Here are the instructions from your original ISU handout information as well as some clarification and expansion.
Imitation Piece. Now that you have some experience and expertise with your particular writer, prepare a two page “lost artifact.” This may be couple of missing pages from a novel, some recently discovered poetry or a letter to a loved one. Use a cover sheet, which is outlined below.
The goal here is for you to produce two manuscript pages (or the equivalent) that could have been written by your author and included in your primary novel. Ideally, if your work is put side by side with a couple of pages from your novel I won't be able to tell which is which.
Your Cover Sheet should include the following information:
The Asignment Title "Imitation of (your author)'s (title of novel)"
Your Name:
EWC 4C or 4U
The Date
Description: Explain what you have attempted to create and how it fits into the larger scheme of your novel. Explain what elements of your writer's style you have attempted to capture.
Attachment: Attach a page photocopied from your novel in order to demonstrate your writer's style. (I can help with this)
Friday, May 28, 2010
Thursday, May 20, 2010
On Writing - Prepared Discussion
In order to exercise "due diligence" with respect to Stephen King's On Writing I'd like to engage in a prepared discussion. The idea behind a prepared discussion is that we don't just show up and "wing it," rather we spend some time beforehand thinking about some worthwhile questions and answers. In theory, this should yield a much richer discussion than if the questions are just presented to you several minutes before the discussion.
So, the following is a list of questions that I think are worth asking. I hope you have a few of your own. Feel free to add to the list by leaving a comment below.
To
1. In what way(s) is On Writing similar to/different from other writing texts you have used?
2. How useful do you find On Writing to be? What are some important tips or lessons you are taking away from it?
3. How connected do you feel King's writing is to his biography? To what extent do you feel fiction writers can separate their personal lives from their writing?
4. Based on your reading, how desirable would writing be as a career choice for you? What would be the most/least desirable aspects of writing as a career choice?
5. Assuming that King's book helped you to grow as a reader, what kind of book do you think would be appropriate in order to help you continue your growth?
So, the following is a list of questions that I think are worth asking. I hope you have a few of your own. Feel free to add to the list by leaving a comment below.
To
1. In what way(s) is On Writing similar to/different from other writing texts you have used?
2. How useful do you find On Writing to be? What are some important tips or lessons you are taking away from it?
3. How connected do you feel King's writing is to his biography? To what extent do you feel fiction writers can separate their personal lives from their writing?
4. Based on your reading, how desirable would writing be as a career choice for you? What would be the most/least desirable aspects of writing as a career choice?
5. Assuming that King's book helped you to grow as a reader, what kind of book do you think would be appropriate in order to help you continue your growth?
Wednesday, May 19, 2010
Your Questions About (the English) Language
What have you always wondered? e.g what makes a "bad word" bad?
Friday, May 14, 2010
Language Exercise: Write me a(n) ....
1) complete sentence
2) incomplete sentence
3) independent clause
4) comma splice error
5) fused sentence
6) dependent clause
7) compound sentence
8) complex sentence
2) incomplete sentence
3) independent clause
4) comma splice error
5) fused sentence
6) dependent clause
7) compound sentence
8) complex sentence
9) adverbal phrase
10) compound-complex sentence
* You are invited to "google" each of these in order to brush up on your definitions, but please make sure each of your examples is your own. Be sure to label each of your sentences, e.g. "Sentence Fragment."
Feeling a little rusty (or under practiced) on some of these concepts? Try some of the fun games at Grammar Bytes.
Tuesday, May 4, 2010
Query Letters:
Wednesday May 5th, 2010:
http://www.fictionwriters.com/tips-query-letters.html
Query letters are a much-debated practice in the writing community. The majority of writers swear by them, but others feel they are a waste of time. There are many successful writers who stick to sending completed manuscripts or informal, ultra-brief queries. This practice has especially grown in the age of email, where a less formal writing style has taken root. See Bob Sassone’s article The Query Trap if you want to look further into that strategy.
Here are some advantages to writing a formal query letter:
* A well-written query letter helps prove to an editor that you are qualified to write the piece.
* Sending completed articles blindly can indicate to an editor that you either failed to sell the article before, are submitting an article that was not written specifically for their publication or are attempting to resell a previously published article.
* Short, informal queries will often go unread or will be given less weight by an editor if they are a stickler for the formal process.
* A formal, detailed query gives you the opportunity to do preliminary research for a piece that can then be quickly converted into an article.
* When submitting a query to an online publication, your query will look better than 90% of the other queries being submitted to that publication.
In the age of email, much can be said for the ability to quickly send off a brief query. This is very possible these days, and may result in more sales than writing a formal query for each publication you wish to write an article for. Still, if you want to impress an editor, online or otherwise, a formal, well-written query letter is a way to do it. Below is a point-by-point description of how to write a query letter.
Know your target
* Study any publication before you submit a query letter.
* Get writer’s guidelines for the publication if they are available.
* Study the publication’s masthead to identify the appropriate editor for your query. Do not rely on Writer’s Market. Editors change jobs frequently.
* You may send the same subject query to more than one publication, as long as they do not compete and you have taken the time to make sure the subject is appropriate for both publications.
Your query letter should have a professional look.
* There should be no spelling or grammar errors.
* Be sure to include the date on your letter. This can be important if you feel later on that your idea has been stolen.
* It should be addressed to the appropriate editor. Use their full name and do not use Mr. Mrs. or otherwise. The exception to this rule is Dr. or other professional title.
* The publication name and address should be correct.
* The salutation should be formal.
* If mailed, the paper and the letterhead should be clean and professional. Standard 8 1/2 x 11 inch paper should be used.
* Single-space your paragraphs and double-space between paragraphs.
* If mailed, the Query should include Self Addressed Stamped Envelope (SASE)so that the editor can return your article or reply to you conveniently.
* Include your name, postal address, email address and phone number in the letterhead or at the bottom of the letter.
Your query letter should be interesting
* Your query should introduce a fresh idea/topic/angle.
* The idea should be set off in the type so it is easily viewed.
* Your idea should be presented at the very beginning of your letter.
* Your lead-in should excite the editor.
Your query letter should be specific
* Keep your query letter to a single page in length.
* Lay out exactly what you intend to include and exclude from your article.
* Give a proposed article length. Round to the nearest 100 for under 2000 words and to nearest 500 for articles over that length. The length should be appropriate for that publication.
* Identify which section of the publication you believe your article fits within.
Your query letter should be persuasive
* Include writing samples that are appropriate to the publication, article topic, and writing style you believe the publication is looking for.
* Present any credentials or awards you have that show you are qualified to write, especially about this subject.
* Identify other similar publications that have published your work.
* Identify any sources you have that you feel would help persuade the editor.
* Your article should show why you are the best and only person to write this article for them.
* Close your letter with a phrase such as: “I look forward to hearing from you. Please write or call if you have any questions.”
Respond promptly when a query is accepted
* When an editor expresses interest in (solicits) your article, send it to them promptly. In your cover letter, remind them of their request.
* You do not need to enclose an SASE when sending your article.
What you should not do in your query letter
* Do not mention who has rejected the piece before.
* Do not include other people’s statements about your article.
* Do not tell the editor how long and hard you have been working on this article.
* Do not mention the assistance of others.
* Do not tell them that the piece still needs work.
* Do not request advice, comments, criticism or analysis.
* Do not talk about how thrilling it would be to be published.
* Do not include inappropriate or off-subject information about yourself.
* Do not discuss the rights you wish to sell.
* Do not discuss price or payment.
* Do not give your social security number.
* Do not give or discuss copyright information.
* Do not wear out your welcome by writing too much or failing to get to the point.
* Do not query without studying the publication enough to know whether your idea is appropriate.
* Do not waste your time querying an unreceptive editor over and over again.
* Do not present ideas for several different articles in the same letter. This can be done once you have established a rapport with an editor, but should not be done in a blind query.
* Do not use obscenities or inappropriate content.
* Do not send inappropriate, off-subject samples.
Sample Query Letter:
Max Swift
Securities Editor
Money Bucks Magazine
1010 E. 10200th Street
New York, NY
August 22, 2000
Dear Max Swift,
Proposed Article:
You’ve Got Fraud! How Internet con artists can crush your portfolio
Last Monday, the Enforcement Section of the Massachusetts Securities Division ordered a temporary cease and desist order against three men it accuses of manipulating the stock market by flooding Yahoo.com with tens of thousands of false and misleading statements about Biomatrix Inc (BXM.N) and Genzyme Corp (GENZ.O). This is the latest in a growing series of civil and criminal lawsuits against people who manipulate stocks through mass emails or in this case, by posting misleading statements on financial discussion boards. My article will detail the trend from the perspective of three people.
* A securities trader whose legitimate stock analysis email newsletter has contended with fake announcements by people who acquired his mailing list.
* A lawyer who represented a client in a case similar to the Massachusetts case.
* An investor who blames her loss of $70,000 in the stock market on fraudulent discussion-board posting.
In my article I will discuss the negative effects of fraud on investors and companies. I will also discuss how you can protect yourself from fraud. More importantly, I will show how you can be victimized by the trend even when you don’t receive a fraudulent email or read a misleading post. Because such fraud can cause an individual stock to both rise and fall dramatically, investors who never see the misleading information can still end up investing in a bad stock or dumping a good one.
My article would be an excellent fit in your Caveat Emptor section’s ongoing coverage of investment potholes. As is customary for that section, I will include a sidebar of ways you can protect yourself from Internet investment fraud. My advice will include: verifying any news through conventional sources, keeping an eye out for any unusual email from online newsletters, never trusting blind e-mails, and carefully watching or avoiding discussion boards altogether. The last point, that discussion boards rarely result in good investments, will also be a focus of the article. If you would like, this can also be turned into a sidebar.
In addition to the three sources above, I have access to dozens of other securities professionals, legal authorities and investors. I have been a professional investment counselor for the past fifteen years and was one of the earliest adopters of Internet trading. As a former state representative, I authored several investment fraud bills that are still on the Arizona law books. For the past two years I have written a weekly investment article for Phoenix Business Insider. I have also published investment-related articles in Worthwhile Investor, Smart Stock Analyst and Fund Advocate.
Enclosed are reprints of three of my recent articles covering investment and the Internet. These articles will demonstrate both my knowledge of the subject and my ability to convey that knowledge to the reader. Your readers need to know about this looming crisis and how it can affect their investment strategies. Please call my office to discuss any further details or resolve any questions. Thank you for your consideration.
Regards,
John Doe
Box 901010
Scottsdale, AZ
85528
408-101-0011
Enclosures:
Clips
SASE
http://www.fictionwriters.com/tips-query-letters.html
Query letters are a much-debated practice in the writing community. The majority of writers swear by them, but others feel they are a waste of time. There are many successful writers who stick to sending completed manuscripts or informal, ultra-brief queries. This practice has especially grown in the age of email, where a less formal writing style has taken root. See Bob Sassone’s article The Query Trap if you want to look further into that strategy.
Here are some advantages to writing a formal query letter:
* A well-written query letter helps prove to an editor that you are qualified to write the piece.
* Sending completed articles blindly can indicate to an editor that you either failed to sell the article before, are submitting an article that was not written specifically for their publication or are attempting to resell a previously published article.
* Short, informal queries will often go unread or will be given less weight by an editor if they are a stickler for the formal process.
* A formal, detailed query gives you the opportunity to do preliminary research for a piece that can then be quickly converted into an article.
* When submitting a query to an online publication, your query will look better than 90% of the other queries being submitted to that publication.
In the age of email, much can be said for the ability to quickly send off a brief query. This is very possible these days, and may result in more sales than writing a formal query for each publication you wish to write an article for. Still, if you want to impress an editor, online or otherwise, a formal, well-written query letter is a way to do it. Below is a point-by-point description of how to write a query letter.
Know your target
* Study any publication before you submit a query letter.
* Get writer’s guidelines for the publication if they are available.
* Study the publication’s masthead to identify the appropriate editor for your query. Do not rely on Writer’s Market. Editors change jobs frequently.
* You may send the same subject query to more than one publication, as long as they do not compete and you have taken the time to make sure the subject is appropriate for both publications.
Your query letter should have a professional look.
* There should be no spelling or grammar errors.
* Be sure to include the date on your letter. This can be important if you feel later on that your idea has been stolen.
* It should be addressed to the appropriate editor. Use their full name and do not use Mr. Mrs. or otherwise. The exception to this rule is Dr. or other professional title.
* The publication name and address should be correct.
* The salutation should be formal.
* If mailed, the paper and the letterhead should be clean and professional. Standard 8 1/2 x 11 inch paper should be used.
* Single-space your paragraphs and double-space between paragraphs.
* If mailed, the Query should include Self Addressed Stamped Envelope (SASE)so that the editor can return your article or reply to you conveniently.
* Include your name, postal address, email address and phone number in the letterhead or at the bottom of the letter.
Your query letter should be interesting
* Your query should introduce a fresh idea/topic/angle.
* The idea should be set off in the type so it is easily viewed.
* Your idea should be presented at the very beginning of your letter.
* Your lead-in should excite the editor.
Your query letter should be specific
* Keep your query letter to a single page in length.
* Lay out exactly what you intend to include and exclude from your article.
* Give a proposed article length. Round to the nearest 100 for under 2000 words and to nearest 500 for articles over that length. The length should be appropriate for that publication.
* Identify which section of the publication you believe your article fits within.
Your query letter should be persuasive
* Include writing samples that are appropriate to the publication, article topic, and writing style you believe the publication is looking for.
* Present any credentials or awards you have that show you are qualified to write, especially about this subject.
* Identify other similar publications that have published your work.
* Identify any sources you have that you feel would help persuade the editor.
* Your article should show why you are the best and only person to write this article for them.
* Close your letter with a phrase such as: “I look forward to hearing from you. Please write or call if you have any questions.”
Respond promptly when a query is accepted
* When an editor expresses interest in (solicits) your article, send it to them promptly. In your cover letter, remind them of their request.
* You do not need to enclose an SASE when sending your article.
What you should not do in your query letter
* Do not mention who has rejected the piece before.
* Do not include other people’s statements about your article.
* Do not tell the editor how long and hard you have been working on this article.
* Do not mention the assistance of others.
* Do not tell them that the piece still needs work.
* Do not request advice, comments, criticism or analysis.
* Do not talk about how thrilling it would be to be published.
* Do not include inappropriate or off-subject information about yourself.
* Do not discuss the rights you wish to sell.
* Do not discuss price or payment.
* Do not give your social security number.
* Do not give or discuss copyright information.
* Do not wear out your welcome by writing too much or failing to get to the point.
* Do not query without studying the publication enough to know whether your idea is appropriate.
* Do not waste your time querying an unreceptive editor over and over again.
* Do not present ideas for several different articles in the same letter. This can be done once you have established a rapport with an editor, but should not be done in a blind query.
* Do not use obscenities or inappropriate content.
* Do not send inappropriate, off-subject samples.
Sample Query Letter:
Max Swift
Securities Editor
Money Bucks Magazine
1010 E. 10200th Street
New York, NY
August 22, 2000
Dear Max Swift,
Proposed Article:
You’ve Got Fraud! How Internet con artists can crush your portfolio
Last Monday, the Enforcement Section of the Massachusetts Securities Division ordered a temporary cease and desist order against three men it accuses of manipulating the stock market by flooding Yahoo.com with tens of thousands of false and misleading statements about Biomatrix Inc (BXM.N) and Genzyme Corp (GENZ.O). This is the latest in a growing series of civil and criminal lawsuits against people who manipulate stocks through mass emails or in this case, by posting misleading statements on financial discussion boards. My article will detail the trend from the perspective of three people.
* A securities trader whose legitimate stock analysis email newsletter has contended with fake announcements by people who acquired his mailing list.
* A lawyer who represented a client in a case similar to the Massachusetts case.
* An investor who blames her loss of $70,000 in the stock market on fraudulent discussion-board posting.
In my article I will discuss the negative effects of fraud on investors and companies. I will also discuss how you can protect yourself from fraud. More importantly, I will show how you can be victimized by the trend even when you don’t receive a fraudulent email or read a misleading post. Because such fraud can cause an individual stock to both rise and fall dramatically, investors who never see the misleading information can still end up investing in a bad stock or dumping a good one.
My article would be an excellent fit in your Caveat Emptor section’s ongoing coverage of investment potholes. As is customary for that section, I will include a sidebar of ways you can protect yourself from Internet investment fraud. My advice will include: verifying any news through conventional sources, keeping an eye out for any unusual email from online newsletters, never trusting blind e-mails, and carefully watching or avoiding discussion boards altogether. The last point, that discussion boards rarely result in good investments, will also be a focus of the article. If you would like, this can also be turned into a sidebar.
In addition to the three sources above, I have access to dozens of other securities professionals, legal authorities and investors. I have been a professional investment counselor for the past fifteen years and was one of the earliest adopters of Internet trading. As a former state representative, I authored several investment fraud bills that are still on the Arizona law books. For the past two years I have written a weekly investment article for Phoenix Business Insider. I have also published investment-related articles in Worthwhile Investor, Smart Stock Analyst and Fund Advocate.
Enclosed are reprints of three of my recent articles covering investment and the Internet. These articles will demonstrate both my knowledge of the subject and my ability to convey that knowledge to the reader. Your readers need to know about this looming crisis and how it can affect their investment strategies. Please call my office to discuss any further details or resolve any questions. Thank you for your consideration.
Regards,
John Doe
Box 901010
Scottsdale, AZ
85528
408-101-0011
Enclosures:
Clips
SASE
Monday, May 3, 2010
Guided Style Analysis
For those of you who are ready to think about responding to your ISU novel, the assignment is posted here: Guided Style Analysis
Manuscript Formatting
Tuesday May 4th, 2010:
Today we will continue to peer edit and polish the final drafts of our sample chapters. We will also work together to ensure that we have completed the correct elements of manuscript formatting. Please ensure that you email yourself the most up to date copy of your sample chapter so that you may access it in Tuesday's class.
In addition, your sample chapters are due WEDNESDAY MAY 5th, 2010 - this is not an optional submission date. Please ensure you have completed your chapter by this point as you have had class time to complete the assignment.
Thank you in Advance!
Today we will continue to peer edit and polish the final drafts of our sample chapters. We will also work together to ensure that we have completed the correct elements of manuscript formatting. Please ensure that you email yourself the most up to date copy of your sample chapter so that you may access it in Tuesday's class.
In addition, your sample chapters are due WEDNESDAY MAY 5th, 2010 - this is not an optional submission date. Please ensure you have completed your chapter by this point as you have had class time to complete the assignment.
Thank you in Advance!
Thoughts on Technology
It was brought to my attention today that some of you do not have computers at home and are unable to check posts at your convenience. As much as I find this hard to believe because you all seem to know how to use the computers so well I can respect this circumstance. Also, I respect that you have work, and other commitments on a regular basis. However, so do teachers--they are human too. It is because of this that the minimum of one day advanced notice is all that can be promised and also because if this were a traditional classroom model there would be no technology and your success would be solely based on attendance (to receive instruction), participation in class, and your academic output.
I make a conscientious effort to ensure that all my posts are done a day in advance. However, concern was voiced over the issue of not knowing far enough in advance. For example today you were asked to bring a printed hard copy of your chapter in its current state for peer editing today. My first issue with this is is that the use of computer technology in the classroom is a privilege not a right. I indicated two or three times on Friday that hard copies should be brought to class for peer editing. Like any other class I mentioned this in class the Friday before the weekend. Unlike other classes you have been given the opportunity to track the schedule at home on the calendar. The calendar is kept up to date and informs you of assignments, things you need to bring to class and due dates.
I feel that it is more than fair to expect you to come to class on a daily basis as that is the purpose of an education. Many of you have to miss school due to extra-curriculars and personal needs and for those reasons we are lucky to have the computer link with this course.
As well due to the nature of this course, being a workshop course, I asked that you as students make your own goals and deadlines. You were given a calendar and asked to choose a day that worked best for yourself for conferencing and asked to pick a goal you knew you would likely be able to meet in that time frame.
Many students opted to not show up, or to do their conferences late. This exhibits poor planning and initiative, both of which are skills you will need to apply later in life. Also on Monday May 3rd when the peer editing process was being carried out, many of you simply chose not to come. If you have a legitimate excuse for being absent that is fine. However it is an important part of a workshop-based writing class to review works and modify them together.
I treat you with the utmost respect and give you the leeway I think you deserve as young adults to succeed in educating yourselves. However, I can only do so much, in the end the right to learn is yours, the right to succeed is what you make of it and the choices you make will reflect that.
As your teacher I hope only for success and not failure but I can only provide you with the tools and skills you need to achieve success on your own.
You will likely be given the opportunity to review the use of the computer in the classroom perhaps it is not the best option and we should go back to the traditional means of the pen and the pencil.
It is something to consider and the issues of this class will be directed towards the appropriate ears as this issue will not go left undiscussed. I will aim to address your concerns in the future.
I make a conscientious effort to ensure that all my posts are done a day in advance. However, concern was voiced over the issue of not knowing far enough in advance. For example today you were asked to bring a printed hard copy of your chapter in its current state for peer editing today. My first issue with this is is that the use of computer technology in the classroom is a privilege not a right. I indicated two or three times on Friday that hard copies should be brought to class for peer editing. Like any other class I mentioned this in class the Friday before the weekend. Unlike other classes you have been given the opportunity to track the schedule at home on the calendar. The calendar is kept up to date and informs you of assignments, things you need to bring to class and due dates.
I feel that it is more than fair to expect you to come to class on a daily basis as that is the purpose of an education. Many of you have to miss school due to extra-curriculars and personal needs and for those reasons we are lucky to have the computer link with this course.
As well due to the nature of this course, being a workshop course, I asked that you as students make your own goals and deadlines. You were given a calendar and asked to choose a day that worked best for yourself for conferencing and asked to pick a goal you knew you would likely be able to meet in that time frame.
Many students opted to not show up, or to do their conferences late. This exhibits poor planning and initiative, both of which are skills you will need to apply later in life. Also on Monday May 3rd when the peer editing process was being carried out, many of you simply chose not to come. If you have a legitimate excuse for being absent that is fine. However it is an important part of a workshop-based writing class to review works and modify them together.
I treat you with the utmost respect and give you the leeway I think you deserve as young adults to succeed in educating yourselves. However, I can only do so much, in the end the right to learn is yours, the right to succeed is what you make of it and the choices you make will reflect that.
As your teacher I hope only for success and not failure but I can only provide you with the tools and skills you need to achieve success on your own.
You will likely be given the opportunity to review the use of the computer in the classroom perhaps it is not the best option and we should go back to the traditional means of the pen and the pencil.
It is something to consider and the issues of this class will be directed towards the appropriate ears as this issue will not go left undiscussed. I will aim to address your concerns in the future.
Sunday, May 2, 2010
Peer Editing:
Monday May 3rd, 2010:
Today...
You need to bring with you a hard copy of your sample chapters or you will be asked to print them in the library. We will be completing a peer editing exercise.
http://www.ccc.commnet.edu/writing/symbols.htm
Thanks in Advance,
Miss S.
Today...
You need to bring with you a hard copy of your sample chapters or you will be asked to print them in the library. We will be completing a peer editing exercise.
http://www.ccc.commnet.edu/writing/symbols.htm
Thanks in Advance,
Miss S.
Friday, April 30, 2010
Missed Conferences:
Taking Responsibility For Your Education:
If you miss your conferences you lose 2% a day. Up to 10% at which point I will remove 5% a day.
I have yet to meet with:
Ed
Trish
Courtney
If you are not prepared to conference on Monday you will receive a zero.
A final reminder, your sample chapters are due Wednesday May 5th, 2010 (no exceptions unless you have a medical note as this is a summative evaluation).
Monday we will be working in class with your chapters so please bring a printed hardcopy!
Have a great weekend!
If you miss your conferences you lose 2% a day. Up to 10% at which point I will remove 5% a day.
I have yet to meet with:
Ed
Trish
Courtney
If you are not prepared to conference on Monday you will receive a zero.
A final reminder, your sample chapters are due Wednesday May 5th, 2010 (no exceptions unless you have a medical note as this is a summative evaluation).
Monday we will be working in class with your chapters so please bring a printed hardcopy!
Have a great weekend!
Thursday, April 29, 2010
Friday April 30th, 2010
Today:
More conferences....
Trish
Courtney
Rosie
Ed
Also.... a fun fact....your sample chapters are due this Wednesday.... May 5th 2010 just something to think about....
You have had so much class time to write so I assume most of you are ready to format on Tuesday!
Have a great weekend!
More conferences....
Trish
Courtney
Rosie
Ed
Also.... a fun fact....your sample chapters are due this Wednesday.... May 5th 2010 just something to think about....
You have had so much class time to write so I assume most of you are ready to format on Tuesday!
Have a great weekend!
Wednesday, April 28, 2010
Sample Fiction:
Thursday April 29th, 2010:
Sample Fiction
Foxfire: Confessions of a Girl Gang By Joyce Carol Oates
"In a small town in upstate New York, during the 1950's a group of teenage girls realize that the odds in life are stacked against them. They come from low income families, and are treated poorly by the men, who seem to run the world.
However, one girl, "Legs" Sandovsky decides to fight back. Seeing the special treatment that male gangs receive from society and the law, Legs decides to form an all female gang, called Foxfire. In this gangs, girls find protection, companionship, and love, something they are denied in their own homes.
Though Legs leads the gang, she is not a writer, so she appoints gang member Mattie Wurtz to chronicle the adventures of Foxfire. This chronicle depicts the adventures of Foxfire as they attempt to change their lot in life. These attempts lead them to conflict with the law, their families and occasionally each other".
Sample Fiction
Foxfire: Confessions of a Girl Gang By Joyce Carol Oates
"In a small town in upstate New York, during the 1950's a group of teenage girls realize that the odds in life are stacked against them. They come from low income families, and are treated poorly by the men, who seem to run the world.
However, one girl, "Legs" Sandovsky decides to fight back. Seeing the special treatment that male gangs receive from society and the law, Legs decides to form an all female gang, called Foxfire. In this gangs, girls find protection, companionship, and love, something they are denied in their own homes.
Though Legs leads the gang, she is not a writer, so she appoints gang member Mattie Wurtz to chronicle the adventures of Foxfire. This chronicle depicts the adventures of Foxfire as they attempt to change their lot in life. These attempts lead them to conflict with the law, their families and occasionally each other".
Sample Fiction
Wednesday April 28th, 2010:
Sample Fiction:
Geek Love By Katherine Dunn
Sample Fiction:
Geek Love By Katherine Dunn
The novel is the story of a traveling carnival run by Aloysius "Al" Binewski and his wife "Crystal" Lil. When the business begins to fail, the couple devise an idea to breed their own freak show, using various drugs and radioactive material to alter the genes of their children. Who emerges are Arturo ("Arty"), a boy with flippers for hands and feet; Electra ("Elly") and Iphigenia ("Iphy"), the Siamese Twins; Olympia ("Oly"), the hunchback albino dwarf; and Fortunato ("Chick"), the normal-looking telekinetic baby of the family, as well as a number of stillborns kept preserved in jars in a special wing of the freak show.
Oly tells the story of her family in the form of a novel written for her daughter Miranda.
Plot summary
Two time periods are covered: the first deals with the Binewski children's constant vicious struggle against each other through life. They especially have to deal with Arty as he develops his own cult: Arturism. Arturism involves members having their limbs amputated so that they can be like Arty, the cult leader, in their search for the principle he calls PIP ("Peace, Isolation, Purity"). Each member moves up in stages, losing increasingly significant chunks of their limbs, starting with their toes and fingers. As Arty battles his siblings to maintain control over his followers, competition between their respective freak shows slowly begins to take over their lives.
The second story is set in the present and is centered on Oly's daughter, Miranda. In her early twenties, Miranda does not know Oly is her mother. She lives on a trust fund created by Oly before she gave up her daughter to be raised by nuns. This had been urged by her brother Arturo, who was also Miranda's father (via Chick's telekinesis.) Oly lives in the same rooming house as Miranda so she can "spy" on her. Miranda has a special defect of her own, a small tail, which she flaunts at a local fetish strip club. There she meets Mary Lick, who tries to convince her to have the tail cut off. Lick is a wealthy woman who pays poor but attractive women to get disfiguring operations so they may live up to their potential instead of becoming sex objects. Oly plans to stop Lick in order to protect her daughter.
Monday, April 26, 2010
Sample Fiction
Tuesday April 27th, 2010:
"The Afterlife of George Cartwright" by John Steffler
Diary Narratives: The first person
Conferences:
Rosie (missed yesterday)
Ed (still waiting)
Chelsea
Brittany
"The Afterlife of George Cartwright" by John Steffler
Diary Narratives: The first person
John Steffler
McClelland & Stewart
John Steffler, in The Afterlife of George Cartwright (McClelland & Stewart) goes after the big stuff in a richly imagined account of an eighteenth-century Englishman who sets up in business in Labrador. There is some terrific writing and real imagining in here, and with this book Labrador might be said to enter into literature—but for one, very nearly fatal, flaw: the central device in the story is the ghost of Cartwright himself, riding around modern England like Ichabod Crane's headless horseman, trying to remember the past. Corny, pompous and very embarrassing.Conferences:
Rosie (missed yesterday)
Ed (still waiting)
Chelsea
Brittany
Fiction Samples
Monday April 26th, 2010:
Looking at Complicity by Iain Banks...
Involvement; connection; liability - Complicity is a stunning exploration of the morality of greed, corruption and violence, venturing fearlessly into the darker recesses of human purpose.
Significant sections of the novel are written in second-person narrative.
Pg's 54 - 60
Conferences:
Rosie
Whitney
Ed
Looking at Complicity by Iain Banks...
Involvement; connection; liability - Complicity is a stunning exploration of the morality of greed, corruption and violence, venturing fearlessly into the darker recesses of human purpose.
Significant sections of the novel are written in second-person narrative.
Pg's 54 - 60
Conferences:
Rosie
Whitney
Ed
Thursday, April 22, 2010
Journals are Due!
Friday April 23, 2010:
1. Your Journals are DUE TODAY! No excuses.... seriously, none.
2. Conferences: Ed and Christilynn, you need to be prepared and have your set number of pages written as well as have any changes to your outlines to show me and two questions that are thought provoking and prove that you have spent some time analyzing throughout the writing process and are looking for sincere feedback.
3. You need to bring with you your ISU novels today.... PLEASE.
4. Workshop
That is all for today, have a great weekend!
1. Your Journals are DUE TODAY! No excuses.... seriously, none.
2. Conferences: Ed and Christilynn, you need to be prepared and have your set number of pages written as well as have any changes to your outlines to show me and two questions that are thought provoking and prove that you have spent some time analyzing throughout the writing process and are looking for sincere feedback.
3. You need to bring with you your ISU novels today.... PLEASE.
4. Workshop
That is all for today, have a great weekend!
Thursday April 22, 2010
Today is Earth Day!
However, as a class you voted to have a regular class this period so I showed up prepared to teach you. The majority of you opted to not show up at all even to have your attendance taken and kindly ask if you could re-locate.
Needless to say I am more than slightly disappointed with the disrespect. If you ask me to have a regular class on the day you have a choice in the very least it would be nice if you would come and tell me that you have chosen to not participate. I show you all significant amounts of respect on a regular basis and would appreciate your respect in return.
On that note, Arpita you had scheduled your conference date as today... we will have to make alternative arrangements as it is not acceptable to simply opt out of this activity. It is graded as a part of your mark for this unit. Let that be a message to the rest of you if you KNOW that you cannot make it to your conference date ahead of time you need to reschedule it in order to not be penalized academically.
Furthermore, your journals are due tomorrow FRIDAY APRIL 23, 2010 if your journal is not in by 4pm it will not be getting marked.
Journal Entry:
Please title your journal entry "A Piece of Fiction - name" (do not put name, put your name whatever it may be for example if it were me writing a journal I would title it "A Piece of Fiction - Miss. Storkey) some of you are wise guys...
Then proceed to journal about the following topic:
Is fiction easier or harder to write than reality or an autobiography and why? Reflect on your own process and challenges you have already faced or can foresee facing in the future while writing your fiction.
Length: You should aim to write 500 words or more please.
That is all....
Have a great Earth Day!
However, as a class you voted to have a regular class this period so I showed up prepared to teach you. The majority of you opted to not show up at all even to have your attendance taken and kindly ask if you could re-locate.
Needless to say I am more than slightly disappointed with the disrespect. If you ask me to have a regular class on the day you have a choice in the very least it would be nice if you would come and tell me that you have chosen to not participate. I show you all significant amounts of respect on a regular basis and would appreciate your respect in return.
On that note, Arpita you had scheduled your conference date as today... we will have to make alternative arrangements as it is not acceptable to simply opt out of this activity. It is graded as a part of your mark for this unit. Let that be a message to the rest of you if you KNOW that you cannot make it to your conference date ahead of time you need to reschedule it in order to not be penalized academically.
Furthermore, your journals are due tomorrow FRIDAY APRIL 23, 2010 if your journal is not in by 4pm it will not be getting marked.
Journal Entry:
Please title your journal entry "A Piece of Fiction - name" (do not put name, put your name whatever it may be for example if it were me writing a journal I would title it "A Piece of Fiction - Miss. Storkey) some of you are wise guys...
Then proceed to journal about the following topic:
Is fiction easier or harder to write than reality or an autobiography and why? Reflect on your own process and challenges you have already faced or can foresee facing in the future while writing your fiction.
Length: You should aim to write 500 words or more please.
That is all....
Have a great Earth Day!
Wednesday, April 21, 2010
For Your Enjoyment...
I thought you might appreciate the following imitation poem. It was composed by Matt Brockwell after a little slip during his poetry presentation. If you don't know Matt, his fro is quite impressive.
A Poison Tree
by William Blake
I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I watered it in fears,
Night and morning with my tears;
And I sunned it with smiles,
And with soft deceitful wiles.
And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine.
And he knew that it was mine,
And into my garden stole
When the night had veiled the pole;
In the morning glad I see
My foe outstretched beneath the tree.
The Poison Fro
by Matt Brockwell
You’re angry at a split end
You cut it off, and it will mend
I am angry at my fro
I cut it not, and watch it grow
And I get my share of jeers
As if it had grown for years
I watched it grow for miles
And was left with few hairstyles.
So it grew with all its might
And it became quite a sight
It began to look like twine
I needed a new design
So I came up with a goal
And from there I took control;
The next day, my class did see
A buzzed head belonging to me
By: Matt Brockwell
A Poison Tree
by William Blake
I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I watered it in fears,
Night and morning with my tears;
And I sunned it with smiles,
And with soft deceitful wiles.
And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine.
And he knew that it was mine,
And into my garden stole
When the night had veiled the pole;
In the morning glad I see
My foe outstretched beneath the tree.
The Poison Fro
by Matt Brockwell
You’re angry at a split end
You cut it off, and it will mend
I am angry at my fro
I cut it not, and watch it grow
And I get my share of jeers
As if it had grown for years
I watched it grow for miles
And was left with few hairstyles.
So it grew with all its might
And it became quite a sight
It began to look like twine
I needed a new design
So I came up with a goal
And from there I took control;
The next day, my class did see
A buzzed head belonging to me
By: Matt Brockwell
Monday, April 19, 2010
Simple vs. Compound Sentences & A Journal Topic:
Tuesday April 20th, 2010:
Simple vs. Compound Sentences:
Try using a variety of basic sentence structures. We can categorize sentences into four main types, depending on the number and type of clauses they contain:
Simple (one independent clause):
We drove from Connecticut to Tennessee in one day.
Compound (more than one independent clause):
We were exhausted, but we arrived in time for my father's birthday party.
Complex (one independent clause and at least one dependent clause):
Although he is now 79 years old, he still claims to be 65.
Compound-complex (more than one independent clause and at least one dependent clause):
After it was all over, my dad claimed he knew we were planning something, but we think he was really surprised.
An independent clause (or main clause) is a clause that can stand by itself, also known as a simple sentence. An independent clause contains a subject and a predicate; it makes sense by itself.
A dependent clause (or subordinate clause) cannot stand alone as a sentence. A dependent clause is usually attached to an independent clause. Although a dependent clause contains a subject and a predicate, it sounds incomplete when standing alone.
Food for Thought:
When writing try to vary your sentence structure, perhaps by character if you have a dim-witted character perhaps they speak in simple sentences. However, you may have a character that is gaining knowledge and becoming self-enlightened in this instance we might see their speech grow over the course of the novel. Finally, perhaps you have a wise man or woman who is older and that too can be reflected in the complexity of their tone and your effective placement of compound and complex sentences.
-------------------------------------------------------------------------------------------------
Journal Entry:
Please title your journal entry "A Piece of Fiction - name" (do not put name, put your name whatever it may be for example if it were me writing a journal I would title it "A Piece of Fiction - Miss. Storkey) some of you are wise guys...
Then proceed to journal about the following topic:
Is fiction easier or harder to write than reality or an autobiography and why? Reflect on your own process and challenges you have already faced or can foresee facing in the future while writing your fiction.
Length: You should aim to write 500 words or more please.
Your journal will be due this Friday April 23, no excuses I don't feel like I am asking all that much of you!
Some of you have multiple blogs etc. because I am new to this and you have all watched my struggles and plights when it comes to this thing we call "blogging" please be so kind as to direct me in class at some point as to where I can find said journal that you will be writing for me. I would hate to mistakenly give someone a zero due to my lack of technical know how.
Also, some of you have conferences at the end of this week if that someone is you then you may want to ensure you are writing enough to meet your page goals; if you need to be reminded about what goal you set for yourself please take it upon yourself to ask me.
That is all for today!
Simple vs. Compound Sentences:
Try using a variety of basic sentence structures. We can categorize sentences into four main types, depending on the number and type of clauses they contain:
Simple (one independent clause):
We drove from Connecticut to Tennessee in one day.
Compound (more than one independent clause):
We were exhausted, but we arrived in time for my father's birthday party.
Complex (one independent clause and at least one dependent clause):
Although he is now 79 years old, he still claims to be 65.
Compound-complex (more than one independent clause and at least one dependent clause):
After it was all over, my dad claimed he knew we were planning something, but we think he was really surprised.
An independent clause (or main clause) is a clause that can stand by itself, also known as a simple sentence. An independent clause contains a subject and a predicate; it makes sense by itself.
A dependent clause (or subordinate clause) cannot stand alone as a sentence. A dependent clause is usually attached to an independent clause. Although a dependent clause contains a subject and a predicate, it sounds incomplete when standing alone.
Food for Thought:
When writing try to vary your sentence structure, perhaps by character if you have a dim-witted character perhaps they speak in simple sentences. However, you may have a character that is gaining knowledge and becoming self-enlightened in this instance we might see their speech grow over the course of the novel. Finally, perhaps you have a wise man or woman who is older and that too can be reflected in the complexity of their tone and your effective placement of compound and complex sentences.
-------------------------------------------------------------------------------------------------
Journal Entry:
Please title your journal entry "A Piece of Fiction - name" (do not put name, put your name whatever it may be for example if it were me writing a journal I would title it "A Piece of Fiction - Miss. Storkey) some of you are wise guys...
Then proceed to journal about the following topic:
Is fiction easier or harder to write than reality or an autobiography and why? Reflect on your own process and challenges you have already faced or can foresee facing in the future while writing your fiction.
Length: You should aim to write 500 words or more please.
Your journal will be due this Friday April 23, no excuses I don't feel like I am asking all that much of you!
Some of you have multiple blogs etc. because I am new to this and you have all watched my struggles and plights when it comes to this thing we call "blogging" please be so kind as to direct me in class at some point as to where I can find said journal that you will be writing for me. I would hate to mistakenly give someone a zero due to my lack of technical know how.
Also, some of you have conferences at the end of this week if that someone is you then you may want to ensure you are writing enough to meet your page goals; if you need to be reminded about what goal you set for yourself please take it upon yourself to ask me.
That is all for today!
Sunday, April 18, 2010
Hand Back Outlines & Conferences
Monday April 19th, 2010
Today:
1. I will hand back your marked outlines and meet with you individually about any questions or concerns I may have (this process could take two days...).
2. While I am meeting with other students you will be asked to proceed with writing your chapter, I will do my best to complete the conferences and hand back the outlines in a timely fashion so you can have my feedback.
3. You need to set a time line for yourselves and get writing. You must reach the goals you set out to achieve by your conference dates and the chapter itself is due MAY 5th. There is not a whole lot of time to be wasted. The more time you waste that is provided in class to work on this the more time I will start using towards teaching you new things and you will have to complete the writing process at home. Also, keep in mind, May 5th is the due date for the good copy so if we are going to use class time for peer editing you need to have written the chapter prior to that date.
4. I hope you all had a lovely weekend.
That is all!
Today:
1. I will hand back your marked outlines and meet with you individually about any questions or concerns I may have (this process could take two days...).
2. While I am meeting with other students you will be asked to proceed with writing your chapter, I will do my best to complete the conferences and hand back the outlines in a timely fashion so you can have my feedback.
3. You need to set a time line for yourselves and get writing. You must reach the goals you set out to achieve by your conference dates and the chapter itself is due MAY 5th. There is not a whole lot of time to be wasted. The more time you waste that is provided in class to work on this the more time I will start using towards teaching you new things and you will have to complete the writing process at home. Also, keep in mind, May 5th is the due date for the good copy so if we are going to use class time for peer editing you need to have written the chapter prior to that date.
4. I hope you all had a lovely weekend.
That is all!
Friday, April 16, 2010
Standard Manuscript Format
Friday's Class:
Looking at manuscripts...see the hard copy handout. We will go through a variety of expectations that I expect to see in the final drafts of your sample chapters. There are examples and I feel I would do this subject a greater justice if we went through them on paper. However, I know how you feel about paper and we can leave them in the classroom to refer to during work shop/writing time.
Peer Editing/Conferencing Activity:
Reflection on the Peer Activity Process: You will find the blog link on the calendar or directly below this post.
If I have time and the courage I will bring in some of my own work to read to you, perhaps you will find me inspiring.
Looking at manuscripts...see the hard copy handout. We will go through a variety of expectations that I expect to see in the final drafts of your sample chapters. There are examples and I feel I would do this subject a greater justice if we went through them on paper. However, I know how you feel about paper and we can leave them in the classroom to refer to during work shop/writing time.
Peer Editing/Conferencing Activity:
Reflection on the Peer Activity Process: You will find the blog link on the calendar or directly below this post.
If I have time and the courage I will bring in some of my own work to read to you, perhaps you will find me inspiring.
Metacognition: Peer Editing Sessions:
Friday April 1th 2010:
Please answer the following:
Peer Editing/Conferencing
1. Was this process helpful?
2. Did you like how you went from pairs to groups of 3 or 4?
3. Did you find that more heads are better than one? (By that I mean did you gain any valuable insight from completing this process? Was the feedback they gave you helpful?)
4. Would you like to have another peer-conferencing session?
5. How would you feel about "free writing", meaning that you would allow someone else to write within the body of your work, adding their sporadic thoughts and ideas? You are able to delete what they write if none of it of use to you, or you can adapt it and make use of various sections of the work?
6. On a scale of 1 - 10 (10 being most willing) how willing would you be to try this out?
- Thank you for your input I will consider your answers in my future planning processes.
Please answer the following:
Peer Editing/Conferencing
1. Was this process helpful?
2. Did you like how you went from pairs to groups of 3 or 4?
3. Did you find that more heads are better than one? (By that I mean did you gain any valuable insight from completing this process? Was the feedback they gave you helpful?)
4. Would you like to have another peer-conferencing session?
5. How would you feel about "free writing", meaning that you would allow someone else to write within the body of your work, adding their sporadic thoughts and ideas? You are able to delete what they write if none of it of use to you, or you can adapt it and make use of various sections of the work?
6. On a scale of 1 - 10 (10 being most willing) how willing would you be to try this out?
- Thank you for your input I will consider your answers in my future planning processes.
Thursday, April 15, 2010
Outline Requirements
Please include all of the following criteria in your Chapter Outline to be evaluated:
The Task: is your outline a full 3-4 pages?
• Does it indicate that you have put both time and effort into the planning process prior to beginning to write your novel?
/2
Is each section of your outline clearly labelled?
• Headings should include: Overview (this includes the genre and a brief plot synopsis), Character Descriptions (both inner and outer character traits, Setting (how does the setting connect to the plot and themes), Point of View (present, past or future tense; first second, or third person – please indicate why you made the choices you did), Chapter Outlines, Focus Chapter (with the title), Bonus: Literary Device/Element.
/7
Overview: is clear and easy to understand? (approximately one paragraph long) /2
Character Descriptions: do you have 3 – 4 (Maximum) with a paragraph for each person describing their traits?
• For minor character just indicate their name and their relation to the main character or role within the novel. Ex: Judy – Tiffany’s (main character’s) absent mother.
/2
Setting: time and place as well as how the setting connects to plot and themes /2
Point of View: clear and well described, good reason and connections made to the choices the author has selected. /2
Chapter Outlines: The plot shows chronological development, the chapters are well thought out and placed and show hot the story will develop. 1 -4 Sentences depending on the length of the chapter.
/5
Focus Chapter: indicate which chapter (s) you will be developing fully. Briefly summarize this chapter and describe in a secondary paragraph why you chose to write this chapter. /5
Title: create and include in the outline a working title for your fiction. This is subject to change as that is common with the writing process but I would like you to come up with an idea and present it to me at this point.
/1
Bonus: What literary element (s) do you think you will include in your writing.
• List the element and describe how it will be used to contribute to your story. /2
Total: /30
Comments:
The Task: is your outline a full 3-4 pages?
• Does it indicate that you have put both time and effort into the planning process prior to beginning to write your novel?
/2
Is each section of your outline clearly labelled?
• Headings should include: Overview (this includes the genre and a brief plot synopsis), Character Descriptions (both inner and outer character traits, Setting (how does the setting connect to the plot and themes), Point of View (present, past or future tense; first second, or third person – please indicate why you made the choices you did), Chapter Outlines, Focus Chapter (with the title), Bonus: Literary Device/Element.
/7
Overview: is clear and easy to understand? (approximately one paragraph long) /2
Character Descriptions: do you have 3 – 4 (Maximum) with a paragraph for each person describing their traits?
• For minor character just indicate their name and their relation to the main character or role within the novel. Ex: Judy – Tiffany’s (main character’s) absent mother.
/2
Setting: time and place as well as how the setting connects to plot and themes /2
Point of View: clear and well described, good reason and connections made to the choices the author has selected. /2
Chapter Outlines: The plot shows chronological development, the chapters are well thought out and placed and show hot the story will develop. 1 -4 Sentences depending on the length of the chapter.
/5
Focus Chapter: indicate which chapter (s) you will be developing fully. Briefly summarize this chapter and describe in a secondary paragraph why you chose to write this chapter. /5
Title: create and include in the outline a working title for your fiction. This is subject to change as that is common with the writing process but I would like you to come up with an idea and present it to me at this point.
/1
Bonus: What literary element (s) do you think you will include in your writing.
• List the element and describe how it will be used to contribute to your story. /2
Total: /30
Comments:
Wednesday, April 14, 2010
Word Processing:
Word Processing :
Using a computer to create, edit, and print documents. Of all computer applications, word processing is the most common. To perform word processing, you need a computer, a special program called a word processor, and a printer. A word processor enables you to create a document, store it electronically on a disk, display it on a screen, modify it by entering commands and characters from the keyboard, and print it on a printer.
The great advantage of word processing over using a typewriter is that you can make changes without retyping the entire document. If you make a typing mistake, you simply back up the cursor and correct your mistake. If you want to delete a paragraph, you simply remove it, without leaving a trace. It is equally easy to insert a word, sentence, or paragraph in the middle of a document. Word processors also make it easy to move sections of text from one place to another within a document, or between documents. When you have made all the changes you want, you can send the file to a printer to get a hardcopy.
Word processors vary considerably, but all word processors support the following basic features:
• insert text: Allows you to insert text anywhere in the document.
• delete text: Allows you to erase characters, words, lines, or pages as easily as you can cross them out on paper.
• cut and paste: Allows you to remove (cut) a section of text from one place in a document and insert (paste) it somewhere else.
• copy: Allows you to duplicate a section of text.
• page size and margins: Allows you to define various page sizes and margins, and the word processor will automatically readjust the text so that it fits.
• search and replace: Allows you to direct the word processor to search for a particular word or phrase. You can also direct the word processor to replace one group of characters with another everywhere that the first group appears.
• word wrap: The word processor automatically moves to the next line when you have filled one line with text, and it will readjust text if you change the margins.
• print: Allows you to send a document to a printer to get hardcopy.
Word processors that support only these features (and maybe a few others) are called text editors.
Most word processors, however, support additional features that enable you to manipulate and format documents in more sophisticated ways. These more advanced word processors are sometimes called full-featured word processors. Full-featured word processors usually support the following features:
• file management: Many word processors contain file management capabilities that allow you to create, delete, move, and search for files.
• font specifications: Allows you to change fonts within a document. For example, you can specify bold, italics, and underlining. Most word processors also let you change the font size and even the typeface.
• footnotes and cross-references: Automates
the numbering and placement of footnotes and enables you to easily cross-reference other sections of the document.
• graphics graphics: Allows you to embed illustrations and graphs into a document. Some word processors let you create the illustrations within the word processor; others let you insert an illustration produced by a different program.
• headers , footers , and page numbering: Allows you to specify customized headers and footers that the word processor will put at the top and bottom of every page. The word processor automatically keeps track of page numbers so that the correct number appears on each page.
• layout: Allows you to specify different margins within a single document and to specify various methods for indenting paragraphs.
• macros: A macro is a character or word that represents a series of keystrokes. The keystrokes can represent text or commands. The ability to define macros allows you to save yourself a lot of time by replacing common combinations of keystrokes.
• merges: Allows you to merge text from one file into another file. This is particularly useful for generating many files that have the same format but different data. Generating mailing labels is the classic example of using merges.
• spell checker: A utility that allows you to check the spelling of words. It will highlight any words that it does not recognize.
• tables of contents and indexes: Allows you to automatically create a table of contents and index based on special codes that you insert in the document.
• thesaurus: A built-in thesaurus that allows you to search for synonyms without leaving the word processor.
• windows: Allows you to edit two or more documents at the same time. Each document appears in a separate window. This is particularly valuable when working on a large project that consists of several different files.
• WYSIWYG (what you see is what you get): With WYSIWYG, a document appears on the display screen exactly as it will look when printed.
There are numerous word processing software's:
1. Microsoft Word (I am most competent with this software, an version after 1997 up until 2010).
2. Open Office.
3. Word Perfect (This program is finicky when it comes to manuscripts).
4. Google Documents (slightly less flexible).
5. Notepad (does not provide many formatting options or word wrap).
Any other questions about formatting please comment on this blog and I will try to answer your questions quickly and efficiently.
Using a computer to create, edit, and print documents. Of all computer applications, word processing is the most common. To perform word processing, you need a computer, a special program called a word processor, and a printer. A word processor enables you to create a document, store it electronically on a disk, display it on a screen, modify it by entering commands and characters from the keyboard, and print it on a printer.
The great advantage of word processing over using a typewriter is that you can make changes without retyping the entire document. If you make a typing mistake, you simply back up the cursor and correct your mistake. If you want to delete a paragraph, you simply remove it, without leaving a trace. It is equally easy to insert a word, sentence, or paragraph in the middle of a document. Word processors also make it easy to move sections of text from one place to another within a document, or between documents. When you have made all the changes you want, you can send the file to a printer to get a hardcopy.
Word processors vary considerably, but all word processors support the following basic features:
• insert text: Allows you to insert text anywhere in the document.
• delete text: Allows you to erase characters, words, lines, or pages as easily as you can cross them out on paper.
• cut and paste: Allows you to remove (cut) a section of text from one place in a document and insert (paste) it somewhere else.
• copy: Allows you to duplicate a section of text.
• page size and margins: Allows you to define various page sizes and margins, and the word processor will automatically readjust the text so that it fits.
• search and replace: Allows you to direct the word processor to search for a particular word or phrase. You can also direct the word processor to replace one group of characters with another everywhere that the first group appears.
• word wrap: The word processor automatically moves to the next line when you have filled one line with text, and it will readjust text if you change the margins.
• print: Allows you to send a document to a printer to get hardcopy.
Word processors that support only these features (and maybe a few others) are called text editors.
Most word processors, however, support additional features that enable you to manipulate and format documents in more sophisticated ways. These more advanced word processors are sometimes called full-featured word processors. Full-featured word processors usually support the following features:
• file management: Many word processors contain file management capabilities that allow you to create, delete, move, and search for files.
• font specifications: Allows you to change fonts within a document. For example, you can specify bold, italics, and underlining. Most word processors also let you change the font size and even the typeface.
• footnotes and cross-references: Automates
the numbering and placement of footnotes and enables you to easily cross-reference other sections of the document.
• graphics graphics: Allows you to embed illustrations and graphs into a document. Some word processors let you create the illustrations within the word processor; others let you insert an illustration produced by a different program.
• headers , footers , and page numbering: Allows you to specify customized headers and footers that the word processor will put at the top and bottom of every page. The word processor automatically keeps track of page numbers so that the correct number appears on each page.
• layout: Allows you to specify different margins within a single document and to specify various methods for indenting paragraphs.
• macros: A macro is a character or word that represents a series of keystrokes. The keystrokes can represent text or commands. The ability to define macros allows you to save yourself a lot of time by replacing common combinations of keystrokes.
• merges: Allows you to merge text from one file into another file. This is particularly useful for generating many files that have the same format but different data. Generating mailing labels is the classic example of using merges.
• spell checker: A utility that allows you to check the spelling of words. It will highlight any words that it does not recognize.
• tables of contents and indexes: Allows you to automatically create a table of contents and index based on special codes that you insert in the document.
• thesaurus: A built-in thesaurus that allows you to search for synonyms without leaving the word processor.
• windows: Allows you to edit two or more documents at the same time. Each document appears in a separate window. This is particularly valuable when working on a large project that consists of several different files.
• WYSIWYG (what you see is what you get): With WYSIWYG, a document appears on the display screen exactly as it will look when printed.
There are numerous word processing software's:
1. Microsoft Word (I am most competent with this software, an version after 1997 up until 2010).
2. Open Office.
3. Word Perfect (This program is finicky when it comes to manuscripts).
4. Google Documents (slightly less flexible).
5. Notepad (does not provide many formatting options or word wrap).
Any other questions about formatting please comment on this blog and I will try to answer your questions quickly and efficiently.
Tuesday, April 13, 2010
Conferences:
This post is to remind you that: (your names will appear in green on the EWC calendar to tell you which day you chose for conferencing)
a.) You have to conference with me at some point, most of you have signed up if you have not you need to take it upon yourself to see me to see what times I have available.
b.) Remind you what you need to bring!
What you need to bring to your conference:
1. An updated copy of your outline if you make changes after Friday.
2. Your progress. You have to set a goal and reach it, on the date you sign up to conference you must have reached your goal and it must be realistic and serious. Your manuscript is expected to be 20 pages double spaced so depending on the day you choose for conference you need to consider how many pages you will have completed.
3. Two questions you have concerning your sample chapter, the process or any idea’s you might like to run by me.
- Good luck and happy writing!
Do not be afraid to come and talk to me during class time that is what I am here for and I am likely smarter than I look.
-Miss. Storkey
a.) You have to conference with me at some point, most of you have signed up if you have not you need to take it upon yourself to see me to see what times I have available.
b.) Remind you what you need to bring!
What you need to bring to your conference:
1. An updated copy of your outline if you make changes after Friday.
2. Your progress. You have to set a goal and reach it, on the date you sign up to conference you must have reached your goal and it must be realistic and serious. Your manuscript is expected to be 20 pages double spaced so depending on the day you choose for conference you need to consider how many pages you will have completed.
3. Two questions you have concerning your sample chapter, the process or any idea’s you might like to run by me.
- Good luck and happy writing!
Do not be afraid to come and talk to me during class time that is what I am here for and I am likely smarter than I look.
-Miss. Storkey
Monday, April 12, 2010
Narrative Point of View:
The narrative mode (also known as the mode of narration) is the set of methods the author of a literary, theatrical, cinematic, or musical story uses to convey the plot to the audience.
Narrative point of view:
Narrative point of view (also point-of-view or viewpoint) describes from which grammatical person's perspective of the story is perceived.
First-person view:
The first-person narrative makes it necessary that the narrator is also a character within his or her own story, so that the narrator reveals the plot by referring to this viewpoint character as "I" (or, when plural, "we"). Oftentimes, the first-person narrative is used as a way to directly convey the deeply internal, otherwise unspoken thoughts of the narrator. Frequently, the narrator's story revolves around him-/herself as the protagonist and allows this protagonist/narrator character's inner thoughts to be conveyed openly to the audience, even if not to any of the other characters. It also allows that character to be further developed through his/her own style in telling the story.
First-person narrations may be told like third-person ones, with a person experiencing the story without being aware that they are actually conveying their experiences to an audience; on the other hand, the narrator may be conscious of telling the story to a given audience, perhaps at a given place and time, for a given reason. In extreme cases, the first-person narration may be told as a story within a story, with the narrator appearing as a character in the story. First-person narration is used somewhat frequently. Although the first-person narrator is usually also the protagonist of his/her own story, this is not always true (for example in The Great Gatsby, by F. Scott Fitzgerald, the first-person narrator is Nick Carraway and not the title character Jay Gatsby himself).
The first-person narrator also may or may not be the focal character.
The narrator can be the protagonist (e.g., Gulliver in Gulliver's Travels), someone very close to him who is privy to his thoughts and actions (Dr. Watson in Sherlock Holmes), or an ancillary character who has little to do with the action of the story (the character Nick Carraway in The Great Gatsby).
A narrator can even be a character relating the story second-hand. The first person narrator is the type most obviously distinct from the author. It is a character in the work, who must follow all of the rules of being a character, even during its duties as narrator. For it to know anything, it must experience it with its senses, or be told about it. It can interject its own thoughts and opinions, but not those of any other character, unless clearly told about those thoughts.
Second-person view
Probably the rarest mode in literature (though quite common in song lyrics) is the second-person narrative mode, in which the narrator refers to one of the characters as "you", therefore making the audience member feel as if he or she is a character within the story. The second-person narrative mode is often paired with the first-person narrative mode in which the narrator makes emotional comparisons between the thoughts, actions, and feelings of "you" versus "I". Often the narrator is therefore also a character in his or her story, in which case it would technically still be employing the first-person narrative mode.
"You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say the terrain is entirely unfamiliar, although the details are fuzzy. You are at a nightclub talking to a girl with a shaved head. The club is either Heartbreak or the Lizard Lounge. All might become clear if you could just slip into the bathroom and do a little more Bolivian Marching Powder. Then again, it might not. A small voice inside you insists that this epidemic lack of clarity is a result of too much of that already."
Second-person narration can be a difficult style to manage. But when it is done well, this type of narration allows (or forces) the reader to imagine him or herself within the action of the novel. One possible (and frequently exploited) effect of the second-person is a strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”). This technique can also be used effectively to place the reader in unfamiliar, disturbing, or exciting situations. For example, in his novel Complicity, Iain Banks uses the second-person in the chapters dealing with the actions of a murderer.
Third-person view
Third-person narration provides the greatest flexibility to the author and thus is the most commonly used narrative mode in literature. In the third-person narrative mode, each and every character is referred to by the narrator as "he", "she", "it", or "they", but never as "I" or "we" (first-person), or "you" (second-person). In third-person narrative, it is necessary that the narrator is merely an unspecified entity or uninvolved person that conveys the story, but not a character of any kind within the story being told. Third-person singular (he/she) is overwhelmingly the most common type of third-person narrative, although there have been successful uses of the third-person plural (they), as in Maxine Swann's short story "Flower Children." Even more common, however, is to see singular and plural used together in one story, at different times, depending upon the number of people being referred to at a given moment in the plot. Sometimes in third-person narratives, a character would refer to himself in the third-person e.g., "(Character name) would like to come with you".
The third-person modes are usually categorized along two axes. The first is the subjectivity/objectivity axis, with "subjective" narration describing one or more character's feelings and thoughts, while "objective" narration does not describe the feelings or thoughts of any characters. The second axis is between "omniscient" and "limited," a distinction that refers to the knowledge available to the narrator. An omniscient narrator has omniscient knowledge of time, people, places and events; a limited narrator, in contrast, may know absolutely everything about a single character and every piece of knowledge in that character's mind, but it is "limited" to that character—that is, it cannot describe things unknown to the focal character.
Multiple-person view
Not too rare is the multiple person narrative mode. Sometimes, an author will use multiple narrators, usually all of them storytelling in the first person. In stories in which it is important to get different characters' views on a single matter, such as in mystery novels, multiple narrators may be developed. The use of multiple narrators also helps describe separate events that occur at the same time in different locations. William Faulkner's novels As I Lay Dying and The Sound and the Fury are told from multiple points of view, in the first and third person, respectively, although the latter uses a less conventional chronology.
Alternating person view
While the general rule is for novels to adopt a single approach to point of view throughout, there are exceptions. Many stories, especially in literature, alternate between the first and third person. In this case, an author will move back and forth between a more omniscient third-person narrator to a more personal first-person narrator. Often, a narrator using the first person will try to be more objective by also employing the third person for important action scenes, especially those in which he/she is not directly involved or in scenes where he/she is not present to have viewed the events in first person.
Narrative voice
The narrative voice describes how the story is conveyed (for example, by "viewing" a character's thought processes, by reading a letter written for someone, by a retelling of a character's experiences, etc.).
Stream-of-consciousness voice
A stream of consciousness gives the (almost always first-person) narrator's perspective by attempting to replicate the thought processes (as opposed to simply the actions and spoken words) of the narrative character. Often, interior monologues and inner desires or motivations, as well as pieces of incomplete thoughts, are expressed to the audience (but not necessarily to other characters). Examples include the multiple narrators' feelings in William Faulkner's The Sound and the Fury and As I Lay Dying, the character Offred's often fragmented thoughts in Margaret Atwood's The Handmaid's Tale, and the development of the narrator's nightmarish experience in Queen's hit song, Bohemian Rhapsody.
Narrative tense
The narrative tense or narrative time determines the grammatical tense of the story; whether in the past, present, or future.
Past tense
The most common in literature and story-telling; the events of the plot occurred sometime before the current moment or the time at which the narrative was constructed or expressed to an audience. (e.g. "They were going home. They had found their way and were ready to celebrate.")
Present tense
The events of the plot occur or are occurring now—at the current moment—in real-time. (e.g. "They go home. They find their way and are ready to celebrate.")
Future tense
Extremely rare in literature; the event of the plot will occur soon or eventually; often, these upcoming events are described in a way that makes it seem like the narrators uncannily know (or believe they know) the future. Some future-tense stories have a prophetic feel. (e.g. "They will be going home. They will have found their way and will be ready to celebrate.")
Examples:
“The Yellow Wallpaper” by Charlotte Perkins Gilman
1st person
“Animal Farm” by George Orwell
3rd person
Narrative point of view:
Narrative point of view (also point-of-view or viewpoint) describes from which grammatical person's perspective of the story is perceived.
First-person view:
The first-person narrative makes it necessary that the narrator is also a character within his or her own story, so that the narrator reveals the plot by referring to this viewpoint character as "I" (or, when plural, "we"). Oftentimes, the first-person narrative is used as a way to directly convey the deeply internal, otherwise unspoken thoughts of the narrator. Frequently, the narrator's story revolves around him-/herself as the protagonist and allows this protagonist/narrator character's inner thoughts to be conveyed openly to the audience, even if not to any of the other characters. It also allows that character to be further developed through his/her own style in telling the story.
First-person narrations may be told like third-person ones, with a person experiencing the story without being aware that they are actually conveying their experiences to an audience; on the other hand, the narrator may be conscious of telling the story to a given audience, perhaps at a given place and time, for a given reason. In extreme cases, the first-person narration may be told as a story within a story, with the narrator appearing as a character in the story. First-person narration is used somewhat frequently. Although the first-person narrator is usually also the protagonist of his/her own story, this is not always true (for example in The Great Gatsby, by F. Scott Fitzgerald, the first-person narrator is Nick Carraway and not the title character Jay Gatsby himself).
The first-person narrator also may or may not be the focal character.
The narrator can be the protagonist (e.g., Gulliver in Gulliver's Travels), someone very close to him who is privy to his thoughts and actions (Dr. Watson in Sherlock Holmes), or an ancillary character who has little to do with the action of the story (the character Nick Carraway in The Great Gatsby).
A narrator can even be a character relating the story second-hand. The first person narrator is the type most obviously distinct from the author. It is a character in the work, who must follow all of the rules of being a character, even during its duties as narrator. For it to know anything, it must experience it with its senses, or be told about it. It can interject its own thoughts and opinions, but not those of any other character, unless clearly told about those thoughts.
Second-person view
Probably the rarest mode in literature (though quite common in song lyrics) is the second-person narrative mode, in which the narrator refers to one of the characters as "you", therefore making the audience member feel as if he or she is a character within the story. The second-person narrative mode is often paired with the first-person narrative mode in which the narrator makes emotional comparisons between the thoughts, actions, and feelings of "you" versus "I". Often the narrator is therefore also a character in his or her story, in which case it would technically still be employing the first-person narrative mode.
"You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say the terrain is entirely unfamiliar, although the details are fuzzy. You are at a nightclub talking to a girl with a shaved head. The club is either Heartbreak or the Lizard Lounge. All might become clear if you could just slip into the bathroom and do a little more Bolivian Marching Powder. Then again, it might not. A small voice inside you insists that this epidemic lack of clarity is a result of too much of that already."
Second-person narration can be a difficult style to manage. But when it is done well, this type of narration allows (or forces) the reader to imagine him or herself within the action of the novel. One possible (and frequently exploited) effect of the second-person is a strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”). This technique can also be used effectively to place the reader in unfamiliar, disturbing, or exciting situations. For example, in his novel Complicity, Iain Banks uses the second-person in the chapters dealing with the actions of a murderer.
Third-person view
Third-person narration provides the greatest flexibility to the author and thus is the most commonly used narrative mode in literature. In the third-person narrative mode, each and every character is referred to by the narrator as "he", "she", "it", or "they", but never as "I" or "we" (first-person), or "you" (second-person). In third-person narrative, it is necessary that the narrator is merely an unspecified entity or uninvolved person that conveys the story, but not a character of any kind within the story being told. Third-person singular (he/she) is overwhelmingly the most common type of third-person narrative, although there have been successful uses of the third-person plural (they), as in Maxine Swann's short story "Flower Children." Even more common, however, is to see singular and plural used together in one story, at different times, depending upon the number of people being referred to at a given moment in the plot. Sometimes in third-person narratives, a character would refer to himself in the third-person e.g., "(Character name) would like to come with you".
The third-person modes are usually categorized along two axes. The first is the subjectivity/objectivity axis, with "subjective" narration describing one or more character's feelings and thoughts, while "objective" narration does not describe the feelings or thoughts of any characters. The second axis is between "omniscient" and "limited," a distinction that refers to the knowledge available to the narrator. An omniscient narrator has omniscient knowledge of time, people, places and events; a limited narrator, in contrast, may know absolutely everything about a single character and every piece of knowledge in that character's mind, but it is "limited" to that character—that is, it cannot describe things unknown to the focal character.
Multiple-person view
Not too rare is the multiple person narrative mode. Sometimes, an author will use multiple narrators, usually all of them storytelling in the first person. In stories in which it is important to get different characters' views on a single matter, such as in mystery novels, multiple narrators may be developed. The use of multiple narrators also helps describe separate events that occur at the same time in different locations. William Faulkner's novels As I Lay Dying and The Sound and the Fury are told from multiple points of view, in the first and third person, respectively, although the latter uses a less conventional chronology.
Alternating person view
While the general rule is for novels to adopt a single approach to point of view throughout, there are exceptions. Many stories, especially in literature, alternate between the first and third person. In this case, an author will move back and forth between a more omniscient third-person narrator to a more personal first-person narrator. Often, a narrator using the first person will try to be more objective by also employing the third person for important action scenes, especially those in which he/she is not directly involved or in scenes where he/she is not present to have viewed the events in first person.
Narrative voice
The narrative voice describes how the story is conveyed (for example, by "viewing" a character's thought processes, by reading a letter written for someone, by a retelling of a character's experiences, etc.).
Stream-of-consciousness voice
A stream of consciousness gives the (almost always first-person) narrator's perspective by attempting to replicate the thought processes (as opposed to simply the actions and spoken words) of the narrative character. Often, interior monologues and inner desires or motivations, as well as pieces of incomplete thoughts, are expressed to the audience (but not necessarily to other characters). Examples include the multiple narrators' feelings in William Faulkner's The Sound and the Fury and As I Lay Dying, the character Offred's often fragmented thoughts in Margaret Atwood's The Handmaid's Tale, and the development of the narrator's nightmarish experience in Queen's hit song, Bohemian Rhapsody.
Narrative tense
The narrative tense or narrative time determines the grammatical tense of the story; whether in the past, present, or future.
Past tense
The most common in literature and story-telling; the events of the plot occurred sometime before the current moment or the time at which the narrative was constructed or expressed to an audience. (e.g. "They were going home. They had found their way and were ready to celebrate.")
Present tense
The events of the plot occur or are occurring now—at the current moment—in real-time. (e.g. "They go home. They find their way and are ready to celebrate.")
Future tense
Extremely rare in literature; the event of the plot will occur soon or eventually; often, these upcoming events are described in a way that makes it seem like the narrators uncannily know (or believe they know) the future. Some future-tense stories have a prophetic feel. (e.g. "They will be going home. They will have found their way and will be ready to celebrate.")
Examples:
“The Yellow Wallpaper” by Charlotte Perkins Gilman
1st person
“Animal Farm” by George Orwell
3rd person
A New Start: Fiction
Introducing Fiction:
Fiction writing: is any kind of writing that is not factual. Fictional writing most often takes the form of a story meant to convey an author's point of view or simply to entertain. The result of this may be a short story, novel, novella, screenplay, or drama, which are all types (though not the only types) of fictional writing styles.
Elements of fiction
Just as a painter uses color and line to create a painting, an author uses the elements of fiction to create a story:
The elements of fiction are: character, plot, setting, theme, and style. Of these five elements, character is the who, plot is the what, setting is the where and when, and style is the how of a story.
A character is any person, persona, identity, or entity whose existence originates from a fictional work or performance.
A plot, or storyline, is the rendering and ordering of the events and actions of a story, particularly towards the achievement of some particular artistic or emotional effect.
Setting is the time and location in which a story takes place.
Theme is the broad idea, message, or lesson of a story.
Style includes the multitude of choices fiction writers make, consciously or subconsciously, as they create a story. They encompass the big-picture, strategic choices such as point of view and narrator, but they also include the nitty-gritty, tactical choices of grammar, punctuation, word usage, sentence and paragraph length and structure, tone, the use of imagery, chapter selection, titles, and on and on. In the process of writing a story, these choices meld to become the writer's voice, his or her own unique style.
Character: Characterization is one of the five elements of fiction, along with plot, setting, theme, and writing style. A character is a participant in the story, and is usually a person, but may be any persona, identity, or entity whose existence originates from a fictional work or performance.
Characters may be of several types:
• Point-of-view character: the character by whom the story is viewed. The point-of-view character may or may not also be the main character in the story.
• Protagonist: the main character of a story
• Antagonist: the character who stands in opposition to the protagonist
• Minor character: a character that interacts with the protagonist. They help the story move along.
• Foil character: a (minor) character who has traits in aversion to the main character
Plot: A plot, or storyline, is the rendering and ordering of the events and actions of a story.
On a micro level, plot consists of action and reaction, also referred to as stimulus and response. On a macro level, plot has a beginning, a middle, and an ending. Plot is often depicted as an arc with a zig-zag line to represent the rise and fall of action.
Plot also has a mid-level structure: scene and sequel. A scene is a unit of drama—where the action occurs. Then, after a transition of some sort, comes the sequel—an emotional reaction and regrouping, an aftermath.
On a micro level, plot consists of action and reaction, also referred to as stimulus and response. On a macro level, plot has a beginning, a middle, and an ending. Plot is often depicted as an arc with a zig-zag line to represent the rise and fall of action.
Plot also has a mid-level structure: scene and sequel. A scene is a unit of drama—where the action occurs. Then, after a transition of some sort, comes the sequel—an emotional reaction and regrouping, an aftermath.
Setting: Setting is the locale and time of a story. The setting is often a real place, but may be a fictitious city or country within our own world; a different planet; or an alternate universe, which may or may not have similarities with our own universe. Sometimes setting is referred to as milieu, to include a context (such as society) beyond the immediate surroundings of the story.
Theme: Theme is what the author is trying to tell the reader. For example, the belief in the ultimate good in people, or that things are not always what they seem. The moral of the story, if you will.
Style: Style includes the multitude of choices fiction writers make, consciously or not, in the process of writing a story. It encompasses not only the big-picture, strategic choices such as point of view and choice of narrator, but also tactical choices of grammar, punctuation, word usage, sentence and paragraph length and structure, tone, the use of imagery, chapter selection, titles, and on and on. In the process of creating a story, these choices meld to become the writer’s voice, his or her own unique style.
Components of Style: For each piece of fiction, the author makes many choices, consciously or subconsciously, which combine to form the writer's unique style. The components of style are numerous, but include point of view, choice of narrator, fiction-writing mode, person and tense, grammar, punctuation, word usage, sentence length and structure, paragraph length and structure, tone, imagery, chapter usage, and title selection.
Narrator: The narrator is the teller of the story, the orator, doing the mouth work, or its in-print equivalent.
Point of View: Point of view is from whose consciousness the reader hears, sees, and feels the story.
Tone: Tone is the mood that the author establishes within the story.
Suspension of Disbelief: Suspension of disbelief is the reader's temporary acceptance of story elements as believable, regardless of how implausible they may seem in real life.
Instructions For Outlining A Novel and Sample Chapter
The Task: Write a 3-4 page outline for a novel that you would like to write.
Be sure to label each section of your outline clearly. Your Outline Must Include each of the following elements:
Overview
• A short paragraph introduction explaining very briefly what story is about when/where it is and the genre in which you are writing.
Character Descriptions
• 3-4 main characters is the maximum recommendation. 1 paragraph about each character, be sure to include information about the “inside” person as well as their physical characteristics.
Suspension of Disbelief: Suspension of disbelief is the reader's temporary acceptance of story elements as believable, regardless of how implausible they may seem in real life.
Instructions For Outlining A Novel and Sample Chapter
The Task: Write a 3-4 page outline for a novel that you would like to write.
Be sure to label each section of your outline clearly. Your Outline Must Include each of the following elements:
Overview
• A short paragraph introduction explaining very briefly what story is about when/where it is and the genre in which you are writing.
Character Descriptions
• 3-4 main characters is the maximum recommendation. 1 paragraph about each character, be sure to include information about the “inside” person as well as their physical characteristics.
Setting(s)
time and place as well as how setting is connected to the plot and themes
POV
Will your story be told from a 1st person or 3rd person perspective? Will you use past or present tense? Why are you making the choice you made?
Chapter Outlines
Explain chapter by chapter how the plot will develop. (If it helps you to plot this graphically you may do so. Be sure not to overwrite this section. I only need 1 or two sentences for a short chapter, 3 or 4 for a long one)
Focus Chapter
time and place as well as how setting is connected to the plot and themes
POV
Will your story be told from a 1st person or 3rd person perspective? Will you use past or present tense? Why are you making the choice you made?
Chapter Outlines
Explain chapter by chapter how the plot will develop. (If it helps you to plot this graphically you may do so. Be sure not to overwrite this section. I only need 1 or two sentences for a short chapter, 3 or 4 for a long one)
Focus Chapter
Pick the chapter that you think will be the best of the bunch. Explain why this will have
the most appeal –>Then write a 20 page, double spaced draft of it.!
BONUS * What literary element(s) do you think you will include in your writing?
Friday, April 9, 2010
Journal #10
The Most Memorable Moments in High School
As teachers, we are often reminded that some of the most valuable lessons students learn in high school aren't the ones we plan for in lessons. A student, for instance, may learn more (in life terms) from a teacher who refuses to accept a late assignment than from one who teaches her how to factor binomials.
What have been some of the most important lessons or skills, both curricular and non-curricular, that you have learned in high school? What are some of the moments from the past 4 or 5 years that you think you will be most likely to remember as an adult? Don't forget to be reflective...
As teachers, we are often reminded that some of the most valuable lessons students learn in high school aren't the ones we plan for in lessons. A student, for instance, may learn more (in life terms) from a teacher who refuses to accept a late assignment than from one who teaches her how to factor binomials.
What have been some of the most important lessons or skills, both curricular and non-curricular, that you have learned in high school? What are some of the moments from the past 4 or 5 years that you think you will be most likely to remember as an adult? Don't forget to be reflective...
Wednesday, April 7, 2010
ISU Choices
So.... here it is again, in the right place. What are you planning to read? Please comment.
Thursday, April 1, 2010
Cliche Busters!
Take a Look at Lake Superior State University's 2010 Banned Word List. The people at the university do an important public service by remaining ever vigilant and pointing out our collective abuse of cliche.
Do you speak and write in cliches? How many cliches do you think exist in English? Have a look at the following (incomplete) list at how many one writer was able to find.
Now try to invent your own alternatives for this top 10 list of "Worst Cliches." Submit your suggestions as comments to this post.
all talk, no action
bark up the wrong tree
couldn't care less
drive you up a wall
every fiber of my being
gives me the creeps
in a nutshell
kid in a candy store
low man on the totem pole
raining cats and dogs
**
Do you speak and write in cliches? How many cliches do you think exist in English? Have a look at the following (incomplete) list at how many one writer was able to find.
Now try to invent your own alternatives for this top 10 list of "Worst Cliches." Submit your suggestions as comments to this post.
all talk, no action
bark up the wrong tree
couldn't care less
drive you up a wall
every fiber of my being
gives me the creeps
in a nutshell
kid in a candy store
low man on the totem pole
raining cats and dogs
**
Sunday, March 28, 2010
Journal # 9--On Poetry
Now that you've had a chance to dwell with poetry awhile, reflect on what you feel is its usefulness and relative importance in the grand scheme of the universe. What would life be like without poetry? What arguments could be made for doing more poetry than we do in public school?
Did your experience this time around change your relationship with poetry at all? Which was the easiest poem to write? Which was the most difficult? Are you left with any questions about poetry or poets in general? Have you any desire to read and/or write more poetry independently of this class?
Did your experience this time around change your relationship with poetry at all? Which was the easiest poem to write? Which was the most difficult? Are you left with any questions about poetry or poets in general? Have you any desire to read and/or write more poetry independently of this class?
Wednesday, March 24, 2010
Writing a Lyric Poem
Several things may help you to write an effective lyric poem. Consider the following:
Lyric poems do something. While a poet may not be entirely sure where his or her lyric is headed when beginning, a lyric manages to express emotion, capture an experience or even imagine "what if." Some lyrics may do any combination of the above.
Lyrics may be free verse poems. The key word here is 'may.' There is something to be said for letting the mood and sense of what is being described determine the length of lines and whether or when rhyme is introduced. It is possible to write a lyric using a set form or one that defies form entirely.
Lyrics, like most poems, should sound good when read aloud. Pay close attention to the language you use. Is it too prosy? (i.e. does it sound too much like the language you might use in letters or essays?). Is it possible to eliminate some dull words or introduce more exciting ones? Even free verse poems have rhythm--does your poem speed up and slow down in appropriate places? If your poem doesn't rhyme much overall, one or two rhymes may be quite effective. What other sound effects can you employ, such as alliteration or assonance?
A Couple of Examples:
"Aunt Jennifer's Tigers" by Adrienne Rich
Aunt Jennifer's tigers prance across a screen,
Bright topaz denizens of a world of green.
They do not fear the men beneath the tree;
They pace in sleek chivalric certainty.
Aunt Jennifer's finger fluttering through her wool
Find even the ivory needle hard to pull.
The massive weight of Uncle's wedding band
Sits heavily upon Aunt Jennifer's hand.
When Aunt is dead, her terrified hands will lie
Still ringed with ordeals she was mastered by.
The tigers in the panel that she made
Will go on prancing, proud and unafraid.
"The Hollow Men" by T.S. Eliot
Lyric poems do something. While a poet may not be entirely sure where his or her lyric is headed when beginning, a lyric manages to express emotion, capture an experience or even imagine "what if." Some lyrics may do any combination of the above.
Lyrics may be free verse poems. The key word here is 'may.' There is something to be said for letting the mood and sense of what is being described determine the length of lines and whether or when rhyme is introduced. It is possible to write a lyric using a set form or one that defies form entirely.
Lyrics, like most poems, should sound good when read aloud. Pay close attention to the language you use. Is it too prosy? (i.e. does it sound too much like the language you might use in letters or essays?). Is it possible to eliminate some dull words or introduce more exciting ones? Even free verse poems have rhythm--does your poem speed up and slow down in appropriate places? If your poem doesn't rhyme much overall, one or two rhymes may be quite effective. What other sound effects can you employ, such as alliteration or assonance?
A Couple of Examples:
"Aunt Jennifer's Tigers" by Adrienne Rich
Aunt Jennifer's tigers prance across a screen,
Bright topaz denizens of a world of green.
They do not fear the men beneath the tree;
They pace in sleek chivalric certainty.
Aunt Jennifer's finger fluttering through her wool
Find even the ivory needle hard to pull.
The massive weight of Uncle's wedding band
Sits heavily upon Aunt Jennifer's hand.
When Aunt is dead, her terrified hands will lie
Still ringed with ordeals she was mastered by.
The tigers in the panel that she made
Will go on prancing, proud and unafraid.
"The Hollow Men" by T.S. Eliot
Thursday, March 11, 2010
Narrative Poetry, a note
Simply put, a narrative poem is a poem that tells a story. But more than that, it is a poem that combines storytelling and poetry. A story written in verse and an imaginative poem with a very thin thread of narrative are both narrative poems, but neither fully exploits the possibilities of narrative poetry. Both the story aspect and the poetic aspect of the narrative poem are stronger when they are balanced and essential parts of the whole. What this means is that the poetic form should enhance the story, rather than just being incidental. Examples of a good balance of poetry and story are found in Samuel Taylor Coleridge's “The Rime of the Ancient Mariner” and Christina Rossetti's “The Goblin Market.”
Why Poetry?
But why choose to tell a story as a poem instead of as a short story or novel? The story part of a narrative poem could probably also be effectively written as a short story, but the effect on the reader will be different because short stories and poems use different techniques. So even if your story is a good short story, you could try writing it as a poem to change the way it works for the reader. The story as poem might accentuate different motifs than the story as short story. Perhaps as a poem it would be more visual or more immediate in effect, whereas as a short story it is subtler or takes longer to sink in. You probably won't know until you try it and see what happens.
Characteristics
While a short story generally has some kind of rising action leading to a climax and then a resolution (though this becomes less true as writers become more experimental with form), a narrative poem often ends before the action is resolved. Thus a narrative poem may present an unsolved or unsolvable mystery or situation. An example of this is found in Edgar Allen Poe's fantastic rhyming poem “The Raven.”
Try writing your own story in verse. You might want to use your skills of imitation in order to settle upon a type of stanza that you can use.
Why Poetry?
But why choose to tell a story as a poem instead of as a short story or novel? The story part of a narrative poem could probably also be effectively written as a short story, but the effect on the reader will be different because short stories and poems use different techniques. So even if your story is a good short story, you could try writing it as a poem to change the way it works for the reader. The story as poem might accentuate different motifs than the story as short story. Perhaps as a poem it would be more visual or more immediate in effect, whereas as a short story it is subtler or takes longer to sink in. You probably won't know until you try it and see what happens.
Characteristics
While a short story generally has some kind of rising action leading to a climax and then a resolution (though this becomes less true as writers become more experimental with form), a narrative poem often ends before the action is resolved. Thus a narrative poem may present an unsolved or unsolvable mystery or situation. An example of this is found in Edgar Allen Poe's fantastic rhyming poem “The Raven.”
Try writing your own story in verse. You might want to use your skills of imitation in order to settle upon a type of stanza that you can use.
Narrative Poetry
The Ballad of the Monkey
by ewcwriter
It is some monkey business
going back a year or three
a matter whose like ‘twas unseen
in o’er a century.
When to Niagara a circus came,
escaped from that circus
a cunning and clever monkey
fled to Stamford Campus
He stoppeth by the office guidance
to make a timetable
and picked some courses from a list
of which he would be able.
Math, he thought, would be no fun
and science seemed such nonsense
‘twere monkeys enough in tech already
but in English he’d have a chance.
Devitt and Pierce, Baty and Martin
the choices they seemed rough,
but then he found a class in which
a monkey could pass unconscious
And that is how the monkey came
to be in Writer’s Craft.
He spent a week just watching all
and every day he laughed.
Never before had he heard such fuss
over such a little chore.
Some days he could not hear at all
when Char and Adam snored.
But the loudest sound of all by far
Nearly drove him out of his mind.
‘Twas the day when ballads were at hand
and my how those kids whined.
Well, not all, not quite there were a few
who thought poetry had merit
to separate the hearty from Hale,
the monkey’s from the ferrets.
The monkey knew, he knew he knew
a poem could be magic
and those who say "I can not"
are nothing less than tragic.
And so it was when report time came,
students ranked from best to worst
of all the students: boys and girls,
the monkey he was first!
It is some monkey business
going back a year or three
a matter whose like ‘twas unseen
in o’er a century.
by ewcwriter
It is some monkey business
going back a year or three
a matter whose like ‘twas unseen
in o’er a century.
When to Niagara a circus came,
escaped from that circus
a cunning and clever monkey
fled to Stamford Campus
He stoppeth by the office guidance
to make a timetable
and picked some courses from a list
of which he would be able.
Math, he thought, would be no fun
and science seemed such nonsense
‘twere monkeys enough in tech already
but in English he’d have a chance.
Devitt and Pierce, Baty and Martin
the choices they seemed rough,
but then he found a class in which
a monkey could pass unconscious
And that is how the monkey came
to be in Writer’s Craft.
He spent a week just watching all
and every day he laughed.
Never before had he heard such fuss
over such a little chore.
Some days he could not hear at all
when Char and Adam snored.
But the loudest sound of all by far
Nearly drove him out of his mind.
‘Twas the day when ballads were at hand
and my how those kids whined.
Well, not all, not quite there were a few
who thought poetry had merit
to separate the hearty from Hale,
the monkey’s from the ferrets.
The monkey knew, he knew he knew
a poem could be magic
and those who say "I can not"
are nothing less than tragic.
And so it was when report time came,
students ranked from best to worst
of all the students: boys and girls,
the monkey he was first!
It is some monkey business
going back a year or three
a matter whose like ‘twas unseen
in o’er a century.
Thursday, March 4, 2010
The Sonnet
-usually a thinking poem
-14 lines
-iambic pentameter (10 syllables/line is “close enough”)
-abab cdcd efef gg rhyme scheme (or other variation)
-generally poses a problem in first four lines, explores the idea in the next four lines and undergoes a shift in the next four lines.
-couplet at the end gives it closure
Sample:
SHAKESPEARE’S SONNET 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
-14 lines
-iambic pentameter (10 syllables/line is “close enough”)
-abab cdcd efef gg rhyme scheme (or other variation)
-generally poses a problem in first four lines, explores the idea in the next four lines and undergoes a shift in the next four lines.
-couplet at the end gives it closure
Sample:
SHAKESPEARE’S SONNET 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
Thursday, February 25, 2010
Journal # 7 "The Myth of Technology"
"The Myth of Technology"
In the 1950's, futurists predicted that the invention of labour saving machines such as the household dishwasher and robots in factories meant that the common worker would enjoy a 3 day work week. Ironically, improvements in technology have led to the disappearance of better paying, skilled work and people working harder than ever before. What is your opinion? How much does technology improve your life and the lives of people in general?
In the 1950's, futurists predicted that the invention of labour saving machines such as the household dishwasher and robots in factories meant that the common worker would enjoy a 3 day work week. Ironically, improvements in technology have led to the disappearance of better paying, skilled work and people working harder than ever before. What is your opinion? How much does technology improve your life and the lives of people in general?
Friday, February 19, 2010
Journal # 6 An Influential Person
An Influential Person
Write about a person or people you look up to or have learned from. These could be people who have become famous historically, celebreties or even people you know or are related to. You might admire their accomplishments, their personality traits or their values. How did you learn about this person? What makes him or her remarkable? How does knowing about this person impact who you are as an individual?
Write about a person or people you look up to or have learned from. These could be people who have become famous historically, celebreties or even people you know or are related to. You might admire their accomplishments, their personality traits or their values. How did you learn about this person? What makes him or her remarkable? How does knowing about this person impact who you are as an individual?
Wednesday, February 17, 2010
Journal # 5 Childhood
The concept of childhood as we understand it is a product of 19th Century Victorian ideals. Prior to that time, there was no general sense that there was any particular need to shelter children from the unpleasant side of life. Children were put to work as soon as they were able.
Almost two hundred years later, we have a sense that children should be almost entirely sheltered until they reach sufficient age. In our society, full adulthood is often delayed until individuals are well into their twenties.
What is your take? Do we overprotect our children? Feel free to reminisce about your own childhood and to speculate about the kind of parent you think you will be based on your convictions.
Almost two hundred years later, we have a sense that children should be almost entirely sheltered until they reach sufficient age. In our society, full adulthood is often delayed until individuals are well into their twenties.
What is your take? Do we overprotect our children? Feel free to reminisce about your own childhood and to speculate about the kind of parent you think you will be based on your convictions.
Tuesday, February 16, 2010
Arpita's Radio Plays
Radio Play 1 "Ah, Nessy"
Characters:
-Fay
-Ananda
-Pony
-Nia
(splashing sounds, people talking, footsteps on a dock)
Ananda: You're a beautiful woman. You don't have to worry so much. Just take your clothes off and jump in. Nobody cares.
Fay: I can 'know' that all day and it won't make a bit of difference. I'm insecure. The yoga book on marriage says that the biggest weakness of Woman is her insecurities. So, I'm embracing them. I won't skinny dip.
Pony: (laughs) Come on, everyone wants to see you! (laughs again)
Fay: Ha! That's the problem! If everyone would turn around, I'd be fine.
Ananda: Well, no one knows you here, so it doesn't matter.
Fay: I'm not wearing my contacts, so I'll have to trust you on that one. If Pony turns around, I could do it really quick.
Pony: (laughs) Fine, see ya in the water. (footsteps on the dock, then a splash as he jumps in)
Ananda: Okay, Fay, I'll race you.
(sounds of clothing rustling and falling on the ground, footsteps, two splashes)
Fay: (breathless, treading water) I did it! I did it! (a pause) Some of those guys along the dock looked familiar.
Ananda: Yeah, I think they're here for the Retreat.
Fay: So we know them?? I think I've worked with some of them before! They were looking us up and down like crazy!
Ananda: Oh well, like I said, you're beautiful! (laughs) It doesn't matter, come on, let's swim.
(swimming sounds)
Fay: Hi Nia! I didn't see you out here!
Nia: Hey, Fay, yeah, I'm chillin'. Sonaton just showed me a great synchronized swimming move. Do you two wanna guess what it is? (splashing sounds and faint grunting)
Ananda: ...Nessy? Is it Nessy from Loch Ness?
(hysterical laughter from Nia and Fay, then Ananda. Hysterical laughter continues for a long time then gradually starts to die down)
Nia: (gasping) Ha... ha... wow, what a good laugh. It's not Nessy --
(hysterical laughter starts again and continues)
Nia: (gasping) ... It's... a duck!
Fay: A wounded duck!
(hysterical laughter)
Pony: (yelling from the dock) You people are crazy! What's so funny?
Ananda: Does it matter? (gurgles on last word because her mouth goes underwater)
(hysterical laughter)
Fay: We're laughing about Nessy! I think...
(laughing)
Nia: What a great night! (laughs) This is what life is all about.
Characters:
Fay
Poni
Ananda
Driver
Ananda: That was a great hike, eh?
Fay: yeah, I feel full of sunshine.
Poni: You're sunburnt! (laughs)
Fay: well, I also feel sunny on the inside. It's so nice to be with nature, to walk through ferns, climb rocks, gaze at a beautiful ocean view, doze under trees... I feel replenished.
Ananda: God's Creation is perfect. It's up to us to realize that.
(pause, then a sigh from Fay) (sounds of their footsteps on a gravel road)
Poni: What time is it?
Ananda: 5:20.
Poni: I hope a car comes soon. Dinner is at 6:15.
Ananda: It's God's Will.
Fay: But we are God. Let's manifest a ride.
(sounds of their footsteps on the gravel road)
Poni: Still no ride. (laughs) what time is it now?
Ananda: 5:50.
Fay: Come on, manifest harder!
(laughter)
Poni: We're gonna be late. The food will be gone by the time we get there. And it's getting dark, not to be a downer or anything. (laughs)
Ananda: It won't get cold though. It's summer.
Fay: And we have water. We'll be fine.
Poni: Okay (as if shrugging shoulders), live in the moment.
(sounds of footsteps on gravel, crickets, sweet breeze)
Fay: that breeze smelled like mint.
Ananda: It's beautiful out.
Fay: There are Fairies everywhere. I can feel it.
Poni: We should sing to them. (laughs)
(They start singing a Sanskrit song: Om jai shri Ganesh, shri Ganesha Jaia... singing goes into background with crickets and gravel. They start walking to the beat of the music. Laughter.)
Fay: Look, a car!
Poni: Put out your thumbs! He'll stop for some pretty girls.
(laughter) (sound of car coming to a stop on a gravel road. Car door opens.)
Driver: Hi, where're you headed?
Poni: Salt Spring Centre of Yoga, or you could drop us at Blackburn Road.
Driver: Sounds good to me. Hop in.
(sounds of people getting into the car, door closing, car driving off.)
Driver: So what are you three up to on this fine evening?
Ananda: We finished a hike, and now we're on our way back for dinner.
Poni: What time is it?
Fay: (whispering) Time for you to get a watch. (laughs)
Ananda: It's 6:14.
Poni: Oh well, missed dinner.
Driver: Don't worry about it! I just got back from the lake. I have some fresh fish. You can join me and my wife for dinner if you want.
Poni: Wow, that would be great!
Ananda: God provides!
Fay: I guess manifesting things can only get us so far. The will of the Universe wins, and it'll always be exactly what's supposed to happen.
Poni: We're just along for the ride.
Thursday, February 11, 2010
Radio Play
Wally: "Come on, come on... Pick up, pick up..."
Emily: "Hello?"
Wally: "Hi... Emily? It's Wally. How're you?"
Emily: "Oh. Hi Wally. I'm fine."
Wally: "I don't really know why I'm calling, but I just, sometimes I text you and you- you don't reply. I just, I miss you... You know I do. And I've been thinking, about you- I've been thinking..."
Emily: "Wally I'm getting married in a month- you know you can't be calling me. You know we shouldn't be talking."
Wally: "But when we do text, your responses are so short, they are barely replys..."
Emily: "What do you want?"
Wally: "I want to talk to you Em."
Emily: "Then talk, but this is the last time."
Wally: "What if you're making a mistake, what if he's not the one?"
Emily: "You called, just to talk me out of marrying Cole?"
Wally: "No... Yes. No. No, I called to talk. Ugh, I've been thinking- what if he is your one person, but you're mine. What do I do then? What about... remember that time we talked for hours-when we went to the cottage, under the stars?
Emily: "Yes... Why?"
Wally: "What if you really are my inspiration for my art, what if you're the only reason I paint, and draw... What if, once you marry him. Cole. I can't seem to paint anymore, and than what do I do... My art is all I have, you know that.
Emily: "Stop, you are much more than just an artist. You select one part of yourself, one piece of the puzzel and you hold onto it. You need to stop doing that, that is one of the reasons I had to leave. You never look at the whole picture, just the frayed and burnt corner and you whole-heartedly believe that, that insignificant edge is everything. Perhaps the reason you haven't been inspired is because you have taken the artist in you, and made it everything you are- and you have held it so tightly in your hand, and squeezed and squeezed until it's turned to ash. Do you understand what I'm trying to say?"
Wally: "You always were so poetic. But what else am I, besides an artist?"
Emily: "Seriously? You are an amazing artist yes. But you're funny, and so sweet, romantic too. You have the potential to be such an incredible boyfriend, and eventually a husband."
Wally: "Do you miss it? Do you miss us."
Emily: "I can't answer that, I'm getting married Wally."
Wally: "Please... Just, answer."
Emily: "Parts. I miss parts of it. But that's as much as I can say. It's not fair to Cole. You know it.'
Wally: "Do you really think I care about what is fair to Cole?"
Emily: "Don't be rude."
Wally: "Emily... Emily, I love you and you're making a mistake."
Emily: "Goodbye Wally, please don't call me again."
Wally: "No, don't go. Will you just stay and talk to me... Don't."
Emily: "I can't stay. I'm sorry."
Wally: "I love you Emily, I lo-"
Operator: "Please hang up, and try your call again. Please hang up. Please hang up, and try your call again. Please hang up. Please hang up, and try your call again. Please hang up..."
Emily: "Hello?"
Wally: "Hi... Emily? It's Wally. How're you?"
Emily: "Oh. Hi Wally. I'm fine."
Wally: "I don't really know why I'm calling, but I just, sometimes I text you and you- you don't reply. I just, I miss you... You know I do. And I've been thinking, about you- I've been thinking..."
Emily: "Wally I'm getting married in a month- you know you can't be calling me. You know we shouldn't be talking."
Wally: "But when we do text, your responses are so short, they are barely replys..."
Emily: "What do you want?"
Wally: "I want to talk to you Em."
Emily: "Then talk, but this is the last time."
Wally: "What if you're making a mistake, what if he's not the one?"
Emily: "You called, just to talk me out of marrying Cole?"
Wally: "No... Yes. No. No, I called to talk. Ugh, I've been thinking- what if he is your one person, but you're mine. What do I do then? What about... remember that time we talked for hours-when we went to the cottage, under the stars?
Emily: "Yes... Why?"
Wally: "What if you really are my inspiration for my art, what if you're the only reason I paint, and draw... What if, once you marry him. Cole. I can't seem to paint anymore, and than what do I do... My art is all I have, you know that.
Emily: "Stop, you are much more than just an artist. You select one part of yourself, one piece of the puzzel and you hold onto it. You need to stop doing that, that is one of the reasons I had to leave. You never look at the whole picture, just the frayed and burnt corner and you whole-heartedly believe that, that insignificant edge is everything. Perhaps the reason you haven't been inspired is because you have taken the artist in you, and made it everything you are- and you have held it so tightly in your hand, and squeezed and squeezed until it's turned to ash. Do you understand what I'm trying to say?"
Wally: "You always were so poetic. But what else am I, besides an artist?"
Emily: "Seriously? You are an amazing artist yes. But you're funny, and so sweet, romantic too. You have the potential to be such an incredible boyfriend, and eventually a husband."
Wally: "Do you miss it? Do you miss us."
Emily: "I can't answer that, I'm getting married Wally."
Wally: "Please... Just, answer."
Emily: "Parts. I miss parts of it. But that's as much as I can say. It's not fair to Cole. You know it.'
Wally: "Do you really think I care about what is fair to Cole?"
Emily: "Don't be rude."
Wally: "Emily... Emily, I love you and you're making a mistake."
Emily: "Goodbye Wally, please don't call me again."
Wally: "No, don't go. Will you just stay and talk to me... Don't."
Emily: "I can't stay. I'm sorry."
Wally: "I love you Emily, I lo-"
Operator: "Please hang up, and try your call again. Please hang up. Please hang up, and try your call again. Please hang up. Please hang up, and try your call again. Please hang up..."
Friday, February 5, 2010
Sample Radio Play
Glimmers, A One Act Radio Play, by Kiana Kidd
[Enter an elderly woman, about 70, in an abandoned movie set. The woman is visibly unsettled. Props are strewn throughout the room. It’s about ten at night.]
Helen: Oh my. Will you look at the mess of the place? In all my years, I don’t think I’ve ever seen a place in disarray quite as bad as this. I nearly killed myself tripping over that cable back there. Drat, where are the lights?
Ahhh, there they are. Much better. Well, the good news is I can see. But the bad news is, now I can clearly see just how messy this place is! Where is that old Alfred now? He’d have a fit if he saw the place like this. Over by that busted window is an overturned table, over by that escape door are about fifty cables, and the rest of the room is covered in ash from the fire of ‘57. Could you imagine if Alfie saw this mess? He’d surely have a heart attack! Ha ha ha.
Ooh yes, will you look at that. I almost looked right over my favourite prop of all, that big lounge sofa. Other than a bit of smoke damage, the fabric is still in pretty decent condition. The memories I made just on this sofa alone could last one a lifetime. I remember when I was still working as an understudy, I would come into the studio after hours, and pretend I was Judy Garland. I would pretend to boss people about, and lounge in this sofa, sometimes even falling asleep in the chair. Then there was my big break. In one scene, I was to lie asleep on the sofa, and wait for my leading man, Johnny Fairchild, to come in and kiss me. Not many people know this, but he was my first kiss! He wasn’t very good at it as he didn’t have much experience, he was rather new on the acting scene. But he had piercing blue eyes, a full head of jet black hair, and a Scottish accent! Oh I was the envy of all my girlfriends. Oh my, I do believe I’m getting quite flushed! Is it warm in here, or is it just me?
(Chuckles) Well, I suppose that’s a rather silly question. The heat hasn’t been turned back on since that fire. When I think about it, I’m really acting quite foolish. Hell, I don’t even know why I’m here. It’s not as if there’s someone here to talk to, for the past few minutes I’ve been talking to myself! And the place is a complete wreck. As strange as this might sound, as horrible as the place looks, it’s peaceful. I feel completely safe here! It feels like home. I’ve always preferred coming here after dark. It reminds me when I used to come here to meet my Frankie. While I was studying, he would offer to help me. Poor lad couldn’t read a word though, so I taught him. He swears he just wanted to help, but I was wise to him. He would use our study sessions to flirt with me, and every day he would ask me to go steady, but I would always say no. Then I remember he had that accident when he apprenticed as an electrician, the poor boy was electrocuted! It nearly killed him too. It was when he was being rushed off to the hospital that I realized just how strong my feelings for him were.
(Sigh) Maybe it’s the smoke smell or I’m just getting old, but I feel utterly exhausted all of a sudden. Perhaps I’ll just rest a moment here on this sofa.
[Falls asleep on the sofa. An hour passes by.]
[Rustling comes from outside, awakening the sleeping woman. She awakes with a start.]
Frank: (Grunts) Hello? Anyone in there?
Helen: H-hello? Who’s there! I have pepper spray!
Frank: Oh thank heavens it’s you!
Helen: What on earth are you talking about! Who are you! I don’t know you. Get away from me!
Frank: Baby, it’s me! Your Frankie! Don’t you remember?
Helen: I have pepper spray! Back away!
Frank: Listen, I’m Frank. You’re Helen. We’ve been married for forty years. We have four kids. This is where you used to act, and I would do the wiring. I’m not going to hurt you, I just want to take you home. You went out for a walk about an hour and a half ago to get some bread, but never came home, so I came looking for you.
Helen: Help! Help me! Somebody! You get away from me you . . . I don’t know how you know me, but I certainly don’t know you! I’m not going anywhere!
Frank: Relax, there’s no one living down this end of town, no one’s gonna hear you!
Helen: Is that supposed to relax me?!
Frank: Hang on a sec. . . (dials 911 from his cell phone) . . . yes the old movie lot. Yes I’m aware it’s abandoned!. . . I don’t care if it’s trespassing. . . I have no idea why she’s here again. Can you just come get us?. . . be gentle, she has Alzheimer’s. No. No, she’s having another episode. She’s panicking. . . Obviously she doesn’t remember me!. . . just get here as soon as you can, ok?
(Under his breath). . .fine, I’ll humour her until you get here. Hurry! (Click)
Helen: You called the cops on ME? Just wait til they get here, and I tell them how you tried to frighten me! They’ll take you away!
Frank: Somehow I doubt that!
Helen: Frank you needn’t be snippy with me! We both know how excitable you are. Remember what Dr. Murphy said, keep your temper under control, because your blood pressure is all out of whack! What are you doing here anyway? DID YOU FOLLOW ME HERE?! You don’t trust me do you! You thought I was having an affair or something, so you came to try to catch me in the act! Well sorry to disappoint you, mister "I Don’t Trust My Wife".
Frank: Amazing. Baby, you never fail to amaze me.
Helen: What on earth is that supposed to mean!
[Sirens getting closer]
Frank: Oh, its nothing hun. Come on, let’s get out of here, before the whole place collapses.
Officer: Is everything alright here, sir?
Frank: Yes sir, officer. My wife and I are just out for a walk on this fine autumn evening.
Officer: Ma’am, you’re alright?
Helen: Yes, doesn’t it look like I’m alright?
Officer: Well, you are covered in ashes.
Helen: Oh, will you look at that! I am too. How on earth did that happen? Alfie just finished cleaning the place inside. My mother is going to have a fit trying to wash this out!
Frank: Now, now dear, I’m sure your mother will be fine.
Helen: Oh, I’m just a right mess tonight. I’ve forgotten my purse inside! Wait right there while I go fetch it?
Frank: Of course, dear.
Officer: (When Helen is inside) Dad, you really can’t keep doing this. This is the third night this week I’ve had to come out here because of mom. I realize I’m a cop and everything, but I can’t keep covering for these trespassing charges. I can only look the other way so many times before my reputation is called into question. She’s getting worse. Hell, grandma’s been dead for fifteen years!
Frank: I know son, I know. But I couldn’t dare to lock your mother up somewhere like an animal! She just has so many memories in this place, I couldn’t live with myself if I kept herself away from it.
Officer: What are you gonna do when she can’t remember anything anymore?
Frank: All I can do is love her, and pray for a miracle.
Officer: It just isn’t fair. There should be a cure for it.
Frank: Believe me, if there was a cure, I’d be first in line to get it for her. Thank you so much for coming out here. You don’t know how much I appreciate it.
Officer: You’re just lucky I’ve been on the night shift this week, otherwise you’d have quite a few fines to pay.
Helen: Ah here it is! I got it! Silly me! You see, officer, I’m always forgetting something! My mother always tells me I’d forget my head if it wasn’t attached! Ha ha ha! Say, you look awful familiar officer! Haven’t we ever met before?
Officer: No ma’am, I don’t believe we have.
Helen: Oh, fancy that. I’m almost certain we have. Oh well, are you ready to go honey?
Frank: I’m ready when you are. Is that all officer?
Officer: Yeah, I think we covered everything. Do you two need a ride home?
Frank: Oh that’s alright, I’m sure we can manage getting home. Thanks again for coming out here son. I appreciate it.
Officer: It’s just a part of the job. Have a safe night, folks.
Both: You too! Have a good one.
Helen: What a nice young boy. His parents must be so proud.
Frank: I don’t even think proud begins to cover it.
[end]
[Enter an elderly woman, about 70, in an abandoned movie set. The woman is visibly unsettled. Props are strewn throughout the room. It’s about ten at night.]
Helen: Oh my. Will you look at the mess of the place? In all my years, I don’t think I’ve ever seen a place in disarray quite as bad as this. I nearly killed myself tripping over that cable back there. Drat, where are the lights?
Ahhh, there they are. Much better. Well, the good news is I can see. But the bad news is, now I can clearly see just how messy this place is! Where is that old Alfred now? He’d have a fit if he saw the place like this. Over by that busted window is an overturned table, over by that escape door are about fifty cables, and the rest of the room is covered in ash from the fire of ‘57. Could you imagine if Alfie saw this mess? He’d surely have a heart attack! Ha ha ha.
Ooh yes, will you look at that. I almost looked right over my favourite prop of all, that big lounge sofa. Other than a bit of smoke damage, the fabric is still in pretty decent condition. The memories I made just on this sofa alone could last one a lifetime. I remember when I was still working as an understudy, I would come into the studio after hours, and pretend I was Judy Garland. I would pretend to boss people about, and lounge in this sofa, sometimes even falling asleep in the chair. Then there was my big break. In one scene, I was to lie asleep on the sofa, and wait for my leading man, Johnny Fairchild, to come in and kiss me. Not many people know this, but he was my first kiss! He wasn’t very good at it as he didn’t have much experience, he was rather new on the acting scene. But he had piercing blue eyes, a full head of jet black hair, and a Scottish accent! Oh I was the envy of all my girlfriends. Oh my, I do believe I’m getting quite flushed! Is it warm in here, or is it just me?
(Chuckles) Well, I suppose that’s a rather silly question. The heat hasn’t been turned back on since that fire. When I think about it, I’m really acting quite foolish. Hell, I don’t even know why I’m here. It’s not as if there’s someone here to talk to, for the past few minutes I’ve been talking to myself! And the place is a complete wreck. As strange as this might sound, as horrible as the place looks, it’s peaceful. I feel completely safe here! It feels like home. I’ve always preferred coming here after dark. It reminds me when I used to come here to meet my Frankie. While I was studying, he would offer to help me. Poor lad couldn’t read a word though, so I taught him. He swears he just wanted to help, but I was wise to him. He would use our study sessions to flirt with me, and every day he would ask me to go steady, but I would always say no. Then I remember he had that accident when he apprenticed as an electrician, the poor boy was electrocuted! It nearly killed him too. It was when he was being rushed off to the hospital that I realized just how strong my feelings for him were.
(Sigh) Maybe it’s the smoke smell or I’m just getting old, but I feel utterly exhausted all of a sudden. Perhaps I’ll just rest a moment here on this sofa.
[Falls asleep on the sofa. An hour passes by.]
[Rustling comes from outside, awakening the sleeping woman. She awakes with a start.]
Frank: (Grunts) Hello? Anyone in there?
Helen: H-hello? Who’s there! I have pepper spray!
Frank: Oh thank heavens it’s you!
Helen: What on earth are you talking about! Who are you! I don’t know you. Get away from me!
Frank: Baby, it’s me! Your Frankie! Don’t you remember?
Helen: I have pepper spray! Back away!
Frank: Listen, I’m Frank. You’re Helen. We’ve been married for forty years. We have four kids. This is where you used to act, and I would do the wiring. I’m not going to hurt you, I just want to take you home. You went out for a walk about an hour and a half ago to get some bread, but never came home, so I came looking for you.
Helen: Help! Help me! Somebody! You get away from me you . . . I don’t know how you know me, but I certainly don’t know you! I’m not going anywhere!
Frank: Relax, there’s no one living down this end of town, no one’s gonna hear you!
Helen: Is that supposed to relax me?!
Frank: Hang on a sec. . . (dials 911 from his cell phone) . . . yes the old movie lot. Yes I’m aware it’s abandoned!. . . I don’t care if it’s trespassing. . . I have no idea why she’s here again. Can you just come get us?. . . be gentle, she has Alzheimer’s. No. No, she’s having another episode. She’s panicking. . . Obviously she doesn’t remember me!. . . just get here as soon as you can, ok?
(Under his breath). . .fine, I’ll humour her until you get here. Hurry! (Click)
Helen: You called the cops on ME? Just wait til they get here, and I tell them how you tried to frighten me! They’ll take you away!
Frank: Somehow I doubt that!
Helen: Frank you needn’t be snippy with me! We both know how excitable you are. Remember what Dr. Murphy said, keep your temper under control, because your blood pressure is all out of whack! What are you doing here anyway? DID YOU FOLLOW ME HERE?! You don’t trust me do you! You thought I was having an affair or something, so you came to try to catch me in the act! Well sorry to disappoint you, mister "I Don’t Trust My Wife".
Frank: Amazing. Baby, you never fail to amaze me.
Helen: What on earth is that supposed to mean!
[Sirens getting closer]
Frank: Oh, its nothing hun. Come on, let’s get out of here, before the whole place collapses.
Officer: Is everything alright here, sir?
Frank: Yes sir, officer. My wife and I are just out for a walk on this fine autumn evening.
Officer: Ma’am, you’re alright?
Helen: Yes, doesn’t it look like I’m alright?
Officer: Well, you are covered in ashes.
Helen: Oh, will you look at that! I am too. How on earth did that happen? Alfie just finished cleaning the place inside. My mother is going to have a fit trying to wash this out!
Frank: Now, now dear, I’m sure your mother will be fine.
Helen: Oh, I’m just a right mess tonight. I’ve forgotten my purse inside! Wait right there while I go fetch it?
Frank: Of course, dear.
Officer: (When Helen is inside) Dad, you really can’t keep doing this. This is the third night this week I’ve had to come out here because of mom. I realize I’m a cop and everything, but I can’t keep covering for these trespassing charges. I can only look the other way so many times before my reputation is called into question. She’s getting worse. Hell, grandma’s been dead for fifteen years!
Frank: I know son, I know. But I couldn’t dare to lock your mother up somewhere like an animal! She just has so many memories in this place, I couldn’t live with myself if I kept herself away from it.
Officer: What are you gonna do when she can’t remember anything anymore?
Frank: All I can do is love her, and pray for a miracle.
Officer: It just isn’t fair. There should be a cure for it.
Frank: Believe me, if there was a cure, I’d be first in line to get it for her. Thank you so much for coming out here. You don’t know how much I appreciate it.
Officer: You’re just lucky I’ve been on the night shift this week, otherwise you’d have quite a few fines to pay.
Helen: Ah here it is! I got it! Silly me! You see, officer, I’m always forgetting something! My mother always tells me I’d forget my head if it wasn’t attached! Ha ha ha! Say, you look awful familiar officer! Haven’t we ever met before?
Officer: No ma’am, I don’t believe we have.
Helen: Oh, fancy that. I’m almost certain we have. Oh well, are you ready to go honey?
Frank: I’m ready when you are. Is that all officer?
Officer: Yeah, I think we covered everything. Do you two need a ride home?
Frank: Oh that’s alright, I’m sure we can manage getting home. Thanks again for coming out here son. I appreciate it.
Officer: It’s just a part of the job. Have a safe night, folks.
Both: You too! Have a good one.
Helen: What a nice young boy. His parents must be so proud.
Frank: I don’t even think proud begins to cover it.
[end]
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