Mercy! Mercy! That Dang Nabed PERCY!

Resonance in Expository Writing

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Resonance in Expository Writing.

A great monologue has a certain resonance. That is a rhythm, a lyrical quality a certain musicality. It might be written in a manner that makes it look "prosey" but the resonance is wired in there. It’s like the signature of a rapper’s chant being expressed over and over again in the beat of his composition.

When you read it the work sounds so effortless but it's hard to achieve because it's elusive and the writer needs to find the mood and revel in the ambience necessary to coax it from the darkness and summon it to mind. It’s an exercise in joyful expression and a liberating and fulfilling literary experience.

To imbue resonance into a monologue you begin just as you begin most writing by introducing what you want to say, saying it and summarizing what you said. Sounds easier than it is. For openers you take an idea and break it down into parts and begin ordering them into a logical sequence… one that leads a reader or audience down the pathway to understanding. Along the path are the thoughts that give meaning and credibility to your thesis. So when you finish you have a paragraph that expresses an idea and supporting information that convinces a reader you actually know what you’re talking about. Once you have the monologue written in expository prose you are ready to add the resonance.

Begin by stating the premise or problem or whatever the central concept of the paragraph is. Then list the supporting points. Finally, how the conclusion can be transitioned into meaningful action.

Now this gives you the thread of a clear and logical thought process that ties things neatly together. Poetry resonates! It comes into the world as prose and somewhere along the line gets, "born again." Some define it as prose chopped up in little pieces but it is so much more. You begin by dicing up the prose and putting the central thought on the first line. Then list the supporting points in subsequent lines. Finally have a line for the wrap-up.

Once this is accomplished take a poetic form and use it to convert the expository prose into a poetic monologue. If it helps, think of this as turning the monologue into a song. What this means is you take the material and turn the prose into poetry. Now there is a final step once this is accomplished. You then take the poetry (song) and without losing the musicality, convert it back into poetic prose. Granted the process is a bit convoluted but when you hear it read, the words now seem to flow with an almost fluid and effortless grace. That is the product you want a monologue in a stage play to resonate with… effortless, lyrical, lucid, prose, disguised as exposition.