Post by Richard Stone on Mar 6, 2014 15:54:30 GMT -8
Richard Stone stood at the whiteboard at the front of his classroom. Often he wondered if teaching all of the English classes was smart or just plain insane, some days he though the former, but most days it felt like that latter.
With a pen in his hand he wrote Creative Writing in large script at the centre top of the board and underlined it a few times. Under this, to the left, he wrote Short Story Under it he began to write down the lesson. He decided not to bother with handouts for this lesson as it was information the students would either keep or discard.
What I would like from each of you is a three-page short story over a topic your choosing. Please remember that your topic must be school appropriate. I would hate to have to fail someone for writing a raunchy romance novel.
We are going to spend today throwing ideas back and forth if you need them. I'll bring out the mobile white board and write down some more things. One thing to remember is that writing something that simply tells gives the basic information, but writing a piece that shows will make the information more vivid. Some examples of that? I hear you ask. I could just say the likes of: Ms. Simmons was a strict teacher. Or, I could say; When students spoke without raising their hands, Ms. Simmons grabbed their ears and pulled them into the detention room. The former gives you an idea that Ms Simmons could be strict. The latter, however, let's you know exactly how strict she is."
With a pen in his hand he wrote Creative Writing in large script at the centre top of the board and underlined it a few times. Under this, to the left, he wrote Short Story Under it he began to write down the lesson. He decided not to bother with handouts for this lesson as it was information the students would either keep or discard.
BeginningHe was still writing as the students started spilling into the classroom and took their seats. When he had finished writing, as the tardi-bell sounded, he turned around to address the class. "Good morning, one and all. As you can see on the board, we're going to be looking at creative writing and to start off, I thought I would get you to try your and at a bit of fiction.
Your beginning should hook the reader. Try beginning with either action or dialogue. Action: They threw me off the hay truck at about noon (Postman Always Rings Twice). Dialogue: “Daddy! I saw Momma! Hurry!” (The Quiet Game).
Characterize
Many people have body language or actions that show their personality. A nervous boy may bite his nails and an insecure girl may look at the floor and avoid eye contact. Using body language clues are much more effective for the story than by telling the reader that “Henry is nervous today.” Also, a character’s actions reveal their personality. A selfish person at dinner may take the last piece of pie, even though he all ready had more than half, without asking anyone else at the table if they want it.
• Static (unchanging) vs. dynamic (changing) character
• Flat (one-dimensional, stereotypical) vs. round (multiple characteristics, complex) character
Conflict
Conflict is the struggle between opposing forces, characters, or feelings. In an external conflict, the character struggles against another character(s), nature (a hurricane or illness), or society. An internal conflict involves a clash between opposing needs or feelings within a character.
Description
Description is writing that creates a picture of a person, place, object, or event by using sensory details that appeal to your senses. An objective description emphasizes factual details in neutral language. A subjective description, on the other hand, creates a mood or impression of its subject by using words with positive or negative connotations.
Objective The morning was cool, misty, and cloudy.
Subjective A penetrating, chilly mist oppressed the village under glowering grey skies. (The impression is one of chill and gloom.)
Objective Laura has black hair, a thin face, and blue eyes.
Subjective Laura swept her gleaming black hair away from her slender face and gazed up with her clear, startlingly blue eyes. (The impression is of a beautiful, young woman.)
Ending
Three types of endings exist: 1) main character achieves his/her objective, a happy ending; 2) the reader doesn’t know if the main character will get his/her objective, an ambiguous ending; 3) the main character loses his/her objective, a negative ending. To make the ending more complicated, a positive ending could result in the main character achieving his/her objective but the result is bad, and a negative ending could result in the main character losing his/her objective but the result is good, which would add a bittersweet feeling for the reader. *Caution: Ambiguous endings only work if done very well. These endings normally frustrate the reader unless the story presents a feeling or a direction to either a positive or negative ending.
Exposition
Nothing will slow down a story faster than too much information that the author tells the reader instead of shows. Remember that exposition should always be a small part of the story; action, dialogue, and setting should comprise the vast majority of your story. Some simple rules follow:
• Act first, explain later: Begin with a character in motion. Drop in information as necessary, in little bits as you go along.
• The reader is smart: If the reader can figure something out, don’t tell it. For instance, if your story begins with a verbal fight about kittens, you don’t need to add that little Susie has wanted one for a long time and has begged and pleaded until this fight, which has lasted for a few minutes, has occurred.
• When you do explain, use the iceberg method: Don’t tell everything about the character’s past history or current situation. Give us the 10% above the surface that is necessary to understand what is going on, and leave the other 90% hidden and mysterious under the surface.
• Set information inside confrontation: Often the best way to let information come out is in a scene of intense conflict. Using the character’s thoughts or words, you can add crucial information. Just remember to use small pieces at a time. You don’t want a character’s thoughts to become a long internal speech that would interrupt the conflict.
Irony
Irony is a contrast between expectation and reality—between what is said and what is really meant, between what is expected and what really happens, or between what appears to be true and what really is true.
• Verbal Irony: This occurs when a writer or speaker says one thing but really means the opposite. Verbal irony often involves understatement and overstatement. Sarcasm is a type of this kind.
• Situational Irony: This occurs when what actually happens is the opposite of what is expected.
• Dramatic Irony: This occurs when the audience or reader knows something important that a character in the play or story does not know.
Point of View
• First-person point of view: The narrator is a participant in the action and creates a sense of immediacy by using the pronouns I and we.
• Second-person point of view: The writer uses the pronoun you, making the reader the main character in the story. This pov isn’t used as much, and it can limit character details.
• Third-person point of view: The narrator has access to all the characters’ thoughts and actions. The writer uses the pronouns he, she, it, and they, which helps create a sense of objectivity and distance. 3rd-person limited: stay only in one character’s mind and describes his/her thoughts, emotions, and actions. 3rd-person omniscient: able to see everyone’s thoughts, emotions, and actions. 3rd-person objective: able to see everyone’s actions but does not reveal thoughts or emotions unless visible through body language, action, or dialogue.
Setting
All action needs to occur in a place—whether inside or outside. Many times, the setting affects the characters either by limiting them (outer space) or by influencing them (Grand Canyon). Be sure to describe the setting. The more real it appears to the reader, the more your story becomes real.
Story Patterns
• The Quest: The main character sets out in search of something, experiences various adventures, and finally returns—either successful or unsuccessful.
• The Initiation: A main character is faced with a new situation that tests his or her abilities or beliefs. How the character deals with the situation determines the direction of his or her life.
• The Union: A boy and girl grow fond of each other, but their parents or some other force comes between them. The couple usually gets together in the end after overcoming various obstacles.
• The Choice: The main character is faced with a difficult decision near the end of this type of story. Making this decision is the high point of the plot.
• Other Patterns: Adventure, Escape, Fall in Power/Wealth, Growing Older/Wiser, Pursuit, Rescue, Revenge, Riddle, Rise in Power/Wealth, Rivalry, Sacrifice, Temptation, Underdog.
• Mythic Structure: Reader introduced to hero’s world, call to adventure, hero may ignore the call, hero crosses into new world, a mentor may arrive to teach hero, various encounters with darkness, hero has dark moment he must overcome, a talisman aids in battle (sword, shield), final battle, hero returns to own world.
** Subplots: You story can also follow a secondary character’s actions. Subplots can be difficult to manage since you need to balance it with the main story. Subplots are effective when it adds to the story’s theme or complicates/collides with the main character’s plot. Be careful, though, since a subplot can end up being a distraction to your main story if you’re not careful.
What I would like from each of you is a three-page short story over a topic your choosing. Please remember that your topic must be school appropriate. I would hate to have to fail someone for writing a raunchy romance novel.
We are going to spend today throwing ideas back and forth if you need them. I'll bring out the mobile white board and write down some more things. One thing to remember is that writing something that simply tells gives the basic information, but writing a piece that shows will make the information more vivid. Some examples of that? I hear you ask. I could just say the likes of: Ms. Simmons was a strict teacher. Or, I could say; When students spoke without raising their hands, Ms. Simmons grabbed their ears and pulled them into the detention room. The former gives you an idea that Ms Simmons could be strict. The latter, however, let's you know exactly how strict she is."
Students
Present:
Present:
@alana
@maidinmisery
Othello Buskirk
@jasper32
Absent:
@amberpayton
Amelia DeFoe
@calebm
@jasper38
@john
@jacobs
Miranda Florin
Peter Holden
@sergei
Othello Buskirk
@jasper32
Absent:
@amberpayton
Amelia DeFoe
@calebm
@jasper38
@john
@jacobs
Miranda Florin
Peter Holden
@sergei