Wednesday, March 23, 2016

Stephen King Project

Again, today in the lab, please use your time to work on this project. See previous posts for details and/or information.

Short motivational videos if you get stuck or need inspiration today or anytime!
Writing Motivation #1
Dreams to Reality (Writing Motivation) #2
J.K. Rowling: (Writing Motivation) #3

Remember that your project (the 5 drafts) are due April 5. Drafts can be of any appropriate length or specific genre or style, although you may wish to play around a bit with horror/suspense writing (see H.P. Lovecraft post below). Your work will be collected in your portfolio.


Coming up: the art of revision. You will be asked to further develop one of your pieces into a more complete second draft. But this will happen after break.


Shia Labeouf Motivational Video (thanks, Kaneil!)


HOMEWORK: Complete your drafts for the Stephen King project. Have a nice break!

Monday, March 21, 2016

Genre Tips: Writing Suspense & Horror Stories

"My reason for writing stories is to give myself the satisfaction of visualising more clearly and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty, and adventurous expectancy which are conveyed to me by certain sights (scenic, architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and literature." -- H.P. Lovecraft 
The great American horror writer, H.P. Lovecraft wrote a little book called Supernatural Horror in Literature in 1927 and an essay entitled: "Notes on Writing Weird Fiction". He also continued to train other horror writers of the time, as well as influence new horror writers of today.

He wrote: "The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; and there must be a hint...of that most terrible conception of the human brain–a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space."

In other words, horror writing is not just writing about blood and guts or by revealing the monster. It's all about tone/mood--the atmosphere of dread. Your protagonist is up against something that is utterly unknown or foreign--something unbelievable, or something odd or out of place in our normal, everyday lives.

To this end, the monster in horror stories is often a metaphor made real. A person suffering from cancer, might be a protagonist who is being hunted by an amorphous, malignant mass, or a teenager who is tempted to take drugs, might be accosted later by a roomful of zombies. Cancer = monster, the drugs = zombies. Many horror stories work on this level of metaphor.

So--if you want to write a horror story, you're going to need to write with an effective tone and use diction (specific word choice) to create a specific mood for the reader.

H.P. Lovecraft describes his writing process: "As to how I write a story—there is no one way. Each one of my tales has a different history. Once or twice I have literally written out a dream, but usually, I start with a mood or idea or image which I wish to express, and revolve it in my mind until I can think of a good way of embodying it in some chain of dramatic occurrences capable of being recorded in concrete terms. I tend to run through a mental list of the basic conditions or situations best adapted to such a mood or idea or image, and then begin to speculate on logical and naturally motivated explanations of the given mood or idea or image in terms of the basic condition or situation chosen."

H.P. Lovecraft also gives us these planning/writing tips:
  • "Prepare a synopsis or scenario of events in the order of their occurrence--not the order of their narration." This is also helpful when writing mystery fiction. You need to know what order things happened in so that your protagonist can unravel the mystery.
  • "Prepare a second synopsis or scenario of events--this one in order of narration (not actual occurrence), with ample fullness and detail, and with notes as to changing perspective, stresses, and climax."
  • "Write out the story--rapidly, fluently, and not too critically--following the second or narrative order synopsis. Change incidents and plot whenever the developing process seems to suggest such change, never being bound by any previous design."
  • "Revise the text, paying attention to vocabulary, syntax, the rhythm of prose, proportioning of parts, niceties of tone, grace and convincingness of transitions."
  • Prepare a typed copy (or proofread, edit, revise, and proofread again!) Print out.
You can see, here, of course, that young writers usually just jump into a story and try to battle their way out. This sort of tactic doesn't really work well with stories of mystery, suspense, and horror because the writer should have a good idea about what the plot IS--even if the story is more about the character or how the character solves or uncovers the mystery. In other words: you need to know what's going on so that you know what to highlight and focus on for the writer. Take models like Edgar Allan Poe's "Cask of Amontillado" for example. The narrator spells out his intention in the first sentence or two--then the rest of the story makes the reader wonder when this man is going to get his revenge. I.E., he creates suspense! That would not happen if Poe didn't know his plot events, and in what order they occur.

Finally, in regards to the types of horror/weird stories, he states:
"There are, I think, four distinct types of weird story; one expressing a mood or feeling, another expressing a pictorial conception, a third expressing a general situation, condition, legend, or intellectual conception, and a fourth explaining a definite tableau or specific dramatic situation or climax. In another way, weird tales may be grouped into two rough categories—those in which the marvel or horror concerns some condition or phenomenon, and those in which it concerns some action of persons in connexion with a bizarre condition or phenomenon." -- H.P. Lovecraft 
"Each weird story—to speak more particularly of the horror type—seems to involve five definite elements: (a) some basic, underlying horror or abnormality—condition, entity, etc.—, (b) the general effects or bearings of the horror, (c) the mode of manifestation—object embodying the horror and phenomena observed—, (d) the types of fear-reaction pertaining to the horror, and (e) the specific effects of the horror in relation to the given set of conditions." -- H.P. Lovecraft
In writing a weird story you might focus on the horror of a condition or phenomenon or write about a person who uncovers or comes across some bizarre and weird event or occurrence.

NOTE about suspense. Readers like suspense. We like to sit on the edge of our seat and wonder when the event we think is going to happen will happen. To create suspense, you should hint at the danger the protagonist is in. I like to write backward to create this suspense. I might start with the crime scene first--see what's there, investigate, then work BACKWARDS to figure out what caused the victim's death. By doing this, you will know the scene you are attempting to write. To add suspense, simply sprinkle in details or clues along the protagonist's way.
For interested writers, here is a link to some Lovecraft fiction online: Dagonbytes.

HOMEWORK: 

Sunday, March 20, 2016

Stephen King: Multi-Writing Project

Stephen King--Project Assignment:

Your on-going task is to read any 5 stories from the collection Nightmares & Dreamscapes. Choose one of the following tasks below to complete FOR EACH of the 5 stories you choose to read. You may, of course, read more than 5 stories if you'd like. This is an on-going project and will not be due until you return from Spring Break.

When you have completed the reading of your 5 stories you should POST a blog entry discussing Stephen King's work.

Then, for each of the 5 short stories you decide to read, please complete a short 1-3 sentence summary of the story's premise. A PREMISE is the underlying story--or "what the story is about" (for example, this story is about...) This will be turned in as physical homework to my in-box (see homework below).

Along with your 5 premises, each story should inspire one of the 7 tasks below. Story, essay, or poem drafts can be of any length, but should earnestly attempt to address the situation. I'd like you to choose 5 of the 7 prompts to complete. 2 will not be used.
  • Apply Stephen King's advice about writing from the book we read "On Writing" to one of the stories you chose to read. Explain how he seems to follow (or not follow) his own advice. Be specific. Use textual evidence and cite passages to support your claims.
  • Choose one of Stephen King's stories and kidnap a CHARACTER from it. Write a story or poem from the POV of this character. The story/poem may be from backstory information, or a reimagined scene that might have been left out of the draft, etc. The situation you place the character in is completely up to you.
  • Choose one of Stephen King's stories and compare it to one of your stories. What is King doing that is effective that you might learn to do in your work? Analyze your own process compared to that of Stephen King.
  • Choose one of Stephen King's stories and use the same SETTING he uses, but change the characters, situation, and all the other aspects of a short story. Write your own short story in the same or similar setting, but allow King's description to provide backstory for your own story.
  • Choose one of Stephen King's stories and make a parody of it. The line between comedy and horror is often a thin one. Use hyperbole and silliness to poke fun at King's story. Feel free to change the ending so that it is a happy one, instead of horror.
  • Choose one of Stephen King's stories and start your story where his ends. What happens next? You decide and write that story. You may change the genre, the POV or tense, or add or omit characters. 
  • Choose one of Stephen King's stories and change the situation. Rewrite the story from that speculation (what if...)
HOMEWORK: This assignment is due April 5. You should complete all drafts of these stories/poems, essays, etc. and your reading of the 5 stories by April 5.

Thursday, March 17, 2016

Masterclass

Please go to the main stage theater during 3-4 period. Bring your notebooks/journals.

Take a look at Sonja's info page from Writers & Books:


If you return with time remaining, use the time to read, write, or complete missing assignments. 

HOMEWORK: None. Stephen King assignment is due right after Spring Break. 

Monday, March 14, 2016

Scott McCloud; Stephen King Nightmares & Dreamscapes

Please turn in the take-home quiz.

After reading and discussing the 6 Stages of Creativity, please return to the lab to complete the following tasks:

A. On your blog, react to McCloud's stages. What stage would you like to achieve? How might you reach this goal? What do you expect from this program and how might your teachers help you learn what it takes to be an artist? Reflect and write your own blog post examining this issue.

B. Your on-going task is to read any 5 stories from the collection Nightmares & Dreamscapes. Choose one of the following tasks below to complete FOR EACH of the 5 stories you choose to read. You may, of course, read more than 5 stories if you'd like. This is an on-going project and will not be due until you return from Spring Break.

When you have completed the reading of your 5 stories you should POST a blog entry discussing Stephen King's work.

Then, for each of the 5 short stories you decide to read, please complete a short 1-3 sentence summary of the story's premise. A PREMISE is the underlying story--or "what the story is about" (for example, this story is about...) This will be turned in as physical homework to my in-box (see homework below).

Along with your 5 premises, each story should inspire one of the 7 tasks below. Story, essay, or poem drafts can be of any length, but should earnestly attempt to address the situation. I'd like you to choose 5 of the 7 prompts to complete. 2 will not be used.

Options:
  • Apply Stephen King's advice about writing from the book we read "On Writing" to one of the stories you chose to read. Explain how he seems to follow (or not follow) his own advice. Be specific. Use textual evidence and cite passages to support your claims.
  • Choose one of Stephen King's stories and kidnap a CHARACTER from it. Write a story or poem from the POV of this character. The story/poem may be from backstory information, or a reimagined scene that might have been left out of the draft, etc. The situation you place the character in is completely up to you.
  • Choose one of Stephen King's stories and compare it to one of your stories. What is King doing that is effective that you might learn to do in your work? Analyze your own process compared to that of Stephen King.
  • Choose one of Stephen King's stories and use the same SETTING he uses, but change the characters, situation, and all the other aspects of a short story. Write your own short story in the same or similar setting, but allow King's description to provide backstory for your own story.
  • Choose one of Stephen King's stories and make a parody of it. The line between comedy and horror is often a thin one. Use hyperbole and silliness to poke fun at King's story. Feel free to change the ending so that it is a happy one, instead of horror.
  • Choose one of Stephen King's stories and start your story where his ends. What happens next? You decide and write that story. You may change the genre, the POV or tense, or add or omit characters. 
  • Choose one of Stephen King's stories and change the situation. Rewrite the story from that speculation (what if...)
HOMEWORK: This assignment is due April 5. You should complete all drafts of these stories/poems, essays, etc. and your reading of the 5 stories by April 5.

Thursday, March 10, 2016

King Exercise Due! Nightmares & Dreamscapes; The Creative Process Explained

This morning, please take about 10-15 minutes to put the finishing touches on your story drafts. Correct your grammar, check your formatting, attend to the feedback you received last class from your peers.


Project Rubric:
9-10: story is imaginative, clever, well written, grammatically sound (almost completely free of proofreading, mechanical or spelling errors), story uses effective dialogue and effective description (diction or verisimilitude), story has an interesting theme, character(s) are well developed and dynamic. Setting is symbolic or used to enhance theme, character, or action. Overall, the story is well written, entertaining and creative: an excellent example of controlled storytelling. Story is turned in on time and fits or exceeds page range, properly formatted. Story has a clever and creative title. 
8: story is mostly well written, with some gaps or weaknesses, but nothing that makes reading the story laborious or difficult. Story is mostly grammatically sound (some errors) but nothing that gets in the way of comprehension. Story has some dialogue and description (diction), but work is not as compelling as scores of 9-10. Characters are developed, but not as unique or artistically as scores of 9-10. Protagonist changes in some basic way. Setting is described or used, but not necessarily to develop plot, character, theme, or tone. Story is turned in on time and fits in the minimum word requirement. Story is properly formatted for fiction. Story has a title. 
7: story is completed, turned in on time, but lacks the imagination and creativity of scores of 8-10. Some moments of storytelling, but story may need more plot development, conflict, character development, setting, or attention to detail and specifics. Story might have dialogue or description, but this is relatively uninteresting, or weakly presented by the author. Character(s) are adequately presented, but not very original from the instructions of the exercise. Story may be late (missed deadline), and is on the shorter less developed side in length. Work may have formatting errors. Story has a title. In general, scores of a 7 attempted the assignment, but without much concern for the reader/audience. Writer takes few, if any, risks and completed an assignment, but lacks imagination, creativity, or a sense of purpose.
5-6: story is as 7 above, but may be very late, or there are so many grammar and development or writing problems that makes comprehension difficult for a typical reader. Work is carelessly or hastily done. Student spent more time off-task in the lab than working on this project. Story lacks a title. 
0: story or project not turned in.

Then, please pick up Nightmares & Dreamscapes from the library. When you return, please move to room 238 to discuss the creative process.


Prepare for the take-home quiz by reading "The Cask of Amontillado". After that, please examine the creative process as detailed in Scott McCloud's "On Comics".


HOMEWORK: Read "Dolan's Cadillac" and complete the take home quiz. 

Tuesday, March 8, 2016

Stephen King Exercise; Workshop; On Writing (conclusion)

During period 3, please complete a first draft of your Stephen King story from the exercise he gave. Your story should be at least one or two thousand words (or about 5 pages double-spaced). It can be more or less. That's just what happens. There's no fast rule about length.

However, if you were not able to reach this number, please reflect on your writing process and add a short response explaining why you could not meet the word-requirement. What's stopping you from writing?

At the end of period 3, proofread your work and print out 2-3 copies of your story.

During period 4, please get into a group of 2-3 student writers to conduct a workshop. Now Stephen King would say that you're not ready for this yet. I agree with him, but classes in creative writing often require you to share your work while it's still "fresh & new"--this can be a problem. You're much too close to your first "perfect" draft to revise it. However, before we move on (as this is just an exercise and an assignment to force you to write) share your efforts with others. Allow them to help you find glaring errors in formatting and grammar/mechanics. Then turn in the better draft to me.
You may use the room next door for the purpose of workshopping or sharing as well. Read your story out loud to your group members. Group members please make grammar corrections or offer suggestions for a rewrite. When you are done with this task, please go back to the lab and revise, correct, and strengthen your draft. Print out a copy of your draft (wherever you end up) and turn the draft in to me for participation/writing credit.

Some Tips/Advice from chapters 9-13:
  • Practice is invaluable--and, if you're doing it right, you should enjoy what you're doing
  • Honesty is indispensable!
  • Write in any style you like, as long as your style serves the story--there's no right way to do this
  • Don't worry about getting it perfect in the first draft--refine, shape, and add "grace notes" (like symbols and themes) in the second draft
  • An author will decide how many drafts it takes to revise a story/book. You need at least a second draft
  • After writing, put the project away for a while and let it "bake." After some time, take it out and read it in one sitting. See it with "fresh" eyes. Ask: Is my story coherent? Where are the gaps? What sections or passages don't I enjoy reading?
  • Don't talk about your work until the first draft is finished; choose an Ideal Reader to give you feedback after writing the draft. Write for this ideal reader (IR). When ready, have more peers look at your work and give you feedback. You might want to pick people you trust, but don't know very well so you get an impartial eye.
  • Keep research and backstory in the background of your work. It's the story you should be telling, not a history. "Everyone has a history and (b) most of it isn't interesting."
  • The story always comes first.
HOMEWORK: Complete chapters 14-18 in Stephen King's "On Writing". Underline, highlight, or annotate your drafts with any key ideas or advice you would like to discuss with the class next time we meet.

As a ticket out the door (apart from your story draft) please comment on what you learned about writing and your own writing process from the advice Stephen King has made in his book (see previous post for help) and the story you wrote.

If you did not complete your draft, complete it for Friday and turn in the full draft--(although you should have turned in what you have written at the end of class). Work turned in after that date will not receive full credit.

Sunday, March 6, 2016

Stephen King: On Writing Exercise; Chapters 9-13

This morning, please complete the quick questionnaire about your writing. Then, please continue Stephen King's writing assignment. Write your draft and try to complete it during our lab time.

If you finish before the end of the period or if you need a break, please continue reading King's On Writing (see packet).
A summary so far:
  • Write the TRUTH as you see it. Be true to your characters, setting, plots, themes, etc.
  • Write about what you know if you can--but above all: tell the "truth". Interpret "write what you know" as broadly as possible. Use your hobbies, interests, beliefs, and knowledge to help you. Write about these things. 
  • Don't worry about plotting. Start off with a  good "situation" for your fiction.
  • Use a speculative idea to get the story started: a premise or "what if..." statement.
  • Writing is telepathy: you are trying to communicate over distances with your reader. Never forget your reader.
  • Art requires an artist to WANT to pursue the art form. If you have no interest in writing, let someone else do that job. Otherwise, if you want to write (or be a writer)...then write!
  • Writers write. Writers write a lot.
  • Writer's read. Writers read a lot.
  • Gain vocabulary and writing skills by reading.
  • Learn style from reading.
  • Reading creates an "ease and intimacy with the process of writing" (pp. 145)
  • Learn standard English grammar.
  • Fear is at the root of most bad writing. Be courageous and tell the truth!
  • You know what you're doing. Trust in that.
  • Paragraphs are the basic unit in storytelling. Each paragraph should be DOING something in your story: entertaining, persuading, developing character or setting, advancing the plot, developing character through dialogue, developing theme, etc.
  • Set a word count goal for yourself. Each day try to reach this goal. Once that is easy for you, increase the #.
  • Find your own writing space and keep it (and writing time) sacred. Unplug. Focus on the task of writing. Practice.
  • Readers (book buyers) want a good story. Period. Give them a good story.
  • Stories consist of narration, description, and dialogue. The key to writing good dialogue is honesty.  
  • Pay attention to real people (their behavior, personality, actions, etc.) and then tell the truth about them in your fiction.
  • Practice is "invaluable" & "honesty is indispensable" (pp. 195). Above all: practice and you'll get better; be honest with the process of writing or creating stories.
Rinse. Repeat. Continue writing.
HOMEWORK: Complete the reading chapters 9-13 of Stephen King's "On Writing"; Complete your story draft if you did not complete it in class today. Turn in your draft next class for writing credit.

Thursday, March 3, 2016

Stephen King: On Writing Exercise & Gathering Writing Advice

Class Activity:
  • Choose a number 1-5 from the post-it notes
  • Get into like numbered groups
  • Review that chapter from Stephen King's "On Writing"
  • Consolidate and summarize the major WRITING ADVICE he gives
  • Choose a speaker to present this advice to the class when time is called
On page 167 in Chapter 5, Stephen King gives us a writing exercise. Let's read it together--then, in the lab, let's write that story.


HOMEWORK: I'm checking your blogs. Make sure you're up to date with that material. (See previous posts for details!) & keep reading/finish the "On Writing" section/handout. Annotate and take note of key ideas he presents (just like you've been asked to do).

The Graveyard Book - Discussion Questions

  In your discussion groups, please answer 5 of the 10 discussion questions. Choose a member of your group to record your answers. Make sure...