Introduction
Today, I come before you to introduce our writing workshop. For the next two weeks we will be learning about writing and practicing inventing, drafting, and revising our work. Today, I want to talk specifically about invention. I will begin by defining invention in both popular and scholarly terms; then, I will examine an essay by Peter Elbow, Emeritus professor of rhetoric and composition at UMASS-Amherst, titled “Three Mysteries at the Heart of Writing” because Elbow invites us to consider invention in the twenty-first century; Finally, I will show invention in action to you by providing examples from in-classroom activities authored by other teachers.
Invention in Scholarly Terms and Popular Terms
In scholarly terms, Invention is the first of the five cannons of rhetoric. Gideon O. Burton, author of the web site Silva Rhetoricae, cites invention as “finding something to say.” Burton continues his examination on invention by noting:
[There are] Certain common categories of thought [that] became conventional to use in order to brainstorm for material. These common places (places = topoi in Greek) are called the "topics of invention." They include, for example, cause and effect, comparison, and various relationships.
Invention describes the argumentative, persuasive core of rhetoric. Aristotle, in fact, defines rhetoric primarily as invention, "discovering the best available means of persuasion." (“Burton”)
On Wikipedia, a popular online encyclopedia where users can add and change knowledge on practically any subject, Invention is being currently defined as “an object, process or technique which displays an element of novelty” (“Invention”). In this respect, the process or technique of invention gives us the ability to breathe new life into art, music, literature, and ways to share our lived experiences.
Three Mysteries at the Heart of Writing
Now that we have looked at invention in popular and scholarly terms, I want to now examine Peter Elbow’s essay “Three Mysteries at the Heart of Writing.” Elbow’s argument in his essay is that we need to “explore a realm of rhetoric that had been largely ignored for a long time, namely invention” (10). We can better explore invention when we unmask his three mysteries.
Mystery # 1: From No Words to Words
We go from no words to words. How do we do that? Elbow enumerates three invention strategies for us to give ourselves words.
1) Talk to someone—not to get input from them but to get interaction with them, and above all, good listening
2) Freewriting—push yourself to write or keep writing even when you don’t have words in mind. You can freewrite privately in a bound journal or make a private post in your livejournal. Elbow reminds us that we must give Freewriting a chance and engage ourselves in Freewriting with some regularity. Sometimes you may only be able to freewrite for five minutes, but other times you may freewrite for twenty minutes. (10-13)
Mystery # 2: Figuring Out What We Really Mean
Sometimes we listen to a lecture. Sometimes a lecture like the one you are receiving now. Sometimes a more important lecture from an author, songwriter, of politician. We ask might ask ourselves: how did that speaker know that his or her words weren’t what he or she really meant to say? Elbow calls this knowing Felt Sense. Felt Sense is a nonverbal sense we have that dictates what we say and what we write. And, Elbow argues, writers must focus on Felt Sense as part of our writing process. He expresses:
• We find ourselves uttering words for some idea or insight or feeling on our mind
• The we pause to attend inward felt sense—and often we notice that our words don’t quite say what we were trying to say
• We welcome that felt sense of mismatch and put attention on it charitably as a nonverbal experience
• From that nonverbal and bodily experience, we invite new words—and they usually get us closer to our meaning-intention (13-16)
Mystery # 3: Words That Give
In his final mystery, Elbow invites us to use intonation in our work. He writes that “some writing makes less work for us by somehow making us seem to hear the meaning coming to us from the silent words on the page” (16).
He asks us to read the following to passages:
[Passage One]
[Passage Two]
Intonation is the key to writing words that audiences can hear because intonation “embodies in language a rhythm and melody of meaning” (17).
How do we, as writers, make sure we use intonation in our work? One possible strategy that Elbow gives us—and that I agree is important---is reading aloud: The sound of written words when recited has an important effect on silent readers.
So, there you have it. Three mysteries of writing unmasked: From no words to words, figuring out what we really mean, and using words that give. These three mysteries, I believe, are important suggestions for inexperienced and experienced writers alike.
Examples of Invention in the Classroom
I want to end this lecture on Invention with some invention strategies used by myself and other teachers in our classrooms in hopes that you will feel comfortable enough using them yourself in your own writing.
From Patricia Dunn and Kathleen Dunn De Mers Kairos article “Reversing Notions of Disability and Accommodation: Embracing Universal Design in Writing Pedagogy and Web Space”
http://english.ttu.edu/kairos/7.1/binder2.html?coverweb/dunn_demers/index.htmlDunn and Dunn De Mers talk about invention in the form of Sketching. They argue:
Sketching is a great way to respond to complex readings. Even primitive drawings or graphs can help people conceptualize complex ideas and contrasting views before they write about them. Sketching, like freewriting, can also help people not only generate ideas, but also help them begin to conceptualize how they might organize, or reorganize, their early or developing drafts
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