At the right, one of the great essayists of all time, Jonathan Swift.
how expositional works are
named
Is There a Santa Claus is the title of an
editorial that appeared in the September 21, 1897, edition of The Sun
newspaper in New York city. This touching and sentimental newspaper article, which
included the now-famous editorial reply Yes, Virginia, there is a Santa
Claus, has become an indelible part of popular Christmas
folklore in the United States and Canada. It remains the most reprinted
editorial ever to run in any English language newspaper.
Newsman Francis Pharcellus Church wrote his famous editorial in response to a
letter-to-the-editor received from a certain Miss Virginia O'Hanlon, an
eight year old who'd been advised by her father to submit her question to The
Sun after she asked him whether Santa Claus really exists.
The theme of Church's warmhearted response is that Santa exists in spirit, if
not in the flesh. Its author's purpose was not only to bolster the little
girl's morale, but to build the morale of youngsters and adults everywhere.
In his editorial, Church propounds the wholesome belief
that life is beautiful and rewarding despite its setbacks and shortfalls;
he sends the message that not
all things worth believing can be seen with the naked eye.
|
Virginia on her Christmas present from Santa, a new
bike |
Virginia's letter to The Sun reads as follows:
Dear Editor:
I am 8 years old.
Some of my little friends say there is no Santa Claus.
Papa says, 'If you see it in The Sun it's so."
Please tell me the truth; is there a Santa Claus?
Church begins his editorial by stating his theme, supposition, and
problem:
Virginia, your little friends are wrong.
They have been affected by the skepticism of a skeptical age. They do not
believe except what they see. They think that nothing can be which is not
comprehensible by their little minds.
Later he asserts facts that help prove his case. He writes in part:
Yes, Virginia, there is a Santa Claus.
He exists as certainly as love and generosity and devotion exist, and you
know that they abound and give to your life its highest beauty and joy.
Alas! how dreary would be the world if there were no Santa Claus. It would
be as dreary as if there were no Virginias. There would be no childlike
faith then, no poetry, no romance to make tolerable this existence. We
should have no enjoyment, except in sense and sight. The eternal light
with which childhood fills the world would be extinguished.
He goes on, presenting additional arguments that strengthen his case:
You may tear apart the baby's rattle and
see what makes the noise inside, but there is a veil covering the unseen
world which not the strongest man, nor even the united strength of all the
strongest men that ever lived, could tear apart. Only faith, fancy,
poetry, love, romance, can push aside that curtain and view and picture
the supernal beauty and glory beyond. Is it all real? Ah, Virginia, in all
this world there is nothing else real and abiding.
He ends by stating his overall conclusion:
No Santa Claus! Thank God! he lives, and
he lives forever. A thousand years from now, Virginia, nay, ten times ten
thousand years from now, he will continue to make glad the heart of
childhood.
- Read Church's entire editorial on the Newsum.org web site page
titled, Yes, Virginia, there is a Santa Claus:
click here.
- Explore the story behind the article Yes, Virginia, There is a
Santa Claus at the Wikipedia page of the same name:
click here.
what's in a name?
In case you haven't already noticed, this editorial has the literary
form of an essay.
As a newsman, when Church wrote Is There a Santa Claus, he
no doubt thought of himself as a reporter writing an editorial, not
as an essayist; but Church's reply
to Virginia is just as much of an essay as it is an article. In fact,
Church's article is the kind of an essay that in literary parlance is
called an expository prose essay.
Church's editorial followed the literary and linguistic rules and
constraints that prose essays follow: it took the form and assumed the
other literary and linguistic characteristics that give essays their
special effects. These rules allowed him to analyze, speculate, and interpret his
narrow subject in ways that elucidated his point and helped convince his readers
of its truth. The newspaper form he called an editorial enabled him to wax eloquently and address Virginia
personally while still arguing the objective and subjective facts of his thesis and
their merits.
In writing Is There a Santa Claus the way he did,
Church was being just as much an essayist as if were a professional
literary essayist
who wrote about Santa. But in his mind he wasn't following any literary
rules, or any rules at all. As a veteran reporter, he just knew that an
editorial would be a good match for what he wanted to say, and from
experience he knew how to compose one.
Expository prose essays like Church's Is There a Santa Claus
editorial are just one of many different kinds of feature articles that
appear in newspapers and magazines all over the world; they appear in daily
or Sunday editions in different sections. They treat a
variety of subjects ranging from the latest fashions in women's hats to reviews of current
films in local theaters, to upcoming rock concerts at the town hall music pavilion,
to scientific or educational happenings, to a hundred other kinds of current, recent, or historic
events.
Almost without exception, newspaper articles like these are expository essays.
They present the opinions of a publisher, editor, or reporter. Newsmen analyze, speculate, and interpret the
objective and subjective facts they expose in these
articles from their own personal perspective, often receiving a byline that
identifies and credits them.
But news items called articles are not limited to expository prose
essays. Other, different kinds of articles appear in daily and weekly newspaper features.
They're about up-to-the minute subjects
such as breaking news, fires,
floods, weather reports, sports, politics, art, and business. They about
what's happening now or about subjects of current interest.
With few
exceptions, newspaper articles like these are exclusive expository prose
essays. Reporters analyze, speculate, and interpret the facts they expose
with an
impersonal writing style and in a strictly objective, concise, accurate, and complete
manner. They write about their subjects objectively even when their
subjects and facts are subjective in nature.
Despite the existence of so many different kinds of articles, calling
editorials articles would not have disturbed Church in the least; Church would have felt equally comfortable referring to Is There a Santa Claus
as an editorial or as an article. And if asked by a literary
critic or scholar, he surely would have been quick to agree that Is There a Santa Claus
is an essay.
Church wouldn't have been alone. The vast majority of
editors, publishers, printers and readers would heartily have agreed with
how these names are defined and used.
why it pays to Unravel the confusion over composition names
In the newspaper world, as in other writing worlds, newspapermen are clear about what to call their compositions, even when
they mean different things, and even when they're called by different names. So why
should those of us who are not in the news business bother to think of them
as essays?
The fact that the same name actually refers to different kinds of
compositions, or the fact that different names actually refer to the same kinds of
compositions, is easily discerned by newspaper insiders. In the news business, there's nothing wrong with referring to the same
composition or the same types of compositions by different names because their
alternate names can easily be interpreted to
mean the same thing or to mean different things. Neither is there anything wrong with referring to
different compositions or different types of compositions by the same name.
In fact, a number of benefits can derive from these practices.
Newsmen resolve ambiguity by employing a variety of contextual clues to resolve names that for
the rest of us might be ambiguities: type of publication, a composition's role in
an edition,
its title, purpose, subject, business field, author, the news or magazine
section it appears in, as well as a number of
random factors such as the situation of the moment and the editor's mood
when he thinks about it.
It' may be practical for people inside the news industry to employ composition
names that are ambiguous for the rest of us because of their insider naming
conventions, but outsiders have no such
resources to fall back on. Newsmen may not be confused by naming ambiguities, but many or the rest
of us are.
Are you one of these news world outsiders? Can you tell the difference between editorials and
another kinds of articles?
Suppose that you're explaining Is There a Santa Claus
to a friend. Would you be comfortable with describing the kind of article you were talking about?
Could you explain why Is There a Santa Claus
is so emotionally powerful and touching? Or would you be confused about
what to say next?
Your situation might be quite different if you were to apply your
literary and linguistic skills and knowhow to the task. Since you
understand the general nature of expository prose, you'd probably
recognize that Church's editorial is actually an expository prose essay.
And knowing that Is There a Santa Claus is an expository prose
essay would help you discern what Church was trying to accomplish.
Knowing the literary names and properties for the exclusive expository
prose form, the expository prose essay form, and the exclusive expository
prose essay might help you navigate your way past these shoals; you'd know
how to make clear what Church meant and why he wrote the way he did.
But without these correct names—with ambiguous or
equivocal names like article or feature—you might be up a creek.
Ambiguous and equivocal names for types of compositions not only exist in the news world,
they occur in
many other kinds of literature. The fact that certain kinds of compositions have more than one name and
that different kinds of compositions share the same name not only holds true for editorials, articles, and essays; it holds
true for other literary forms and genres as well. In particular, expository works are not
immune from naming ambiguities like these.
The variety and extent of naming irregularities are especially egregious in
literary exposition. In some
cases, a given expository prose form and genre goes by more than one name;
in other cases, a name that refers one expository form and genre also
applies to another, different expository form and genre. Expository forms and genres
even go so far as to share their names with non-expository forms and genres.
Even experts can make mistakes when it comes to naming expositional
works. For example, an author who is a graduate student might name his
scientific tract a dissertation or a thesis, while an author
who is an established university researcher might name his scientific tract
a journal article. Loosely speaking, tracts, dissertations, theses,
and journal articles are different names for the same kind of thing—for
essays.
What's wrong with using the name tract to refer to these alternate
kinds of compositions? Strictly speaking, the word tract
is an ambiguity. From a literary perspective, compositions dubbed with the
name tract can belong to different literary forms and genres. Depending on language and literary considerations not explained
here, different kinds of tracts may belong to the exclusive expository prose form or
to the exclusive expository prose essay form; and dissertations and journal
articles may belong to alternative expository genres.
These numerous kinds of naming
ambiguities and equivocations generate a considerable amount of confusion,
which in turn results in errors, oversights, and misunderstandings; but
using correct literary terms for naming types of expository compositions
can significantly clean up this naming mess.
Fortunately, not all names for expository prose works are ambiguous or
equivocal; names for some are fairly easy to deal with.
One such case occurs when the
accepted poplar public name for a given type of
composition is identical to its accepted literary name.
For example, a
daily account or private record of a writer's own experiences,
observations, feelings, and attitudes is
not only called a diary by autobiographers, publishers, and private parties
who make entries in personal journals; it's also called a diary by literary scholars. Scholars accept
the popular public name for a personalized account even though they realize
that a diary is actually a form of essay; they freely use both terms—diary
and essay—because a
diary is an essay in their minds. As a consequence, most people call a
diary by that name, no matter who they are.
For simple literary forms in common use like diaries, it's relatively
easy to settle on a name for types of expository compositions that scholars and everyone else can agree on. But
even here, the number of options for the name diary can introduce ambiguity. Diaries
also bear names such as daily records, accounts, journals, daybooks, logs,
or chronicles.
Further, some logs are personal accounts; other logs chronicle shipboard
events; and these two kinds of logs are quite different from each other. Who's
to know which name to use in all situations?
what, if anything, can be done to clear up expository composition
names?
The way matters stand, confusion over the names for types of expository
compositions cannot be eliminated; but it can be
reduced somewhat. Here's how.
As noted above, the terms editorial, article, and essay are the names of types of works,
not specific works. Is There a Santa Claus is the title of a specific editorial
named Is There a Santa Claus; it's a member of classes of
newspaper items named editorials, articles, and features.
To reduce confusion and misunderstanding, it may be handy to think of editorials, articles,
and features as different kinds of printed works found in newspapers
and magazines, not as names for particular kinds of expositions.
Instead, think of editorials, articles, and features as generic names
for empty spaces or place holders on a paper page or
computer screen—or think of them as future text holders reserved for
works yet to come. It's only after text is supplied to fill these empty
spaces that they become compositions; and it's only after they become
compositions that we really know what they are and what to call them. Then,
refer to them by their literary form names, for that's what they really
are.
The same holds true for expositional compositions. Names for specific
expositional works like use-and-care manuals or
policy-and-procedure manuals are actually popular names given to these
types of publications by the public, teachers, publishers, editors, corporations,
sponsors, or
other agencies. It's handy to think of expository compositions like these as names for classes or types
of expositional publications, not as names for specific expositional works.
If confused, remember that, as with other kinds of literature, common names for
expositional publications do not necessarily represent the
literary forms or genres that their names suggest, even if they seem to
do so at first glance. For instance, a work that one writer calls a
personal log, another may call a personal account; but from a literary
perspective, neither name may apply.
In many instances—for instance, use-and-care manuals and
policy-and-procedure manuals—the names actually do
represent legitimate, widely accepted expositional literary forms and genres. But in
general, there's no reliable way to judge solely by name whether a
specific work or class of works like these adheres to the literary or
linguistic rules that are
mandatory for these types of expositions. They might, for instance, be new
forms or genres that should have different class names.
There's not much you can do to resolve ambiguities like these. Try to
use accepted literary names to denominate compositions and types of
composition, but be prepared to fail. When working with expository compositions that have multiple
names or with expository compositions that that share their names with non-expository
works, give preference to names defined for expositional works by
expositional literary sources; they're more
likely to fit.
No popular naming consensus exits. Even when experts get involved, problems can arise because no universally accepted standard
names exist for different kinds of expository documents. All names are, in
fact, de facto ones, even names employed by scholars. Scholars don't even
agree on how to define expository prose documents, let alone
classify or name them.
Remember that the names for expositional forms and genres have evolved over
the years. Don't look for consistency; expect ambiguity; expect names to be
applied irregularity.
If in doubt, analyze works to confirm that they meet your personal
standards and accepted definitions for expositional names, forms, and
genres. If in doubt about
a composition's actual class or correct type name, it's best to consult
authoritative literary sources whom you trust, such as literature scholars,
text books, or writing manuals.
|
—note— names of expository prose
worksWant
to check a few expository names to see if they exhibit any of these
kinds of problems?
If you choose to review these names, be sure to
examine the precautions cited in the note below the list. They'll supply
clues to the problems they display. |
about Expository poetry and expository drama
One occasionally hears actors, critics, or scholars employ terms such as
expository
poetry and expository drama, as if to suggest that these art forms are
expositional in the same sense as expository prose writing.
In reality, despite the homophones, the way in which poetry or drama expose
truth and the kinds of truth they expose are quite different.
The way expository is used in connection with poetry and drama is
analogous to the way the word exposition is used in connection with works
like the roman à clef, the historical novel,
the alternate universe, or the alternative history. Even though they're
in part based on fact, creative opera like these are fictional, subjective, and
imaginative narratives at core.
Expository poems are literary compositions written in verse. They are poetic (rhythmical or metrical);
they aim to excite pleasure by
expressing beautiful, imaginative, or elevated thoughts. Poetry couches
factual information in rhetorical and aesthetic embellishments. For example:
The Alfred, Lord Tennyson poem, The
Charge of the Light Brigade, is based on the true story of a tragic
British cavalry charge led by Lord Cardigan against Russian forces during
the Battle of Balaclava that took place on 25 October 1854 in the Crimean War. The Light
Brigade, armed only with sabers, was mistakenly sent against an enemy artillery battery
in a frontal assault. The badly mauled brigade was forced to retreat
immediately, producing no decisive gains and a very large number of British
casualties.
Although the poem describes events almost as they actually
transpired, it's not expository in the sense that expository prose
writing is expository. Understandably, the poem is highly emotive; it's not
nearly so much about the facts and events of the cavalry charge as it is
about the emotions it generates.
Expository
plays, which are usually written in prose but sometimes in poetry, are
somewhat like
poems; they aim to excite pleasure by expressing beautiful, imaginative, or
elevated thoughts. They depict action that takes place in dramatic settings
and are written in a style that incorporates dialog. Dramas don't directly
address real facts or issues; they reveal them by reenacting them; they show
and discuss characters and events as they happen. For example:
The play Sunrise at Campobello dramatizes the story of the
initial struggle by future President of the United States Franklin Delano
Roosevelt and his family after he was stricken with paralysis in August 1921 at
the age of
39.
The play cycle The Miracle Worker is another
example of how expository drama differs from expository prose. It describes the
relationship between Helen Keller, a deaf-blind and initially almost feral
child, and Anne Sullivan, the teacher who introduced her to education,
activism, and international celebrity. The cycle is not nearly so much a
delineation of the facts of deaf-blindedness as it is a description of the
interrelations between the teacher and the student.
Both these plays inform; they're based
on historical facts, but they're not about the facts themselves.
expository prose and Its relation to fiction—facts,
lies, and truth
Author's who convey information by writing expository prose aim to
inform, explain, describe, define, disclose, and otherwise set forth bare
facts and factual information about bare facts; they address topics that are
directly related to their main subject, and nothing more. They take
pains to confirm that what they write is accurate and
correct. Some interpret and enlarge on their facts by analyzing,
speculating, or interpreting them.
How does this treatment of facts relate to the kinds of facts presented
in fiction? Expository prose works contain no fictional materials whatsoever.
They are not works of imaginative
narration, as are fictional works. Their authors neither tell stories nor
invent the truth, as do authors who compose fictional materials; instead,
expositional works capture and transmit actual truth; they represent objects, events,
situations, behaviors, concepts—all things, whether
material or abstract—as they exist in the real world.
These aspects of expository prose bear repeating: the factual information
that author's provide when they write expository works are in accord with
the actual state of affairs in real life, not with the imagined state of
affairs in the fictional imagined world of an author's brain.
Consequently, expository prose belongs to that branch of
literature that's comprised of works that present objective facts; it deals with or
offers opinions or conjectures upon facts and reality. It's directly related to other
nonfictional literary forms and bodies of work such as biography and history.
the role of Expository prose in fiction
Although facts are not falsehoods or inventions, facts do have a role to
play in fiction; and as a result, expository
prose plays a major role in works of fiction without abandoning its
distinguishing literary features.
Some fictional works contain sections, subsections, or brief passages
that are made up of expository prose. But even if they do, fictional works
are not considered to be expository prose because their purpose and
character conflict with that of expository prose. At core, a fictional work
tells fictional stories about unreal or imagined people; or it tells
fictional stories about real people. Either way, if a fictional work contains expository
prose and real facts, the real information functions to support the
fictional account.
Why do fiction writers introduce expository prose into their fictional
accounts? Readers bring their
real world experience with them when they open a book. If the book is a
work of fiction, finding information they recognize to be based on truth instills
in it the air of truthfulness; it encourages and prepares readers to
accept unreal characters and falsified assertions, and it increases plausibility.
If you doubt this, consider what a reader's knowledge of the American Civil War adds to an
encounter with Gone With the Wind. Although the connection with
reality is subtle and indefinable, it's anything but inconsequential.
There are many specific reasons for adding expository prose to a work of
fiction. Here are a few:
- Passages about real things can stimulate reader interest, encourage
acceptance, magnify narrative power, and help develop characterization.
- Adding expositional materials to background or foreground segments can
significantly expand the size, detail, and precision.
- Real events and people can be blended with imaginary ones in ways that
reinforce imagined facts and stories.
- Factual references can relate a fictional work to the real world; they
can expand its significance and impact; they can serve as an economical
shorthand that amplifies the content or significance of fictional
passages.
- Historical novels, biographical fiction, and related literary forms
are fictional works focused on and based on truth; they're variations of
real events and people that reinterpret, revise, or extend real stories
and events by integrating true facts and characters with imaginary ones.
- Alternate histories spell out draw the implications and sketch the
possible or likely outcomes of real events.
the role of Fiction in expository prose
Just as expository prose writing sometimes appears in fiction, fictional
writing sometimes appears in expository prose. But fiction plays a
quite different role in expositional writing than it does in fictional writing.
Fictional literature is the class of literature comprising works of
imaginative narration; it's writing about imaginary people, events, and
things; it's the body of made-up literature, untrue stories such as novels
and short stories.
People normally think of fictional prose as writing that's feigned, invented, or
imagined; for example a fabrication or made-up story. But expository prose
is completely factual. At first glance it may seem that there's no room for
something feigned or imagined in expository prose writing, which is
entirely factual. So how can an imaginary or fabricated thing or event legitimately find
its way into a piece of expository prose writing?
If a fiction
appears in well-formed expository prose, it's really not a fiction; it's
really a fact.
Here's why this is so. The word fiction frequently designates an
author's invention. But fiction also can mean something else; it can
be something false that's postulated for purposes of analysis, speculation,
interpretation, argument, explanation, or
prediction. It can be hypothetical, supposed, speculated about, or alleged;
it can be kown not to exist, but made-up for purposes of discussion.
There's another way that fiction can legitimately appear in exposition:
After assertion, a lie becomes a fact that can be treated as a truth. The
lie is a fact that really happened, even if its content is untrue. Even if
the objects it refers to do not exist, the claims are false, or the facts
it alleges are invalid, an exposition may discuss them provided it explains
that they're unreal in any objective sense, and provided that it depicts
them in an accurate and honest manner.
Is expository prose writing a
creative art form?
Creative writing expresses an author's creative imagination and originality of thought or expression.
Creative writers cause
something feigned to come into being, something that would not naturally evolve or that is not
made by ordinary processes.
The public seems to associate the word creative with fictional
writing because fiction authors weave nonliteral "truth" out of actual or
imagined events, people, and objects. The public reserves the expression creative writing
to describe creatively written fictional narrative prose works such as
novels, short stories, and detective stories.
By contrast, the public seems to associate the term uncreative
with nonfictional writing because the bulk of nonfiction is primarily aimed
at effectively transmitting literal truth, a process that many believe does
not seriously challenge an author's personal imagination.
This association between nonfiction and uncreativity is mitigated by that
fact that people tend to see some types of nonfiction as mildly creative in
a limited sense of the word creative. For instance, they believe that a
travelogue can involve creative writing if it's colorfully pitched; an
article about a prominent person can be creative if it describes her
personality or career in glowing terms.
However, expository prose writing doesn't have this good fortune. Since
the primary goal of expository writing is to transmit literal truth (and
nothing but the truth), this form of writing is particularly vulnerable to
accusations that it is an uncreative form of literature.
Indeed, writing fiction is a creative enterprise; but to disassociate
expository nonfiction from other creative forms of writing would be a
travesty. It would be a view that this section sets out to discredit.
Why does the public subscribe to the notion that expository writing is
uncreative?
The pubic tends to equate exposition with objective
reality; it believes that properly written expository prose should
present a mirror image of "what's really out there." But it stands to reason
that expository prose can't be creative if all it does is copy, transcribe,
and reproduce objective reality verbatim, without the intervention of an
author's conceits. The public sees expository writing
as unimaginative, dull, and uncreative because it believes that the
literal exposition of reality fails to cause new things to come into being,
things that would not otherwise naturally evolve.
But where exposition is concerned, the public is misinterpreting the
facts of the situation; it's looking for creativity in the wrong places:
Creativity is the ability to transcend traditional ideas,
rules, patterns, relationships, or the like, and to create meaningful new
ideas, forms, methods, interpretations, conceptual models, mental
constructs, objects of thought, or solutions to problems. To be creative is to have or
exercise the quality or power of creating; to have originality of thought or
expression; to exercise imagination or progressiveness.
To write creatively is to evolve from one's own thought or imagination original
ideas or insights, subjects, modes of expression, or points of view; it's
to devise and apply new and different literary concepts, features, or techniques;
it's to depart from the commonplace
and mundane. Writing creatively is the process or act of setting down text that results
in literary works that exhibit creativity.
Expository writing accomplishes most or all of these things.
- For more about the true nature of creative writing, visit The Muse Of
Literature's feature titled Welcome To The World Of Creative Writing:
click here.
Exclusive expository prose
Many observers believe that exclusive expository prose writing is not a
creative form of writing because it's an intellectual, unemotional,
objective pursuit designed to
optimize the exposure and communication of facts and other objective information.
They
believe that exclusive expository writing is not an aesthetic undertaking because it's not aimed at (or even avoids) instilling a sense of
the beautiful, sensation, or emotion, and because beautiful, expressive language is altogether
excluded because it detracts from its main purpose. If it's not aesthetic, they reason, it can't be creative.
If this incorrect view were valid, on the surface exclusive expository
prose would seem to
offer writers no chance to be creative in the way that novels or poems are
creative. Text that is totally impersonal, objective, and concise leaves little if
any room for the exercise of an author's aesthetic or artistic imagination,
and no room at all for the interjection of imaginative personal opinions or points of view.
But the nature and degree of creativity needed to
design, organize, compose, and write a successful exclusive
expository prose work varies greatly with the type of work, subject matter,
and audience. Writing an exclusive expository work is a rigorous,
laborious, and demanding task that calls for careful crafting and scrupulous adherence
to the guidelines and rules of exclusive expository prose.
Authorship of a well-written scholarly paper is a far different
challenge from authoring a
religious political pamphlet, a methods and procedures manual, or even a lost dog poster.
But, depending upon the nature of the exposition, constructing exclusive expository works like
scholarly papers or full-color corporate brochures can
be a daunting task that leaves considerable room for creative
juices to flow.
essays
The expository prose essay is a kind of work that totally belies the
proposition that expository prose is uncreative. A typical Ralph Waldo
Emerson essay on transcendental philosophy, for example, deals personally,
subjectively,
and intensely with the doctrine that the principles of reality are to be
discovered by the study of thought processes; it emphasizes the
intuitive and spiritual above the empirical. It can hardly be considered
unaesthetic, unimaginative, or unemotional.
Even essays of a technical nature that are totally objective may leave
room for personal opinion. Expository prose essays can be creative if they
challenge their authors to analyze, speculate, interpret, or conjecture
about objective facts.
expository prose essays
Expository prose essays are not restrictive when
it comes the personal involvement of their authors. A given expository
prose essay can be both objective and impersonal or subjective and personal,
depending on how an author chooses to express himself at different points. These forms of expository prose
can be creative in the same senses that fictional and
nonfictional prose writing are creative.
The roman à clef, the
historical novel, and the alterative history demonstrate how objective properties of
the expository prose writing style can be intermixed with the subjective properties of non-fictional prose writing.
Expository prose essays can follow these
models.
Because of this kind of intermixing, combinations of the two kinds of
text passages in an expository prose essay can be creative in the same sense that
novels or poems are creative, despite the fact that the expository passages
are nonfictional.
exclusive expository prose essays
Compositions written with the exclusive expository prose style can be
expressive and creative or not, depending upon their design.
For example, the exclusive expository prose writing
style is ideal for producing high school chemistry lab reports because
its stylistic properties are perfectly suited to the purposes of these
kinds of compositions—to present chemical facts and findings as accurately, fully, and
concisely as possible. But little if any writing creativity is required
to prepare them: the student merely checks boxes, makes drawings and
charts, and fills in the blanks on the report
form. Reporting chemistry test results offers virtually no opportunity for a student
author to exercise his creative and expressive artistic impulses.
The same holds true for the typical business
bulletin or year-end corporate report. Typically, authors merely copy expositions laid down in
a previous year's bulletins or in other reports and update
the data in the inserted or appended tables and charts. A few new passages may be required to
introduce and summarize current year events, bring results up to date, or
rationalize and forecast business trends.
But that doesn't mean that all exclusive expository
prose documents are devoid of linguistic creativity. For example,
a year-end report for a company in financial overhaul may invite glowing
passages that reassure stockholders; or constructing a well-fashioned article for a high school newspaper may call
for considerable skill and creative ingenuity, especially if the subject is
the school's new principal, or if the student
body is emotionally charged up over sports, and the subject is a wining or
losing basketball team.
Exclusive expository prose writing can be creative
not just expressively, but in other ways, too. Authors may devise
expository documents that have new purposes or subjects, or that have new
forms or organization schemes. New exclusive expository prose essay forms
and genres are being invented all the time.
|
—tip— more about Creativity and expository prose
-
Explore the subject of creative writing at length at The Muse Of Language Arts feature
titled Welcome To The
World Of Creative Writing. See how expository writing fits into the
world of creative writing at large:
click here.
-
Explore common
misconceptions about the creative character of expository prose at the
section titled Is Expository Writing Creative—Common Misconceptions? You'll
find this section at The Muse Of Language Arts feature titled Welcome To
The World Of Creative Writing:
click here.
|
about writing expository works—a few practical
suggestions
Most expository prose forms and writing styles consist of little more
than ordinary prose with a few extra wrinkles thrown in.
Since you probably write ordinary prose, you may even have
written an expository prose passage today without realizing it: a book report;
a school essay about "what I did on my summer vacation;" a diary entry;
driving directions for an invited guest or workman; a refrigerator note for
spouse or kids about how to defrost their frozen dinners.
Much of the different kinds of writing that people learn how to do in grammar
school, high school, or college is expository. Chances are you've been
writing expository prose most of your life without realizing; or, if you
knew you were being expositional, you wrote without
thinking you were doing something out of the ordinary.
Well, if so, you were right. Writing bulletins, newsletters, business
letters, diary entries, and the like is nothing out of the ordinary; it comes as second nature to
most of us.
Virtually anybody who's equipped to read or write ordinary prose (and that's
almost everyone) is technically prepared to write expository prose works
like these; there's nothing special or difficult to know or learn.
If you're a citizen who wants to branch out or
experiment—to try writing a new kind of expository
prose—don't hesitate to flap your wings. You'll
probably reach nirvana.
But you may need to exercise caution. Writing exposition may get a little dicey when it comes to certain
other kinds of expository works. Here The
Muse is referring to some of the kinds of expository prose employed by
larger private companies, government units,
schools, and other institutions.
Some out-of-the-ordinary specialized expository forms and genres composed
at places like these are
tailormade to satisfy the unique needs of their sponsoring agencies; they may be harder to write
because the their formats are complicated or because they require
professional or technical know-how. Some employ atypical forms
and genres; or they deal with subjects that call for writers with
specialized experience, relevant professions, or technically advanced fields;
others require private knowledge about the sponsoring agency or proprietary
knowledge known only to the agency.
Examples of these types of specialized forms and genres include corporate policy and procedure manuals,
computer hardware use-and-care manuals, computer software user manuals,
legislative acts, standards manuals, and corporate and municipal conduct
manuals. Even experienced exposition writers may find it necessary to study
and learn the precise formal and generic literary and linguistic
requirements posed by such agencies; they also may need to bring specialized
skills or advanced technical knowledge to the table in order qualify.
Other examples include expository forms and genres such as scientific or engineering
journal articles, PhD or masters theses, scholarly studies, corporate
or municipal annual reports, encyclopedia articles, medical tests and
diagnostic reports, corporate or municipal budgets, and high school or
college year books.
Many of these kinds of expository forms and genres are more or
less standard; an expositional form and genre that suits the needs of
Company A will probably suit the needs of Companies B or C (perhaps with a
few minor modifications).
But in other cases, the modifications that meet the specific requirements
of a sponsoring agency may be extensive. Special training may be called for.
There's nothing peculiar or surprising about needing specialized
subject know-how to qualify for writing an expository prose piece; what's true for expositional writing
is true for
other writing styles.
It stands to reason, for example, that you can't expect to write a high
school chem lab or physics report if you haven't attended class, done your
homework assignments, or performed your experiments; that's nothing
unexpected. Likewise, it stands to reason that you can't expect to write a
concert review if you're not versed in music, a restaurant review if you're
not a gastronome, a travelogue if you're a perennial stay-at-home, or a
political op-ed if you've never voted.
Have you taken on the task of writing a non-standard expository work or
one that requires special know-how? Wondering
how to deal with it?
Most of us have received enough general compositional training and
experience to write an expositional work if its subject falls within our
career scope, or a hobby we love, or a personal field of interest. For
assignments like these, at most you
should only
need a little extra training to come up to speed on the details of the
expository form
and genre required by the sponsoring agency. On the other hand, if a PhD is
a job requisite, unless you possess that credential you may need to think twice
about how to acquire the know how, or give up your project.
If the job scope is within your professional or technical range, are you wondering how to come up to speed
on the special requirements posed by the sponsoring agency?
See if the sponsoring agency already offers the kind of expository manual
you expect to write. Some agencies have a previous version of the work you're writing and
only wish to have it revised; or they have samples of related works with the
same or similar form and genre. Use them as guides.
Some agencies have off-beat expository documentation requirements that
are so unique, they have developed an in-house manual that spells out the
unique documentation requirements for their forms and genres. If so, you're
probably a shoo-in.
You may be able to find samples of standard styles or templates for the
form and genre of the work you plan to write; look for them in text books or
writer's guides. Or look for samples in expository works published by other
sponsoring agencies. Adapt them to
meet the unique requirements for your agency. If you're serious about making expository writing one of your
specialties, you'll probably want to read a text book or writer's guide on
the subject; or take a writing course.
But before you accept an expositional writing project, The Muse urges
you to consider this: it's harder to write some expository prose forms and genres than others,
even if you're familiar with their generic nature; they're inherently
complex.
The author is the person in charge of selecting the right
form and genre and for staying on the right
stylistic path. So, first
and foremost, to meet this kind of a challenge you must understand the nature of
expository works and styles generally and be able to distinguish them from other
writing styles.
Equally important, a given work's writing style not only affects its
readers, it also affects its authors. A writing
style that you find agreeable and pleasing frees you to
comfortably express yourself, sans inhibition. You write with more joy and
less remorse; you conceive ideas and set them down using
words and word patterns that bring out your positive attitudes, personality
faces, thoughts, and opinions;
and you're more inclined to share your outpourings with others. An uncongenial
writing style will force you to suppress or muddy your thinking.
Some writers and
some writing styles just don't pair up; they're
constitutionally incompatible.
They're so foreign, they clash with a writer's fundamental emotional or psychological makeup.
Avoid them.
Welcome To The
World of Creative Writing
Creative writing is a big world that encompasses many different forms of
writing, not just fiction and not just highbrow literature.
At the feature titled Welcome To The
World Of Creative Writing, The Muse Of Language Arts identifies and examines some of the creative
writing techniques, resources, and methods that writers can call upon to help them become more creative,
including inner personal resources they draw on.
The Muse also points out some of the most common misconceptions
concerning the true nature of literary creativity, identifies origins of
these misconceptions, and
repudiates them.
The issues explored here will assist you to gain a deeper understanding of
the writing craft. They also will you understand the true nature of literary creativity
and to be better positioned to look for and find it in the writing you
peruse. Understanding literary creativity deepens everyone's insight into of
the nature of creative writing and the creative writing process.
- Explore the nature of
creative writing generally, as it applies to all forms of literature, not
just expository writing:
click here.
expository prose and the essay
The Muse Of Literature feature called Expository Prose And the Essay
explores in depth the structure of the three most prominent expository prose literary forms: 1)
exclusive expository prose, 2) the expository prose essay, and 3) the
exclusive expository prose essay. It also explores the general nature of
expository prose, and cites other proposed and accepted expositional forms.
Publish Your Essay
Read essays and other types of expository prose works written by
Electricka's visitors! Publish your own essay or other expository prose work! It's easy! It's fun! It's rewarding!
-
Visit the
Muse Of Language Arts feature titled Publish Your Essay:
click here.
Send the Muse Of Language Arts your original Prose
Non-Fiction work
Have you written an original prose, non-fiction
piece that The Muse Of Language Arts can publish? Want to write a new prose,
non-fiction work on a topic of your own choosing?
Everyone is invited to publish an original expository
prose creation at the feature called Publish Your Essay. You don't have to be a professional
writer or adult; your work doesn't have to be a masterpiece. You don't have
to meet any qualifications except that you are a
visitor to Electricka's web site who likes to write non-fiction prose. You
may even submit someone else's original work with their permission
provided you have both collaborated in writing it.
- Find out how at the page called Publish Your Essay:
click here.
send the muse of language arts your original essay on the subject Why Write?
People have been writing and reading since Mesopotamia. Why?
Essays titled Why Write? have tried to answer this question. They
have been written by visitors to The Muse Of Language Arts in response to this invitation. Your
own essay
could be added to this list.
Learn more about The Muse's invitation by visiting the feature called
Why Write? Read essays on this topic submitted for publication by other
visitors.
- Visit The Muse Of Language Arts' essay called Why Write?—Essays
by Visitors:
click here.
writing aids for writers and authors
The Muses are pleased to offer writers and authors a list of writing aid
they can use at Electricka's web site. Some items on the list serve as references; they are information
sources for writers of all kinds that may assist them while they are writing. Other items may help writers hone and polish their skills.
- Access these aids at the page titled Writing Aids For Writers And Authors:
click here.
Technical Aspects Of Literature
The technical aspects of any written work are its properties and
techniques as seen from a literary and language perspective.
All writing incorporates and is made up of technical elements like meter,
form, sound (rhyme), and figures of speech. Techniques and language elements
like these are common to all fields of writing; all writers use them,
deliberately or subconsciously. Any particular work can by analyzed,
understood, described, and classified by the combination of the writing
elements it incorporates.
In this feature, The Muse Of Literature explores writing and writings from a technical
and design point of
view—structure, organization, tone, style,
language constructions, and
all the other technical aspects that make for coherent, expressive, and
effective writing, or its opposite.
- Explore The Muse Of Literature's feature called Technical Aspects of
Literature:
click here.
professional writing and documentation services
Want topflight professional writing or documentation services at a reasonable
cost?
ETAF Recommends
ETAF recommends Writing Right.
Writing Right is an ETAF app product that makes it easy to catch and
correct all sorts of writing mistakes. Fix them while you are writing or
editing. It also helps you to a better writing style.
The Writing Right White Paper is
a free white paper
that explains the theory behind Writing Right.
******
This feature spans four pages; it
begins on Page
1.
To see other pages, click a page number at the bottom of
each page or click in the Feature Pages box near the top of the column at
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