Draft Two: Flashback
1. After you complete the basic story. Write a second draft including the following:
a. Find moments in the story for your character to think about his/her past. Select these moments and for each one, develop the inner dialogue of your protagonist.
b. This “flashback” should reveal personal opinions, reflect on the situation, and/or connect ideas and people with your character’s past. Your character’s past should be detailed with much verisimilitude.
c. You may cover years or many days or a great length of time for your flashbacks. You may also change scenery or setting.
2. Separate your flashbacks by italicizing them.
Complete your draft #2 today in the lab.
Also, please prepare and send in your Penfield poetry contest submission if you have not already done so.
Wednesday, April 29, 2009
Tuesday, April 14, 2009
Ernest Hemingway - Fiction project - Draft #1
Short Story Project (Hemingway style)
1. Most of Hemingway’s stories have simple plots revolving around the theme of death or alienation. Two characters usually do not have the same world view (or opinion) and their conversation or relationship is strained by miscommunication (or the fact that a character cannot explain him/herself to another human being.)
2. In your journal, brainstorm a series of situations that you might write about. These situations should be simple and able to be described in one or two sentences. Ex: A man dying of gangrene remembers his youth while trying to convince his wife that he really is dying. Or: Two waiters watch an old drunk man one evening. One of the waiters sees himself reflected in the old man.
3. Pick one of your best situations or one you would like to work with.
4. Tell only this story for the first draft. Your first draft doesn’t have to be an epic length story. It should simply record the events and dialogue. Keep your action within one day or a short amount of time (an hour, a minute, etc.)I'd suggest trying to write 2-3 pages at most.
Draft #1 is due next class: Thursday, April 16.
1. Most of Hemingway’s stories have simple plots revolving around the theme of death or alienation. Two characters usually do not have the same world view (or opinion) and their conversation or relationship is strained by miscommunication (or the fact that a character cannot explain him/herself to another human being.)
2. In your journal, brainstorm a series of situations that you might write about. These situations should be simple and able to be described in one or two sentences. Ex: A man dying of gangrene remembers his youth while trying to convince his wife that he really is dying. Or: Two waiters watch an old drunk man one evening. One of the waiters sees himself reflected in the old man.
3. Pick one of your best situations or one you would like to work with.
4. Tell only this story for the first draft. Your first draft doesn’t have to be an epic length story. It should simply record the events and dialogue. Keep your action within one day or a short amount of time (an hour, a minute, etc.)I'd suggest trying to write 2-3 pages at most.
Draft #1 is due next class: Thursday, April 16.
Thursday, April 9, 2009
A Note
We have completed Martian Chronicles. If you are still reading this book, please try to finish over the Easter/Passover break.
What's due?
--You had a short story draft due a week ago. This is a major assignment and should be completed.
--You should have made at least 3 posts to the forum regarding Martian Chronicles.
--You should turn in your Penfield Poetry draft #1 by the end of today's class.
--You may begin reading Hemingway's collection of short stories. We will cover more of this next week. You should aim to finish this book by the end of Spring Break. Pace yourself.
Have a safe and happy holiday!
What's due?
--You had a short story draft due a week ago. This is a major assignment and should be completed.
--You should have made at least 3 posts to the forum regarding Martian Chronicles.
--You should turn in your Penfield Poetry draft #1 by the end of today's class.
--You may begin reading Hemingway's collection of short stories. We will cover more of this next week. You should aim to finish this book by the end of Spring Break. Pace yourself.
Have a safe and happy holiday!
Tuesday, April 7, 2009
Poetry Exercises For Penfield Poetry Contest
Use as many of these prompts to create poems. Write poems today. Try to write as many as possible. Call these "First Drafts".
1. Leaf through one of the many poems we have in class. Or use the internet and view poetry 180. (see link). Pick a poem that you like, read it. Follow any of the steps below:
A. Write an answer to the poem--a mirror image poem, shaped as much like the one you have read as you can make it, made up of the thoughts you have in response to the original poem.
B. Cannibalize it. Pull out 10 or 12 words or short phrases from the poem. Choose those that really appeal to you because they are unusual sounding, visually evocative, or strange. Work them into a poem of your own.
C. Take a line from the poem and use it as the first line for a poem of your own, one that need not resemble the original poem at all.
2. Dramatic Monologue Poem:
Write a poem from the perspective of a fictional/historical character (not you). Your monologue should be written as a poem, in poetic structure (line breaks, etc.) Remember that monologues help us understand the inner personality of a character through narrative and voice.
3. Variation on the Dramatic Monologue (Internal dialogue):
A. Invent a character/choose a historical character as above. Begin your poem with a provocative or interesting/thought provoking statement. For example: Ghandi: I'm not sure now that when I sat down in protest to the British Government, I wasn't squatting on the Indian people.
B. Think of some replies to this fictional quote from Ghandi. For example: ME: Ghandi, Do you have any idea how many people have followed your lead around the world?
C. Then allow your character to respond to your question or comment. For example: Ghandi: If a blind man leads, perhaps we all are destined for the cliff's edge. Let me tell you how it really was....
D. Go on from there. After writing the first draft, it may be necessary to trim the poem down to under 20 lines. Keep only the most interesting part of the conversation. Feel free to reshape the poem structure as much as you'd like.
4. The Dinner Party: Meals are an occasion of ritual and revelation--even meals taken alone. Think of some memorable occasion(s) ocurring at the table. Thanksgiving is obvious, so don't use it. Think of one such occasion. Write about it, including descriptions of who was there, what was said, what the room looked like, how the table was set, what the weather outside was like, what you ate, what was NOT said. After describing the event, choose the best parts and work this into a poem of fewer than 30 lines.
5. Myth: People of all cultures have created myths to explain their world. Choose something in your culture that is mysterious or profound. How might you explain such things? Write a contemporary myth to explain this "magical" phenomenon. Then use the best parts to form a poem.
6. Culture: Write about your culture through the eyes of a relative. Narrow the culture by describing a specific unique aspect of your history/familial lineage, etc. Leave yourself out of it. This poem is about a relative (fictional or real). See their work, music, traditions, etc. from their perspective. Write a poem that incorporates such things.
Complete drafts and then turn in when they are done. With time remaining, try another and another poem. Send to your workshop group for feedback AFTER you have completed the first draft, if you want to.
1. Leaf through one of the many poems we have in class. Or use the internet and view poetry 180. (see link). Pick a poem that you like, read it. Follow any of the steps below:
A. Write an answer to the poem--a mirror image poem, shaped as much like the one you have read as you can make it, made up of the thoughts you have in response to the original poem.
B. Cannibalize it. Pull out 10 or 12 words or short phrases from the poem. Choose those that really appeal to you because they are unusual sounding, visually evocative, or strange. Work them into a poem of your own.
C. Take a line from the poem and use it as the first line for a poem of your own, one that need not resemble the original poem at all.
2. Dramatic Monologue Poem:
Write a poem from the perspective of a fictional/historical character (not you). Your monologue should be written as a poem, in poetic structure (line breaks, etc.) Remember that monologues help us understand the inner personality of a character through narrative and voice.
3. Variation on the Dramatic Monologue (Internal dialogue):
A. Invent a character/choose a historical character as above. Begin your poem with a provocative or interesting/thought provoking statement. For example: Ghandi: I'm not sure now that when I sat down in protest to the British Government, I wasn't squatting on the Indian people.
B. Think of some replies to this fictional quote from Ghandi. For example: ME: Ghandi, Do you have any idea how many people have followed your lead around the world?
C. Then allow your character to respond to your question or comment. For example: Ghandi: If a blind man leads, perhaps we all are destined for the cliff's edge. Let me tell you how it really was....
D. Go on from there. After writing the first draft, it may be necessary to trim the poem down to under 20 lines. Keep only the most interesting part of the conversation. Feel free to reshape the poem structure as much as you'd like.
4. The Dinner Party: Meals are an occasion of ritual and revelation--even meals taken alone. Think of some memorable occasion(s) ocurring at the table. Thanksgiving is obvious, so don't use it. Think of one such occasion. Write about it, including descriptions of who was there, what was said, what the room looked like, how the table was set, what the weather outside was like, what you ate, what was NOT said. After describing the event, choose the best parts and work this into a poem of fewer than 30 lines.
5. Myth: People of all cultures have created myths to explain their world. Choose something in your culture that is mysterious or profound. How might you explain such things? Write a contemporary myth to explain this "magical" phenomenon. Then use the best parts to form a poem.
6. Culture: Write about your culture through the eyes of a relative. Narrow the culture by describing a specific unique aspect of your history/familial lineage, etc. Leave yourself out of it. This poem is about a relative (fictional or real). See their work, music, traditions, etc. from their perspective. Write a poem that incorporates such things.
Complete drafts and then turn in when they are done. With time remaining, try another and another poem. Send to your workshop group for feedback AFTER you have completed the first draft, if you want to.
Monday, March 30, 2009
Martian Chronicles - Cont.
Please continue to read The Martian Chronicles. We will be moving to a new author and collection approximately next week.
In lab:
1. Please continue to post comments and questions about the book or stories on the forum. Each serious post is worth participation credit.
2. Please continue to workshop and provide valuable feedback to the writing submitted by your workshop fellows. Each serious post is worth participation credit.
3. Complete your "1st draft" of the story based on Damon Knight's chapter on Hearing/Seeing/Fred, taking into consideration his advice about short fiction. This draft should be completed today (or by Wednesday at the latest). Please attach brainstorming homework to your completed or expanded 1st draft.
4. If you need to, read Martian Chronicles during class.
In lab:
1. Please continue to post comments and questions about the book or stories on the forum. Each serious post is worth participation credit.
2. Please continue to workshop and provide valuable feedback to the writing submitted by your workshop fellows. Each serious post is worth participation credit.
3. Complete your "1st draft" of the story based on Damon Knight's chapter on Hearing/Seeing/Fred, taking into consideration his advice about short fiction. This draft should be completed today (or by Wednesday at the latest). Please attach brainstorming homework to your completed or expanded 1st draft.
4. If you need to, read Martian Chronicles during class.
Thursday, March 26, 2009
The End of the Hallway - Bradbury and Knight Writing Advice
According to Ray Bradbury in his non-fiction writing guide: Zen in the Art of Writing, Bradbury mentions a technique he uses to come up with ideas. He says that he imagines a hallway with a door at the end. When he begins a story, he imagines himself walking down the hallway, turning the doorknob, and entering this "room" or "space" behind the door. Then he starts writing what comes to mind. Try this exercise as often as you need to complete your stories/poems/plays, etc.
Some good advice from Damon Knight (from the chapters handed out to you in class):
1. "You can't write about a general character in a general setting--[to keep a story going] you need a paricular person in a particular place, feeling a particular way, in a particular situation."
2. "Each time you answer a question [about character, setting, situation, feeling] you will be closer to finding out what happens in the story."
3. "Editors are often reluctant to publish any short story that ends with the death of a sympathetic viewpoint character."
4. "After writing a 1st draft, go back over your story and: criticize your own story. By asking questions [about craft] now, you will save yourself the embarrassment of having others ask them later."
5. Remember to draw on your own experiences if you need to, but also rely on research to flesh out an idea.
6. Constraints (like prompts) can help limit your imagination and give you a good place to start writing.
7. "In a story we expect a quality of completion, of roundedness, which sets it apart from a sketch, an incident, or an anecdote."
8. "There is an implied contract between the author and the reader that goes something like this: Give me your time and pay your money, and I'll let you experience what it's like to be...a trapper in the woods, an explorer in the Martian desert, a young woman in love with an older man, a dying cancer patient...etc. You must look hard at the offer you are making: would you accept it, if you were the reader?"
9. "A story has a shape; you can't see it all at once, but it's there. A good story has a pleasing shape, like a vase or a violin; a bad one has a meaningless, haphazard shape, like a pile of junk."
10. "Every story is a machine designed to evoke an organized series of responses in the reader. When the writer is clumsy, the mechanism shows. In a good story it is concealed and we are not aware of it, but it is there just the same, and every part of it has its function."
Using your homework prompt from Damon Knight, flesh out your story. Add details. Add characterization. Add dialogue and description. Add literary devices. Correct grammar and punctuation. Develop plot and theme. Shape your work (use the above advice to help!)
Some good advice from Damon Knight (from the chapters handed out to you in class):
1. "You can't write about a general character in a general setting--[to keep a story going] you need a paricular person in a particular place, feeling a particular way, in a particular situation."
2. "Each time you answer a question [about character, setting, situation, feeling] you will be closer to finding out what happens in the story."
3. "Editors are often reluctant to publish any short story that ends with the death of a sympathetic viewpoint character."
4. "After writing a 1st draft, go back over your story and: criticize your own story. By asking questions [about craft] now, you will save yourself the embarrassment of having others ask them later."
5. Remember to draw on your own experiences if you need to, but also rely on research to flesh out an idea.
6. Constraints (like prompts) can help limit your imagination and give you a good place to start writing.
7. "In a story we expect a quality of completion, of roundedness, which sets it apart from a sketch, an incident, or an anecdote."
8. "There is an implied contract between the author and the reader that goes something like this: Give me your time and pay your money, and I'll let you experience what it's like to be...a trapper in the woods, an explorer in the Martian desert, a young woman in love with an older man, a dying cancer patient...etc. You must look hard at the offer you are making: would you accept it, if you were the reader?"
9. "A story has a shape; you can't see it all at once, but it's there. A good story has a pleasing shape, like a vase or a violin; a bad one has a meaningless, haphazard shape, like a pile of junk."
10. "Every story is a machine designed to evoke an organized series of responses in the reader. When the writer is clumsy, the mechanism shows. In a good story it is concealed and we are not aware of it, but it is there just the same, and every part of it has its function."
Using your homework prompt from Damon Knight, flesh out your story. Add details. Add characterization. Add dialogue and description. Add literary devices. Correct grammar and punctuation. Develop plot and theme. Shape your work (use the above advice to help!)
Tuesday, March 17, 2009
Ray Bradbury: The Martian Chronicles
Pick up the book The Martian Chronicles by Ray Bradbury from our library. In class we will begin to read and discuss Bradbury's writing. After today, continue to read at your own pace, but realize that we will be picking up a new book in a week or two.
Please visit Bradbury's website, listed under the links. Again, find out information about him, his other books (particularly if you are or have read F451 in English class), and his advice to young writers like yourself. Like Margaret Atwood, please post comments and questions to the Bradbury forum on our forum page.
Please visit Bradbury's website, listed under the links. Again, find out information about him, his other books (particularly if you are or have read F451 in English class), and his advice to young writers like yourself. Like Margaret Atwood, please post comments and questions to the Bradbury forum on our forum page.
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