Nakunamon, Kailian. La ketdi ah, VF. Ayanna a pagdaksan, Clif, ket asino ti mapagtalkan nga agikula?
This analogy is probably uninspired but it will do: You have a huge pot filled with water in which our “Ilocano writers”–the ones involved in the Peter La. Julian-Cles Rambaud flame war and now this Bucanegan alleged contest irregularity, including other regional language groups except the Tagalogs–are afloat. This huge pot is sitting atop a huge stove and the government is stoking the embers, the fire burning under the pot to get the water to boil with the ultimate intention of getting everybody in the pot thoroughly boiled and washed, emerging eventually in their Tagalog/Filipino caps (can’t say if they are the thinking variety) so now they communicate in Tagalog/Filipino to foster what is really an elusive sense of nationalism (what nationalism?).
If you listen closer, the “Ilocanos” are more concerned about the bubble bath beads that ought to be added to the water the temperature of which continues to elevate, thanks to President Gloria Macapagal-Arroyo’s Executive Order # 210 of May 17, 2003 and the implementing DepEd Order #36 of Aug. 22, 2006. The others appear to be complaining about the aperitif being not of the imported kind. Who knows what else the other folks from other language regions are complaining about, but it’s definitely NOT about the water getting warmer, hotter in fact, and certainly NOT about the fella stoking the embers under the pot.
Madamdama, asinnonto pay ti ag-Bucanegan no dinto ammo dagiti pada nga Ilocano ti ag-Ilocanon? Asinnonto pay ti gumatang/agbasa iti Bannawag no dinto maawatan dagiti pada nga Ilocano ti Ilocano? No awanton dagiti nataengan? Tonno dumteng ti panawen a dagitoy ubbing–a sumungbat kenka iti Tagalog/Filipino no kasaritam ida iti Ilocano–ken dagiti annakda ti sumukat?
I don’t write fiction professionally. But I sure read a lot of it. And I enjoy the ones that subscribe to the principle of “show, don’t tell” because aside from getting a story with all its twists and turns, I sort of get a movie theater experience. I see the scenes and the characters “moving” purposefully in them. The beginning Ilocano writers, or any writer for that matter, especially those minimally exposed to the theories of fiction writing will do well if they develop the art of showing–creating neatly woven scenes to convey a story–instead of straightforward narrating as on the evening news.
Here’s what some successful writers have to say on the subject:
“First, what’s the difference between the two? Well, “telling” is the reliance on simple exposition: Mary was an old woman. “Showing,” on the other hand, is the use of evocative description: Mary moved slowly across the room, her hunched form supported by a polished wooden cane gripped in a gnarled, swollen-jointed hand that was covered by translucent, liver-spotted skin.
Both showing and telling convey the same information — Mary is old — but the former simply states it flat-out, and the latter — well, read the example over again and you’ll see it never actually states that fact at all, and yet nonetheless leaves no doubt about it in the reader’s mind.
Why is showing better? Two reasons. First, it creates mental pictures for the reader. When reviewers use terms like “vivid,” “evocative,” or “cinematic” to describe a piece of prose, they really mean the writer has succeeded at showing, rather than merely telling.
Second, showing is interactive and participatory: it forces the reader to become involved in the story, deducing facts (such as Mary’s age) for himself or herself, rather than just taking information in passively.” Click here for the full article.
“Don’t just tell me your brother is funny… show me what he says and does, and let me decide whether I want to laugh. To convince your readers, show, don’t just tell them what you want them to know.
There. I’ve just told you something. Pretty lame, huh? Now, let me show you…..
“Writing is emotionally powerful when it engages the reader. Rather than classify and list all the emotions that you felt, use specific details that give the reader a reason to feel the emotions you want to express…..
“Showing” involves more than a long list of adjectives.
Sometimes students misinterpret what I mean by “showing.” They put all kinds of adjectives in their writing, describing everything from the color of the wallpaper to the shape of their own legs, regardless of whether such details actually advance the story.
The point of “showing” is not to drown the reader in a sea of details. Instead, you should pick out only those details that matter.
Does the detail help establish or intensify the mood? Does it define a character? Clarify an action?” Click here for the full article.
“You can’t tell us someone is a wonderful person, a talented musician or a spoiled child. We won’t believe you. You must show us. Throughout your manuscript, look for any opportunity to show us in real time, to act out, to let us feel. The difference will amaze you.” Click here for the full article.
“While “telling” can be useful, even necessary, most people don’t realize how vital “showing” is to an effective story, essay, or even a blog post. Showing allows the reader to follow the author into the moment, to see and feel and experience what the author has experienced. Using the proper balance of showing and telling will make your writing more interesting and effective.” Click here for the full article.
“Telling” is a way of conveying facts to the reader–the wrong way. The right way is to “show” information through the use of action, dialogue, and the five senses…..” Click here for the full article.
“The single best piece of advice I ever got as a writer was when I took a fiction writing workshop in college and the professor, Dr. Markus, said, “Don’t tell me, show me.” Don’t tell me the character is angry, show me that the character is angry. Don’t tell me that the character lives in Detroit, show me that the character lives in Detroit…..” Click here for the full article.
After all, it’s your job as the writer to craft your story to ENTERTAIN me. Nothing less.
Any attempt at cross-indexing constantly changing Internet content on or in Ilocano and related matters on the themes expressly spoused here (Iloco, Iloco culture and literature) and pooling the results in one website, ilocano-online.com [ILOCANO ONLINE--our home website], is an ambitious undertaking. But with your help, that’s exactly what we would like to try, for your–and our–convenience.
Oh sure, you could go search the Internet on your own using whatever appropriate search parameters or keywords to nail down your search. However, what ILOCANO ONLINE offers is to narrow down your search and filter out some of the EXTRANEOUS STUFF (e.g., websites with Ilocano titles with no content whatsoever that’s related to our chosen themes) that oftentimes strays into your search results.
Searching the Internet for Ilocano-related content is a large project and it will be an ongoing project. We shall appreciate any suggestions on how we should go about this effort. Or, you could just as easily leave a message/info/comment here to point to the Internet content or material–yours and/or others–that you wish to be included in ILOCANO ONLINE’s cross-indexing. To facilitate this, we have a dedicated link, FOR CROSS-INDEXING [which is actually the COMMENT section below this particular blog entry; when you get there, hit the End key to scroll down to the empty COMMENT box], under the heading, AAA: CONTENT’S URL, at the top of the middle sidebar where you can leave the address/URL information of the Internet content you wish to be indexed. To avoid copyright issues, we cross-index content and/or their owners using their URLs.
We shall appreciate your calling our attention when cross-indexed Internet content ceases to exist either because it is moved, renamed, deleted, or whatever so we could perform the appropriate update.
The effort could be fun as we discover interesting Internet content on or in Ilocano. Who knows, some of them may turn out to be of interest to you as well.
IDI YAWID NI MANONG LEON TI ASAWANA
[Impatarus ni Constante C. Casabar iti Ilocano manipud iti original nga English version iti baba. Umuna a naipablaac iti Bannawag Disiembre 18, 1961. Naipablaac manen iti Rimat Oktubre 2004. Naipablaac iti LABAW 2006. Naadaw ti sumaganad iti naipablaac a copia ti LABAW iti Iluko.com.]
Dimsaag iti kalesa ni Ka Celin. Napardas, a ngem naannad. Napintas. Natayag. Umis-isem a nangtangad ken ni Manong, ta pagat-ngiwat ni Manong ti mugingna.
“Sika ni Baldo,” kinunana sana imparabaw a silalag-an ti imana iti abagak. Atitiddog dagiti kukona, ngem saanda a napintaan. Nabanglo a kas ti papaya iti agsapa no agsabsabong dagitoy. Ken adda sangkaballing a kallid a nagparang iti apagapaman iti akinkanawan a pingpingna.
“Ket daytoy met ni Labang a nadamdamagkon.” Iniggamanna ti maysa a ngulayngulayna ket minatmatanna ni Labang, ket saan nga insardeng ni Labang ti panagngatingatna. Nagalimon ni Labang, immadu ti labutab iti ngiwatna ket kasla naggarangugong a tambor ti tianna.
Iniggamak ti nabaked a tengnged ni Labang sako kinuna kenkuana: “Makudkodam itan ti mugingna.”
Nagammanga ket nakitak a situturong dagiti matana kadagiti nawasnay ken sikkubeng a sara. Ngem immay met laeng ket insagidna dagiti nawasnay a ramayna iti muging ni Labang, ket saan man la a sinardayan ni Labang ti panagngatingatna malaksid iti panangikidemna kadagiti dadakkel a matana. Ket idi kuan, kudkudkodannan a silalag-an ti muging ni Labang. Continue reading