “Rhetorical Analysis: Evicted by Matthew Desmond” by Eliana Evans
      6. 9.5 Writing Process: Thinking Critically about Rhetoric
      7. 9.6 Editing Focus: Mixed Sentence Constructions
      8. 9.7 Evaluation: Rhetorical Analysis
      9. 9.8 Spotlight on … Business and Law
      10. 9.9 Portfolio: How Thinking Critically about Rhetoric Affects Intellectual Growth
      11. Further Reading
      12. Works Cited
    8. 10 Position Argument: Practicing the Art of Rhetoric
      1. Introduction
      2. 10.1 Making a Case: Defining a Position Argument
      3. 10.2 Position Argument Trailblazer: Charles Blow
      4. 10.3 Glance at Genre: Thesis, Reasoning, and Evidence
      5. 10.4 Annotated Sample Reading: "Remarks at the University of Michigan" by Lyndon B. Johnson
      6. 10.5 Writing Process: Creating a Position Argument
      7. 10.6 Editing Focus: Paragraphs and Transitions
      8. 10.7 Evaluation: Varied Appeals
      9. 10.8 Spotlight on … Citation
      10. 10.9 Portfolio: Growth in the Development of Argument
      11. Further Reading
      12. Works Cited
    9. 11 Reasoning Strategies: Improving Critical Thinking
      1. Introduction
      2. 11.1 Developing Your Sense of Logic
      3. 11.2 Reasoning Trailblazer: Paul D. N. Hebert
      4. 11.3 Glance at Genre: Reasoning Strategies and Signal Words
      5. 11.4 Annotated Sample Reading: from Book VII of The Republic by Plato
      6. 11.5 Writing Process: Reasoning Supported by Evidence
      7. Further Reading
      8. Works Cited
    10. 12 Argumentative Research: Enhancing the Art of Rhetoric with Evidence
      1. Introduction
      2. 12.1 Introducing Research and Research Evidence
      3. 12.2 Argumentative Research Trailblazer: Samin Nosrat
      4. 12.3 Glance at Genre: Introducing Research as Evidence
      5. 12.4 Annotated Student Sample: "Healthy Diets from Sustainable Sources Can Save the Earth" by Lily Tran
      6. 12.5 Writing Process: Integrating Research
      7. 12.6 Editing Focus: Integrating Sources and Quotations
      8. 12.7 Evaluation: Effectiveness of Research Paper
      9. 12.8 Spotlight on … Bias in Language and Research
      10. 12.9 Portfolio: Why Facts Matter in Research Argumentation
      11. Further Reading
      12. Works Cited
    11. 13 Research Process: Accessing and Recording Information
      1. Introduction
      2. 13.1 The Research Process: Where to Look for Existing Sources
      3. 13.2 The Research Process: How to Create Sources
      4. 13.3 Glance at the Research Process: Key Skills
      5. 13.4 Annotated Student Sample: Research Log
      6. 13.5 Research Process: Making Notes, Synthesizing Information, and Keeping a Research Log
      7. 13.6 Spotlight on … Ethical Research
      8. Further Reading
      9. Works Cited
    12. 14 Annotated Bibliography: Gathering, Evaluating, and Documenting Sources
      1. Introduction
      2. 14.1 Compiling Sources for an Annotated Bibliography
      3. 14.2 Glance at Form: Citation Style, Purpose, and Formatting
      4. 14.3 Annotated Student Sample: “Healthy Diets from Sustainable Sources Can Save the Earth” by Lily Tran
      5. 14.4 Writing Process: Informing and Analyzing
      6. Further Reading
      7. Works Cited
    13. 15 Case Study Profile: What One Person Says About All
      1. Introduction
      2. 15.1 Tracing a Broad Issue in the Individual
      3. 15.2 Case Study Trailblazer: Vilayanur S. Ramachandran
      4. 15.3 Glance at Genre: Observation, Description, and Analysis
      5. 15.4 Annotated Sample Reading: Case Study on Louis Victor "Tan" Leborgne
      6. 15.5 Writing Process: Thinking Critically About How People and Language Interact
      7. 15.6 Editing Focus: Words Often Confused
      8. 15.7 Evaluation: Presentation and Analysis of Case Study
      9. 15.8 Spotlight on … Applied Linguistics
      10. 15.9 Portfolio: Your Own Uses of Language
      11. Further Reading
      12. Works Cited
  4. Navigating Rhetoric in Real Life
    1. 3 Unit Introduction
    2. 16 Print or Textual Analysis: What You Read
      1. Introduction
      2. 16.1 An Author’s Choices: What Text Says and How It Says It
      3. 16.2 Textual Analysis Trailblazer: bell hooks
      4. 16.3 Glance at Genre: Print or Textual Analysis
      5. 16.4 Annotated Student Sample: "Artists at Work" by Gwyn Garrison
      6. 16.5 Writing Process: Thinking Critically About Text
      7. 16.6 Editing Focus: Literary Works Live in the Present
      8. 16.7 Evaluation: Self-Directed Assessment
      9. 16.8 Spotlight on … Humanities
      10. 16.9 Portfolio: The Academic and the Personal
      11. Further Reading
      12. Works Cited
    3. 17 Image Analysis: What You See
      1. Introduction
      2. 17.1 “Reading” Images
      3. 17.2 Image Trailblazer: Sara Ludy
      4. 17.3 Glance at Genre: Relationship Between Image and Rhetoric
      5. 17.4 Annotated Student Sample: “Hints of the Homoerotic” by Leo Davis
      6. 17.5 Writing Process: Thinking Critically and Writing Persuasively About Images
      7. 17.6 Editing Focus: Descriptive Diction
      8. 17.7 Evaluation: Relationship Between Analysis and Image
      9. 17.8 Spotlight on … Video and Film
      10. 17.9 Portfolio: Interplay Between Text and Image
      11. Further Reading
      12. Works Cited
    4. 18 Multimodal and Online Writing: Creative Interaction between Text and Image
      1. Introduction
      2. 18.1 Mixing Genres and Modes
      3. 18.2 Multimodal Trailblazer: Torika Bolatagici
      4. 18.3 Glance at Genre: Genre, Audience, Purpose, Organization
      5. 18.4 Annotated Sample Reading: “Celebrating a Win-Win” by Alexandra Dapolito Dunn
      6. 18.5 Writing Process: Create a Multimodal Advocacy Project
      7. 18.6 Evaluation: Transitions
      8. 18.7 Spotlight on . . . Technology
      9. 18.8 Portfolio: Multimodalism
      10. Further Reading
      11. Works Cited
    5. 19 Scripting for the Public Forum: Writing to Speak
      1. Introduction
      2. 19.1 Writing, Speaking, and Activism
      3. 19.2 Podcast Trailblazer: Alice Wong
      4. 19.3 Glance at Genre: Language Performance and Visuals
      5. 19.4 Annotated Student Sample: “Are New DOT Regulations Discriminatory?” by Zain A. Kumar
      6. 19.5 Writing Process: Writing to Speak
      7. 19.6 Evaluation: Bridging Writing and Speaking
      8. 19.7 Spotlight on … Delivery/Public Speaking
      9. 19.8 Portfolio: Everyday Rhetoric, Rhetoric Every Day
      10. Further Reading
      11. Works Cited
    6. 20 Portfolio Reflection: Your Growth as a Writer
      1. Introduction
      2. 20.1 Thinking Critically about Your Semester
      3. 20.2 Reflection Trailblazer: Sandra Cisneros
      4. 20.3 Glance at Genre: Purpose and Structure
      5. 20.4 Annotated Sample Reading: “Don’t Expect Congrats” by Dale Trumbore
      6. 20.5 Writing Process: Looking Back, Looking Forward
      7. 20.6 Editing Focus: Pronouns
      8. 20.7 Evaluation: Evaluating Self-Reflection
      9. 20.8 Spotlight on … Pronouns in Context
      10. Further Reading
      11. Works Cited
  5. Handbook
  6. Index

Learning Outcomes

By the end of this section, you will be able to:

  • Identify common formats and design features used to develop a personal narrative or memoir.
  • Show that genre conventions are shaped by purpose, culture, and expectation.

In personal writing genres, you share experiences of your life, centering them on a specific theme or memory. Unlike an autobiography, which typically extends across an entire lifetime or at least a number of years, memoirs and personal narratives are shaped by a narrower focus, with more specific storytelling surrounding a time period or an event. When writing in these personal genres, authors seek to make an emotional connection with their audience to relate an experience, emotion, or lesson learned.

Characteristics of Memoirs and Personal Narratives

One way to approach a memoir or personal narrative is to think of it as a written series of photographs—snapshots of a period of time, moment, or sequence of events connected by a theme. In fact, writing prose snapshots is analogous to constructing and arranging a photo album composed of separate images. Photo albums, when carefully assembled from informational snapshots, tell stories with clear beginnings, middles, and endings. However, they show a lot of white space between one picture and the next, with few transitions explaining how the photographer got from one scene to another. In other words, while photo albums tell stories, they do so piecemeal, requiring viewers to fill in or imagine what happens between shots. You also might think of snapshots as individual slides in a slideshow or pictures in an exhibition—each the work of the same maker, each a different view, all connected by some logic, the whole presenting a story.

Written snapshots function in the same way as visual snapshots, each connected to the next by white space. Sometimes written snapshots can function as a series of complete and independent paragraphs, each an entire thought, without obvious connections or transitions to the preceding or following paragraph. White space between one snapshot and another gives readers breathing space, allowing them time to digest one thought before continuing to the next. It also exercises readers’ imaginations; as they participate in constructing logic that offers textual meaning, the readers themselves make connections and construct meaning. At other times, snapshots flow more directly, one after another, through chronological, circular, parallel, or other structures to move from event to event.

The secret to using snapshots successfully in your writing is to place them carefully in an order that conveys a theme and creates an unbreakable thread. And as with visual snapshots, writers must carefully choose which moments to include—and which to omit. Because they tell stories, memoirs and personal narratives share aspects of the fictional narrative genre. In writing them, you will use crafting tools to tell a vivid and purposeful story that takes into consideration your personal experience and the needs of your reader.

The Storyteller’s Dilemma: Clarity of Action

How you construct your story is as important as the story you choose to tell. Deciding on the most effective way the way to tell the story—that is, deciding what framework to use—helps you develop clarity of action to lead readers to the theme or message you seek to develop. Various components work together to bring clarity, but most often in a memoir or personal narrative, clarity comes from plot and character development. Narratives often follow a general structure called an arc to develop characters and plot and build the emotional impact of a story. Look at Figure 4.4 for an idea of what a story arc looks like.

A triangle represents a narrative arc. The left leg of the triangle shows dots for “Introduction/Exposition,” “Setting; Intro to character,” and “Rising action/Complication.” The top point of the triangle shows a dot for “Climax.” The right leg of the triangle shows dots for “Falling action/Consequence” and “Resolution/Denouement “to unravel.”
Figure 4.4 Narrative arc (attribution: Copyright Rice University, OpenStax, under CC BY 4.0 license)

This arc, also called a narrative arc or a plot triangle, is composed of the following elements:

  • The exposition sets up the narrative. It introduces characters and setting and establishes the primary conflict of the story, allowing readers to learn the who, what, when, where, and why of the events that will unfold.
  • Next, the rising action fully develops the conflict. This developed series of events, the longest part of the narrative, produces increasing tension that engages readers.
  • The climax is the turning point of the narrative, in which the story reaches its highest point of tension and conflict. It is the moment when some kind of action must be taken.
  • In the falling action, the conflict begins to be resolved, and the tension lessens.
  • Finally, during the resolution, the conflict is resolved, and the narrative ends. In memoirs and personal narratives, the resolution often includes or precedes a reflection that examines the broader implications of the theme or lessons learned. Of course, as in real life, conflicts are not always resolved, but the narrator can still reflect on the outcome of the situation.

Although many narratives and memoirs follow this plot-driven arc, narratives can also focus on character arcs. Character-driven narratives explore an individual, most often the narrator, and their development. The stories focus on creating an emotional connection between the character and the reader. Both plot and character arcs may be, and often are, present in memoirs and personal narratives.

Regardless of whether the focus is on plot or characters, conflict is synonymous with the reason for telling your story—it is the driving force. Conflict is often the main challenge faced by a character, and it urges the story along by engaging readers through tension and encouraging them to keep reading. Without conflict, your memoir or personal narrative will lack an overall theme. The major conflict is the undercurrent that drives each scene and is often developed by an inciting incident. Introduced in the exposition and developed in the rising action, this incident sets the mood of the story and engages readers. After the story’s climax, where the conflict reaches its peak, the tension gradually resolves during the falling action and moves toward resolution, during which you can explicitly or implicitly explore the theme that ties the story elements together. Sometimes the resolution is accompanied by a revelation, in which the narrator or reader understands something about the bigger picture, such as a lesson learned from the events recounted or knowledge about the general human condition. Of course, each scene or section should have its own conflict, connected in some way to the overarching message of your writing. As you write, ask yourself, What’s the conflict? By identifying the conflict explicitly, you will ensure that it remains central to your narrative.

Two important aspects of plot structure regarding time in a memoir are chronos and kairos. Chronos is the sequence of events told according to their order. This order is often chronological and linear, but not always—it can be interrupted, fragmented, circular, or otherwise out of sequence and can sometimes include flashbacks. Chronos develops themes by the telling of events. Kairos, on the other hand, is the Greek concept of timeliness. Events told through the lens of kairos are often transcendental, an argument that is made at the right time, often rooted in a cultural moment or movement.

Other important aspects of personal writing overlap with the narrative genre. Both reader engagement and plot rely largely on vivid details and sensory descriptions to move readers through the story. For more information on narrative elements that may enhance your personal narrative or memoir, revisit Literacy Narrative: Building Bridges, Bridging Gaps.

Key Terms for Memoir or Personal Narraive Writing

  • anecdotes: a short, interesting story or event told to demonstrate a point or amuse the audience.
  • Bias: the inclusion or exclusion of certain events and facts, the decisions about word choice, and the consistency of tone. All work together to convey a particular feeling or attitude. Bias comes from a specific stance or worldview and can limit a text, particularly if that bias is left unexamined.
  • Characters: fictional people (or other beings) created in a work of literature. The narrator of a memoir or personal narrative is the nonfiction equivalent of the main character.
  • Climax: the point of highest level of interest and emotional response in a narrative.
  • Conclusion: in narrative writing, the resolution. It is the point at which the narrator has reached a decision.
  • Conflict: the major challenge that the main character faces.
  • Doubling: a mirroring of events, objects, characters, or concepts in a memoir.
  • Exposition: the beginning section of a narrative that introduces the characters, setting, and plot.
  • Falling action: the section of the plot after the climax in which tension from the main conflict is decreased and the narrative moves toward the conclusion, or resolution.
  • Flashback: a scene that interrupts the chronological order of the main narrative to return to a scene from an earlier time.
  • Foreshadowing: hints of what is to come in the text.
  • Mood: the atmosphere of the text, often achieved through details, description, and setting.
  • Plot: the events that make up a narrative or story.
  • Point of view: the perspective from which a narrative is told. Memoirs and personal narratives usually use the first-person point of view, or tell the story through the eyes of the narrator.
  • Resolution: the point at which a story’s conflict is settled; the conclusion of a narrative.
  • Revelation: a discovery about a person, event, or idea that shapes the plot.
  • Rising action: a series of events in the plot in which tension surrounding the major conflict increases and the plot moves toward its climax.
  • Setting: when and where a narrative occurs. Setting is revealed through narration and details.
  • Theme: the underlying idea that reveals the author’s message about a narrative.
  • Vivid details: sensory language and detailed descriptions that help readers gain a deeper and fuller understanding of ideas and events in the narrative.
  • Voice: the combination of vocabulary, tone, sentence structure, dialogue, and other details that make a text authentic and engaging. Voice is the “identity” or “personality” of the writer and includes the specific English variety used by the narrator and characters.
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