Hint Fiction Due and Clue

Hello everybody! This is what the first 5-10 minutes of class should look like:

-Take the first few minutes of class to look over your hint fiction pieces (remember: at least five).

-Gather your workshop handout if you did not give it to me.

-Print out your hint fiction, collate papers if necessary, and place your work in the Craddock's grey
paper receptacle.

-migrate next door for a special viewing of the film Clue. We will be focusing on how interesting characters are created while watching the film.

Making interesting characters can be a challenge. Take a look here at the many things that go into creating dynamic, engaging characters.

 HW: Please complete a character sketch following the characterization worksheet.

Working With Diction / Word Choice

Hello everyone. We're going to start off class in room 228. Here is today's agenda:

1. Hint Fiction workshop:

A. Take 3 minutes to read over your hint fiction pieces.
B. Select what you believe to be your strongest piece and your weakest piece
C. Place a smiley face next to your strongest piece and a frowny face next to your weakest piece
D. Give your stories to at least two peers with your Hint Fiction Workshop sheet
E. After all reviews have been completed: Would anyone like to share a story?

2. Mini-lesson on diction / word choice

3. Diction / Word choice exercise: Dull sentence exercise

4. Looking at your word choice in your stories.

5. LABWORK: Go back and make any necessary revisions to your stories based off the workshop, the word choice exercises, or your own enlightenment.

Hint Fiction Project

Today in the lab you are to write as many hint fiction pieces as possible. Try to get anywhere between 5-10 done by the end of class.

After you have written three, ask your peers (preferably those in close proximity), to review your work. Ask them if they "get" it. What needs clarification? Does my title need to hint more toward the meaning of my story? Does it sound more like a beginning or just random thoughts? How effectively do I use mood / tone, word choice, images, plot twists to convey meaning?

**Remember, hint fiction are stories that are 25 words or less that suggest a larger or more complex story.

Here are some refreshers and tips in case you're stuck:

NPR article on hint fiction

Writing Micro Fiction tips

More tips

Some Hint Fiction examples

Introduction to Hint Fiction

We'll be looking at the experimental and fairly recent genre of hint fiction today. Hint fiction is defined as a story of 25 words or less that suggests a larger, more complex story.

While learning about hint fiction, I want you to think about why the elements of extremely short fiction (diction, mood, the twist) also need to be considered for your longer works of fiction.
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Step by Step for Identifying Characteristics of Hint Fiction Activity: (part 1)

1. Read through the examples of hint and micro fiction

2. Select one story and identify characteristics of micro fiction within your story. Please refer to the "Writing Flash Fiction" article for the characteristics you should be looking for.

3. For each characteristic you find, write the name of your story on one side of an index card. On the other side, comment on how your story demonstrates the specific characteristic. Please try to find 2-3 characteristics, which means you'll be using 2-3 index cards.

4. Post your index card, story title face up, on the white board in the column that corresponds with the characteristic you identified on the other side of the index card.


Part 2:
1. Select an index card from the white board. It must be a story you have not read. DO NOT READ THE OTHER SIDE OF THE INDEX CARD.

2.  Work independently with your new story to describe how the characteristic, indicated by the column you retrieved your card from, is used.  Please write these thoughts in your journal or on a separate piece of paper.


Part 3:

1. Share the story you selected from the white board by reading it.

2. Share your interpretation of how the story demonstrates the designated characteristic.

3. Finally, turn over the other side of the index card and share your classmate's original comment.

Draft 3: Surpise Ending

Hello everyone. Today in class you will be working on Draft 3 of your short story, which will be the surprise ending version. A few things to keep in mind while creating your surprise ending:

1. You may have to change parts of your beginning and middle in order for your surprise ending to work. Remember, you're looking for that "I should have seen that coming" reaction from your audience.

2. You may have to create new characters, but remember, do not simply tag on new characters without any development. They must be meaningful to the entire story.

3. You don't have to stay loyal to the resolution of your conflict from previous drafts. If you have a happy ending in one draft, your surprise ending might bring sadness or loneliness into the lives of your characters.

4. Be thought provoking! Use literary devices like irony to cause your audience to contemplate your theme. Recall "Two Thanksgiving Day Gentlemen." The Old Gentlemen, dressed in fine clothes, is just as much of a loser as Stuffy Pete, albeit, a generous loser.

5. Avoid the "out of the blue" ending. That's not as much surprising as it is unfair. It also shows a lack of connection between beginning, middle, and end.

By the end of class, you should have completed your third draft.

The Art of Plot Twists

We've been discussing endings, and most recently, the unexpected ending. Plot twists are an integral element of surprise endings, and often necessary for character development as well.

So, why should you be concerned with incorporating plot twists into your own work? Because when you write, you should always consider your audience, and more often than not, your audience will grow bored with your work if you don't mess around with the plot.

While creating plot twists, writers have to build their stories in such a way that allows for the shocker to be thrilling, yet not contrived or forced. Soap operas are notorious for flabby, over-the-top, easily conceived plot twists. Shall we?

Incest?

Lauren's Surprise

Oh, no he didn't!

A "hearty" meal

Now that we've seen some less than stellar "twists," let's look at a few strategies that might help you write a strong plot twist:

1. Plot twists should develop character- Whenever you take your story in an unpredictable direction, try to have a twist that resonates with your characters' personalities, or perhaps raises an issue that has haunted them in the past.  For example, if you need characters to meet, don't arrange a random car accident. But let's say one of the characters is a poor driver. If this were the case, the accident wouldn't seem as contrived.

2. Create an incident that changes the way characters understand the world- What could be greater than completely reversing a character's worldview. What kind of occurrence might bring about such a drastic change in philosophy. Think Boo Radley in To Kill a Mockingbird. The story wouldn't be as effective if we knew all along that he wasn't monstrous, but a gentle caring individual.

3.  Play fair- Surprise endings/twists are only fun if the reader can finish the story and think, "yeah, that makes sense." As a writer, you must decide which information you are going to withhold, and which information gets shared. Remember, the desired reaction from your reader should be "I should have known," not "Well, I feel cheated." People like to be surprised with the familiar. So, concluding a murder mystery by revealing the killer to be someone never mentioned in the plot is decidedly cheap and, simply put, not a whole lot of fun.

Listed below are some common types of plot twists- not necessarily bad, as long as they follow the guidelines above:

1. In Media Res- In Latin this means, "into the middle of things." It drops the audience into the action without any background knowledge or motivation. Then, of course, you must work backward from there.

2. Chekhov's gun- "One must not put a loaded rifle on stage if no one is thinking of firing it" In other words, don't be obvious, but without dwelling on certain details, you should hide your revelations in plain sight.

3.  Unreliable Narrator- The point in the story when you realize the protagonist or narrator is delusional and the central conflict is actually nonexistent or the reality of the situation is completely contradictory to the way the narrator presented the story. Basically, Appearance versus Reality.

4. Anagnorisis- A startling discovery is made about the nature of a character or object. Darth Vader is Luke's son.

5. The least likely villain

6. Non-Linear Timeline- Your story is completely out of order. The movies Momento and Pulp Fiction are good examples of this. Similar to In Media Res.

7. Ambiguous Ending- It sure is a twist, but it's also very controversial. If you leave your audience hanging, be sure to have a better reason than mere laziness.

8. It's not over yet- When action seems to have settled down, throw your characters back into the same mess, or even a different mess.

9.  Hero to Villain

10. Deus ex Machina- You should probably avoid this one. This that "out of the blue" strategy where a problem is solved miraculously by an unrealistic device or information that has been suspiciously withheld for 95% of the story. Probably not a good choice.

Now, go back to a story you have written, or write a new story, and add a plot twist!

Two Thanksgiving Day Gentlemen

Today, we are going to watch a masterful interpretation of O. Henry's short story "Two Thanksgiving Day Gentlemen." This will most likely be the highlight of your Thanksgiving week, so enjoy it while it lasts.

PART 1

PART 2

Mr. B's email address

Because we were having trouble printing out the facebook profiles, please send your work to me by email (also, hooray for being green!) My email address is: bbodens5@mail.naz.edu

Enjoy your weekend and be sure to have your Facebook profile, as well as the rationale, for Monday's class. See you then!

Characterizations Continued

Please go to the blog from last class for the directions on creating the Facebook profile for either Mr. Kapasi or Mrs. Das from "Interpreter of Maladies."

You will have the first half of class to finish this assignment. Work diligently and you should have no problem in completing the assignment. If you do not finish the assignment, you may hand it in for less credit next week Monday.

Since learning how to develop characters is extremely significant to your evolution as a writer, it is helpful to know some terms that govern the process. Please check out these notes on characterization on Mr. Craddock's blog here.

We will be reading "Salesmanship" by Marry Ellen Chase as a class today. We will be discussing elements of the unexpected ending.

Facebook Characterizations

After discussing some key elements of Lahiri's "Interpreter of Maladies" you will have the opportunity to create a Facebook profile for either Mrs. Das or Mr. Kapasi. This means, of course, that you will have to refer back to their characterizations. Even though you know this,  the process of characterization is how we learn about characters through direct description, what they say, what they do, and/or what others say about them.

For the Facebook activity,  you will have to complete the following profile items:

1. Profile Picture- search google for a random person that you think accurately depicts a person's appearance. You do not have to solely base the picture off of physical description, so long as you choose a picture that you think speaks to his/her personality.

2. Status Updates- what kinds of things might this character post based off of their characterization. How might they say it. All things to consider.

3. The Bio-  There's a difference between objectively listing a person's life story and that which a person is actually willing to share. Consider both.


4. Likes/Ads- What might this character be interested in based on what you know about them?


5. Friends- Once again, find pictures of people on google who would likely associate themselves with your character.

Click here for the blank Facebook template

You have a lot of freedom here to be creative. Just be sure your decisions accurately reflect the characterizations of Mrs. Das or Mr. Kapasi. To assure this, fill out the FACEBOOK PROFILE RATIONALE sheet while you work on this activity.

HOMEWORK: Please read "Salesmanship" by Mary Ellen Chase. As you read, take note of how the ending achieves its "surprise!" How does the author connect ending with middle and beginning expectations?

Bringing Stories Together: Linking the Beginning, Middle, and End

Now that you have read "Saboteur" and have become seasoned experts on the story, it is time to apply your knowledge of beginnings, middles, and endings. "Saboteur" seamlessly links each part of the story, progressing the plot forward in a logical manner. This logical progression allows readers to experience the themes of the story is a more powerful way. As creative writers, you too want to communicate ideas to your readers in a clear, logical fashion. In order to see how Ha Jin accomplishes this in "Saboteur," we're going to play a little game:

You're first going to split up into groups of of 4 or 5. When you get into your group, you will have 10-15 minutes to work together on identifying how details from the beginning link to the middle, how the middle links to the end, and how the end links to the beginning. Where are you going to find these details? Anything that contributes to plot:
                                                                       -characterization
                                                                       -setting
                                                                       -conflict
                                                                       -motifs /symbols
                                                                       -mood
                                                                       -foreshadowing
                                                                       -irony
                                                                       -tension and release (building of suspense)

And the list, of course, goes on. Your objective is to take details from each section and show how they become meaningful at other points in the story.

For example, you may focus on the theme of arbitrary injustice. What occurs in the beginning that suggests this theme? What occurs in the ending that revisits this theme? Gather as many connections between sections as possible. It will work to your benefit!

The competition portion of this activity enters into the picture after each group has a solid collection of links between the middle, beginning, and end. Each group will take turns using the "links" they have compiled to challenge other groups. For example, let's say your group has linked Mr. Chiu's acute hepatitis described in the beginning to the end of the story (a fairly obvious connection). You will then challenge another group in the following format: We challenge you to find a link between Mr. Chiu's illness described in the beginning, to an occurrence at the end of the story. The group being challenged  will have one minute to discuss. If they come up with a valid connection, they will receive a point. If they cannot find a connection, the team that challenges will receive the point. 
 ** You may only challenge groups with links that your group has found. It would be unfair to ask a group to find a nonexistent link between the parts of the story. 

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After the activity, you should be able to see how Ha Jin creates a logical flow to his story, engaging his reader and clearly communicating ideas / themes.

LAB WORK: To further enhance your understanding of creating relationships among the different parts of a text you are to complete one of the following tasks as a Microsoft Word Document :

1. Change the end of the story so that the plot structure remains mostly intact (keep the original setting, characterizations, themes, and conflict alive). If any changes do need to occur for your ending to work, on a separate word document, fill us in on the adjustments. Remember, keep the "vital organs" of the story unharmed.
          
                                                           -OR-

2. Change the ending, as well as the type of ending it is. On a separate word document, explain what details in the beginning and middle would have to change as a result of your new ending.

If you finish early, please begin reading Interpreter of Maladies by Jhumpa Lahiri.

***This is to be handed in at the end of class or it is due for next class, on Tuesday November 15.

Homework: Read Interpreter of Maladies For Tuesday's class.

Playing with Endings

You've learned six ways to end a story and have seen a couple of them in action. Now you get to try them on for size:

Write the last line or couple of lines of story you haven’t written yet. Identify which type of ending you are going to demonstrate (surprising, circular, image/idea, open ended, matching versus nonmatching, or summary). Be sure to consider the effect you want your ending to have.

Here are a few examples of endings to stories that don't exist in full form:

 Mrs. Williams, hunched over the old piano, placed her fingers on the keys and began to play. She gracefully swung her head back and forth to the rhythm and swirl of the melody. All the others in the recital room watched nervously as only the muffled thuds of ivory keys hitting the bottom panel and popping back up filled the room.

                                    -Or-

Colonel Flanders tucked the pistol into his waistcoat and looked for a bench to rest. It was well past noon, and the colonel did not want to be tired for group bingo again.

                                    -Or-

And there, buzzing on the window sill above the kitchen sink, was the radio—nothing more insignificant in their lives, yet nothing more commanding, or even defiant, in the very moment that death and silence prevailed. A dull, smoky jazz number was all that was left. Then another. Then another. And it never stopped from there.

 After you've written your ending, write a brief synopsis (1 or 2 sentences) about what your story could be about, given the ending that you just wrote. Write as many as you can in the next 15-20 minutes. Feel free to talk with others for advice: random ideas/ themes/objects that could be embedded into your ending.

If you’re stuck:

- pick an object and describe it the midst of chaos, silence, sadness, happiness—anything interesting you can think of that evokes a theme, mood/atmosphere, emotion. 

-I also found it helpful to think of a random name (ex. Mr. Frutter) and then use your gut reactions to that name to come up with scenarios/characterizations that might be interesting or even bizarre. For example, Mr. Frutter, to me, sounds like an ice cream truck driver. Remember: there doesn’t have to be a reason for everything.

-Combine objects and concepts that wouldn’t normally fit together. Try to draw a connection between the two. Ex. tomato garden/saxophone, cigarettes/car seats, suicide/cherry pie.

**These endings/brief synopses will be written on index cards and collected.

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After this exercise, you will have the remainder of class to finish your short stories. If you are done, please read Ha Jin’s “Saboteur.” Pay close attention to how the beginning, middle, and end are interrelated, noting how each part progresses not only the plot, but the development of character, theme, conflict, and ultimately the deeper meaning.

Endings

Endings can be:

Circular: The beginning and the end reflect upon one another, often using the same situation, setting, characterization, or even repeating the same line or idea presented in the opening. This provides a sense of parallelism in your story structure. It is best used when suggesting that the past and future of a character/story is similar.

Matching vs. Nonmatching: similar to a circular ending, the first image is transformed, and is repeated at the end. This is most like the pattern in music: theme and variation. The first image of the story foreshadows or suggests the last image. Sometimes this is obvious, othertimes the image is subtle.

Surprise ending: Often an ironic ending, or an ending that surprises the reader. The American writer O.Henry was a master of this kind of ending. It is often found in horror/suspense or mystery fiction. The "surprise" needs to be planned by the writer, who should include details that prepare the reader for the surprise, instead of "shocking" the reader, who usually resents this strategy.

Summary ending: A summary of the outcome of the story – this kind of story wraps the plot up very tightly, suggesting the future for the characters. No loose ends. This sort of ending has fallen out of favor lately, so use it at your own peril.

Open ending: used largely in contemporary fiction, the story doesn’t end nice and neatly (like the summary ending). Instead, it leaves an important question posed to the reader, so that the reader must interpret the ending. Caution: this can sometimes confuse a reader. It is best used for subtle effect.

Ending with an image/idea: ending a story with an important detailed image or idea that reflects the theme of the story can "stain" the idea or image in the mind of the reader.

The End: Finishing Your Story

After reviewing some of the ways to end a story, take a look at a few examples of endings used in fiction. Try to determine which kind of ending each example demonstrates. Think about the effect the ending has on you. Also, think about why the author decided to use that type of ending.

When you're finished reading, complete the half sheet of paper which asks you to indicate the type of ending each story uses.

After completing the sheet, feel free to watch a few of these television and film clips that illustrate some different kinds of endings:

From Alias season 4 finale

From Sopranos series finale

 From the film Being There