“Burn Man on a Texas Porch” Literary Essay
Introduction
1.
Theme statement a.
should be a truth that is complex and layered about human experience: irony and paradox are money b.
should elicit an “AHA” from the reader and encourage the reader to wrestle and unravel and peel away the layers of this truth.
Eg. Individuals fear the parts of themselves they do not understand; many react with rage and violence against those who dare to hold a mirror up to reflect the layers of their identity.
2.
Adding meat (ahem…tofu) to the theme – choose ONE a.
How the theme appears in the text – move from the general of the theme statement toward the specifics of how this theme emerged in the text (In Neil Smith’s “Green
Fluorescent Protein,” Max is afraid of the surging possibility of a hidden part of his identity and lashes out at those in his inner circle because he cannot accept the truth they are reflecting.) b.
How is the theme significant? (So what? Who cares?) – why should I care about your theme statement? What is the big deal? Why is the theme important? (When we deny hidden layers of ourselves, our identity is ultimately flawed and incomplete.) c.
How does the author explore this theme? (the craft/decisions of the author)- what strategies does the author employ to allow the reader to be exposed to the theme.
(Smith paints a tragic portrait of teenage angst; Max is a layered and complex character who is both intrigued and repulsed by his looming realization.)
3.
Answer the darn question in one powerful, succinct sentence. If you HAD to answer the question in one sentence, what would you say? ENSURE THAT YOUR ANSWER FITS UNDER
YOUR THEME STATEMENT.
Writing Session # 2: Body paragraph(s)
1.
Start writing your body paragraph; you are aiming for one body but if your paragraph starts getting obscenely large, you can write two body paragraphs.
***YOUR BODY PARAGRAPH IS ALL ABOUT SUPPORTING AND SUBSTANTIATING YOUR
ANSWER TO THE QUESTION! a.
Avoid summary at all costs and go for the A-Ha moments that are grounded in textual support. b.
Resist the urge to list one idea after another. Each idea (2-3 ideas should be substantial and layered enough that you need to devote several sentences to reveal its depths c.
YOUR BODY PARAGRAPH should CONSTRUCT MEANING. What new connections, conclusions and discoveries can you reveal about the text?

d.
For every example or quotation, ensure that you tie the argument back to the answer of your question (your thesis). e.
Use present tense when discussing literature. f.
Incorporate quotations –the reader should only hear one voice – the voice of the writer. Do not allow the characters to inject their voice into your literary analysis. When you read your work aloud, the reader should not be able to mark when/where quotations have been used – seamless integration. g.
Pay particular attention to the CRAFT OR STYLE OF MARK JARMAN (refer to your style handout). Start using the language of literary devices and literary effect in your literary analysis. Discuss the authors choices and decisions and how these affect the story. h.
Choose POWER VERBS that give your compositions a sense of movement and momentum. “Was, is, seems, wants…” are all passive verbs that lack energy. Choose verbs like “searches, unveils, yearns, searches, explodes..,” that give your prose a dynamic energy. i.
Read aloud to check for fluency and attend to disjointed ideas with transitional phrases and connector words.
Writing Session # 3 – Conclusion and Final Editing
1.
The conclusion: the intro in reverse but much more emphatic and passionate as you now have your evidence and support to stand upon.
2.
Final editing a.
How can you add flair and style to your writing to engage your reader? b.
The spice: think about framing your theme statement as a metaphor or similar or to paint an explosive image a la Jarman to draw the reader into your composition. c.
If you do start with a metaphor, simile or image as a theme statement, you can certainly extend said literary device in your introduction. d.
Read your work aloud to check for fluency and flow e.
Ensure that no word is wasted…every word should push your composition forward in terms of depth. f.
Take risks with vocabulary and expression (express your ideas in a fresh and innovation way; be inspired by Jarman’s groundbreaking style.