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.
Monday, December 12, 2011
Thursday, December 8, 2011
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.
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.
Monday, December 5, 2011
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:
Friday, December 2, 2011
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.
________________________________________________________________________________
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.
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.
________________________________________________________________________________
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.
Wednesday, November 30, 2011
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.
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.
Monday, November 21, 2011
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!
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!
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