Storytelling V: Voice & Mastery
Developing a distinctive voice. Close reading of enduring creators across genres.
- Lectures
- 7
- Total runtime
- 5h 36m
- Attendance minimum
- 2h 48m
- Prerequisites
- NAR-401 Storytelling IV: Series & Formats
Lecture Playlist
Ordered as a teaching progression, not by popularity. Attendance is recorded once half of a lecture has been watched.
- Mastering Style: The Learning and Teaching of Writing What voice actually is: style as a stance toward the reader, and the habit that destroys it 76 min Attended
- 6. The New Criticism and Other Western Formalisms The method of the course: close reading, and why the work — not the maker's intention — is the evidence 50 min Attended
- 14. Influence Where a distinctive voice comes from: tradition, precursors, and the struggle for originality 51 min Attended
- 2. Hemingway's In Our Time Close reading I — the minimal voice: understatement, omission, and what a flat surface can carry 50 min Attended
- 6. Faulkner's The Sound and the Fury Close reading II — the maximal voice: syntax as consciousness, and narration from inside a mind 50 min Attended
- 5. Vladimir Nabokov, Lolita Close reading III — voice as persona: the narrator you build, and the ethics of a seductive style 51 min Attended
- Practicum · working creator How Michael Jackson Crafted His First Solo Hit A working video essayist runs the course's own method on a record instead of a novel, applying Lecture 2's close reading (the work is the evidence, not the maker's account) and Lecture 3's argument that a voice is won by breaking from a precursor 8 min Attended
Every course reserves one practicum seat, listed last and marked P. It is filled by someone who has shipped the work — here, Nerdwriter1 — because the university lectures establish why something works and the practicum shows it being done under real constraints.