II (MP 2) The modern hula or 'Auana has been around since the missionaries arrived and has developed into a unique form of dance.

(Internal Preview: 'Auana is used for entertainment, it narrates love stories, and Is distinguishable from kahiko.)

A. (SP 1) Keko Makaha, a local Hula authority, states in his book “ The Hawaiian Hula ” that Since the 1820's, 'Auana was aimed more toward entertainment.

 

1. The sailors and merchants recruited native dancers when they ported in Hawaii.

 

2. They failed to understand the simple interpretive movements of the dancers and understood it to be purposely attractive and stimulating.

 

3. The visitors focused on mime rather than the spoken words.

 

B. (SP 2) The modern hula is another way of telling a story using the hands. Most 'Auana songs were stories of lovers or about the love and beauty of nature.

 

1. Performers danced to songs sung in Hawaiian or in English.

2. These songs were accompanied by music played by the ukulele A Portuguese adopted instrument. It can be described as a miniature guitar.

 

 

C. (SP 3) 'Auana can be distinguished from Kahiko by its distinct characteristics.

 

1. The facial expressions are of joyous, devoted character.

a. Smiling is one of the most recognizable features.

b. Conveyance of emotions through facial expressions

 

2. The hand motions are smooth and elegant balanced with gracefully swaying hips.

 

3. The highlight of a dance was the visual quality of all the movements flowing together.

 

 

(Internal Summary: I hope I have made it clear that now 'Auana Is mainly used for entertainment, telling stories of lovers and of fondness to nature. 'Auana can be easily noticed by gracefulness and smiling faces.)

 

(Transition: Now we know how to identify the two Major Forms of hula.)

 

Conclusion

I. (Summary Statement) Hula is a term used for referring to Hawai’i's folk dances. The two major forms are the ancient hula or Kahiko and the modern hula or 'Auana. Kahiko is now danced mainly as an art form or as evidence of ethnic identity while 'Auana is a folk tradition danced for entertainment. They have both played an important role in the history of Hawai’i.

 

II. (Memorable Closing Statement) The next time you are watching a hula performance see if you can identify which form it is -- Kahiko or ‘Auana. (Chant) - E Ila no Kawika o ka heke ao vapua. Ea ea. Ea ea.

 

 

REFERENCES

Barrere, D. B., Pukui. M. K., Kelly, M. (1990). Hula: Historical Perspectives (Bishop Museum: Pacific Anthropological Records #30). Honolulu, HI: Bishop Museum Press.

Kaeppler, A. L. (1993) Hula Pahu: Hawaiian Drum Dances (V. 1). Honolulu, HI: Bishop Museum Press.

Makaha, K. (1976). The Hawaiian Hula Honolulu, HI: W.W. Distributors Ltd..

Punua, M. A. Kuulei (Kumu Hula) Hula instructor for fourty years. Personal Interview at her studio on September 28, 1996.

********************************************************************************************

Use complete citations in APA or MLA format. Include in your reference section the sources that you will cite during your speech. You must cite all sources in your speech that you cite in you reference section. When you cite a source in your speech it should be done seamlessly so as to not draw attention to the citation but to strengthen and support your information.

After completing the preparation outline you will convert your preparation outline into a speaking outline that you will use during your presentation as you deliver your speech. You will use the same exact visual frame work as the preparation outline. You will decrease the information and enlarge the font to make the speaking outline easy to use while you are presenting your speech

The Following student’s outline is a sample outline that you may use as a guide as you prepare your informative speech preparation outline. You will want to include all the labels that you see in this outline. The following is the exact format and Visual Framework I would like you to use for your Informative Preparation Outline, however, yours will be full size.

*************************************************************************

Specific Purpose: I will inform my audience about what a good story includes.

Central Idea: A good story includes well-developed characters engaged in realistic dialogue, an interesting plot, and a vivid setting.

 

INTRODUCTION

I. (Attention Getter) Tom Sawyer by Mark Twain.........................The Grapes of Wrath, John Steinbeck........................Harry Potter by J. K. Rowling............................ Three incredible storytellers who have provided hours of exciting drama for readers throughout the world. Have you read books like these, where the action taking place in the story is so gripping that it is on your mind even when you're not reading? Has that preoccupation sometimes seemed more appealing than your own reality?

II. (Reveal Topic) Today I'm going to share with you some basic guidelines that these three authors have used in creating their masterpieces. I'm going to explain to you how to go about writing a good story.

III. (Credibility Statement) In addition to completing many writing-intensive classes here at MCC, I've also written several short stories and some poetry. I won the League for Innovation Literary Competition the past two years--once for short story and once for poetry.

IV. (Relevancy Statement) Because each of you is going to have the opportunity to complete at least one writing-intensive class as a prerequisite to graduation, the information that I'm about to share with you should prove very helpful. In fact, if you follow this formula, I can guarantee you an A!

V. (Preview) A good story includes well-developed characters engaged in realistic dialogue, an interesting plot, and a vivid setting.

 

(TRANSITION: Let's start with the characters and the way they speak.)

 

BODY

I. (MP 1) A good story includes well-developed characters engaged in realistic dialogue.

(INTERNAL PREVIEW) Three vital steps toward developing your characters are: get to know them intimately, give them a relevant past, and provide them with realistic dialogue.

A. (SUB-POINT 1) Get to know your characters intimately.

1. (SSP 1) In her national bestseller, bird by bird, author Anne Lamott tells us that, as a writer, "you need to find out as much as possible about the interior life of the people you are working with."

a. (SSSP 1) You must determine what kind of a person each individual character is.

i. (SSSSP) What motivates them?

i i. (SSSSP) What do they care about?

b. (S SSP 2) Make your characters multifaceted.

i. (SSSSP) Remember that no one is "all good"

ii. (SSSSP) Or "all bad."

2. (SSP 2) Reveal the characters. Also in bird by bird, Lamott writes that "Everyone is walking around as an advertisement for who he or she is—so who is this person? Show us."

a. (SSSP 1) The reader wants to emotionally connect with the characters.

i. (SSSSP) Let the reader inside the characters' heads.

ii. (SSSSP) Show what makes them angry or sad; what

would they teach their children?

b. (SSSP 2) Give detail about the characters' physical appearance.

i. (SSSSP) What do they look like?

ii. (SSSSP) How do they hold themselves (are they

slouched like an old hat or erect like a five-star general)?

iii. (SSSSP) How do they move?

B. (SUBPOINT 2) Give your characters a relevant past.

1. (SSP 1) Characters who have survived or are surviving a great deal are the most likable, so place hard times in their lives.

2. (SSP 2) Make it plain how their past has shaped them into the person that they are now, and make their behavior support this individuality.

C. (SUBPOINT 3) Provide your characters with realistic dialogue.

1. (SSP 1) One line of dialogue that rings true reveals character in a way that pages of description can't.

2. (SSP 2) Robert Houston, reviewer for The Nation wrote, "...Nearly 200 years ago, Wordsworth and Coleridge [two literary giants] started a revolution when they proclaimed their aim to write in ' the language really used by men. '

Neither of them quite achieved that...."

3. (SSP 3) Make each character sound real and unique.

a. (SSSP 1) Allow the reader to identify the character by what he or she says.

b. (SSSP 2) Allow the reader to identify the character by the way in which he or she says it.

(INTERNAL SUMMARY) Once we are thoroughly acquainted with our characters, have given them a past that provides explanation for who they are, and have placed true-to-life words in their mouths, we have a wonderful foundation for our story.

(TRANSITION) Next we'll see how to place the characters into an intense situation--providing the drama that the reader craves.

II. (MP 2) A good story includes an interesting plot.

(INTERNAL PREVIEW) Two central themes to keep in mind when writing plot are: plot naturally

emerges out of character, and plot must provide gripping drama.

A. (SUB-POINT 1) Plot naturally emerges out of character.

1. (SSP 1) If you focus on who your characters are and let there be something at stake, you've got plot.

2. (SSP 2) Plot is what people will up and do in spite of everything that tells them that they shouldn't...let the chips fall where they may.

B. (SUB-POINT 2) Plot must provide gripping drama.

1. (SSP 1) The plot must give your readers the feeling that they simply have to find out what happens next.

a. (SSSP 1) In order to create this sense of urgency, drama is the key, and it must come fast and furious.

b. (SSSP 2) The basic formula for drama is: setup, buildup, and payoff (just like a joke).

2. (SSP 2) Famed author John Gardner, in writing about plot, said that the writer is creating a dream into which he or she invites the reader, and that the dream must be vivid and continuous.

a. (SSSP 1) Just like a real dream, the plot must flow smoothly, yet be compelling.

b. (SSSP 2) There should be no jarring "wake-up" moment when the reader says, "Huh? What happened? That makes no sense!"

(INTERNAL SUMMARY) Therefore, with the story's focus firmly upon the characters, plot naturally emerges, and that plot must provide constant drama.

(TRANSITION) Now all our story needs is one final ingredient.

III. (MP III) A good story includes a vivid setting.

(INTERNAL PREVIEW) Two basic rules of thumb when choosing and writing your setting are to

give descriptive detail and to make the setting fit the character.

A. (SUB-POINT 1) Give descriptive detail in writing your setting.

1. (SSP 1) When commenting upon the art of effectively describing a setting, Michele Driscoll, MCC professor of English and teacher of Creative Writing, said, " There is no such thing as a tree."

a. (SSSP 1) There's a massive South Carolina live oak, the Spanish moss dripping from its heavy limbs like the drooping, lacy cuff of a lady's blouse.

b. (SSSP 2) There's a northern Minnesota jack pine, tall and straight, its bark covered with sticky sap and its pine needles razor-sharp to the touch.

2. (SSP 2) The spot where the action will be taking place--what is its feel, its temperature, its color...can anything be heard or smelled there?

B. (SUB-POINT 2) Make the setting fit the character.

1. (SSP 1) Just as everyone is a walking advertisement for who he or she is, so every room is a little showcase of its occupants' values and personalities.

a. (SSSP 1) Make the individual character's own space fit his or her personality.

i. (SSSSP) If the character is a neat nut, his or her home will not likely look like a tornado just hit.

ii. (SSSSP) If the character is a lazy oaf, he or she will not live in a perfectly organized environment.

b. (SSSP 2) Make the character's private space fit his or her interests.

i. (SSSSP) If you're describing a cop, there will likely be a handgun, handcuffs, and a badge on the table and maybe a uniform in the closet.

ii. (SSSSP) If your character is a priest, it would make

sense to have a Bible on the nightstand.

2. (SSP 2) If the space you're describing is a communal area (police station, hospital, park, department store, etc.), first visit a similar place and then describe it accurately.

(INTERNAL SUMMARY) You can see that by giving descriptive detail in writing your setting, and making the setting fit the character, the readers will feel like they are actually there, present in that space.

(TRANSITION) We've now broken down the process of writing a good story into a step-by-step

procedure that should be easy for any writer to follow.

CONCLUSION

I. (Summary Statement) A good story includes three important elements. First, it must have welldeveloped characters engaged in realistic dialogue. As we've seen, it's vital that the reader be

able to both relate to the characters and believe their words. Next, the story must offer us an interesting plot. Using the basic formula of setup, buildup, and payoff, the drama must be absolutely spellbinding. Finally, it's key that the story's setting be vivid. The reader needs to feels

as if he or she is actually there, witnessing the action.

 

II. (Memorable Closing Statement) There will never be another Mark Twain, John Steinbeck or J. K. Rowling; however, each of us can know what it means to write well. We can experience the thrill of connecting with an audience...of touching our readers' hearts...and of creating in them a greater understanding of the human condition. We can be heard telling the truth.

 

REFERENCES

Driscoll, Michele. Assistant Professor of English, Maui Community College. Comments from in-class lecture, Creative Writing, English 104WI, Spring, 2000.

Gardner, John. Excerpt from bird by bird by Anne Lamott. New York: Random House, 1994.

Houston, Robert. The Nation. Excerpt from review of What We Talk About When We Talk About Love by Raymond Carver. New York: Random House, 1989.

Lamott, Anne. Bird by bird. New York: Random House, 1994.