The Mousetrap: Day 3

Please continue reading The Mousetrap by Agatha Christie.

Basically, a whodunit or mystery story involves a pretty good plot along with compelling characters. Keep some of this advice in mind when reading or writing mysteries:

1. Plot is king. Planning a plot is essential for a mystery. You can't write this kind of thing organically (like you're used to) and therein lies the difficulty (and challenge!)
2. Start with a crime in mind. Research crimes of this sort to get ideas. Choose a crime you'd be interested in exploring. Some basics are: murder, theft, sabotage, treason, manslaughter, breaking and entering, assault, kidnapping, etc.
3. Consider starting with the crime scene, then planning backwards.
4. Outline the story before starting to see if each scene fits (and how) into the plot. Each scene should advance the plot. (Good advice in writing all fiction!)
5. Rearrange necessary scenes in an order. In Agatha Christie's work, for example, she often arranges chapters to revolve around the questioning of a suspect. She cuts back and forth between key, important characters during a chapter or between scenes.
6. Using a flow chart can be helpful too in order to show dead ends.
7. Introduce what is called a "red herring" or "macguffin" (also mcguffin), a goal or object that the protagonist or antagonist is willing to sacrifice almost anything to get or pursue, often with little explanation as to why it is considered important. The macguffin is usually unimportant and leads the reader astray. Very helpful in designing mysteries.
8. Consider the plot as the way in which the problem (the crime) gets solved.
9. Put your protagonist in danger. Allow for dead ends to misdirect the reader.

10. Use minor characters (particularly their motivations) to misdirect or hint or provide clues that lead to the solution of the mystery.

EXTRA CREDIT: Write a mystery story draft. Some further advice about writing a whodunit is here for those of you who care. Write a draft of your mystery. It is sometimes helpful to start with the crime or murder, then work backwards with your plot. Give each of your characters a motive, a means to commit the crime, and a possible opportunity to commit the crime (even if they did not do it...)

HOMEWORK: None. 

Final Portfolio

There are two (2) parts to your final portfolio.

1. A 4-6 page, double-spaced, typed self-evaluation essay
2. A variety of your best work chosen from all your CW classes

Your final portfolio will count for both 9th-grade creative writing classes and will be reviewed by Mr. Craddock & Ms. Gamzon. It will constitute 20% of your final grade.

Part A. Self-Evaluation Essay

Part B. Portfolio

Select work that you created this year in Ms. Gamzon or Mr. Craddock’s classes. All work should be copies of original work. No journals will be accepted. Follow the guideline below.

Table of contents. Your table of contents should order your portfolio into the following parts:
a. Poetry
b. Fiction
c. Non-fiction
d. Scripts
e. Special projects

Poetry. Choose 6-8 of your best poems. Select work that shows your understanding and growth in the field of poetry. Each poem’s title should be listed in the table of contents.

Fiction. Choose 4-6 of your best fiction pieces. Select work that shows your understanding and growth in the field of fiction. Each fiction piece’s title should be listed in the table of contents.

Non-fiction. Choose 3-4 of your best non-fiction pieces (including text of speeches, etc.) Select work that shows your understanding and growth in the field of non-fiction. Each non-fiction piece’s title should be listed in the table of contents.

Scripts: Choose 1-2 of your best scripts. Select work that shows your understanding and growth in the field of script writing. Each script’s title should be listed in the table of contents.

Special Projects: Choose 3-4 of your special projects (newsletter, slideshow or Prezi, brochure, literary magazine, house on mango street booklet, collaborative story project, human interest video, blog, etc.) which show your growth and creative ability. Each project should be listed in the table of contents. If you have been working on a project not assigned in class, you may include this work in your special projects. (Example: I am working on a novel, and I haven’t told my teachers or I have written a musical, etc.) Please do NOT print your special project, unless you already have an extra copy. Instead, please talk about these projects in your reflection.

Self Reflection Non-Fiction - Creative Essay:

During the entire freshman year, we have thrown quite a bit of information, projects, and assignments your way. We did not do this to be cruel, but to see how you react to pressure, deadlines, writing & reading skills, and so that you had the opportunity to grow as a writer and a student. It is true that the most important qualification for writers is that they write. Apart from this, reading is also the most important way to improve your writing at this stage. These introductory courses are designed to get you to know yourself as a student and writer a little better. Part of this is the need to self-reflect. Examine the writing rubrics and the material in your portfolio. Reflect on your work this year.

Reflective piece: 4-6 pages, double-spaced. Write about how you’ve grown as a writer this year, what has been easy/hard for you, what areas you feel you need more work in; reflect on your progress as a writer, a reader, and as a student. Write about each selected piece you have chosen to include in your portfolio (per genre): why did you include these pieces in your portfolio? How does the piece show your growth and development as a writer in this particular genre? What did you learn about yourself concerning writing from this assignment or project? Discuss the writing process you used to create the work, where you got your ideas, what you learned about the form or genre of the work as you wrote and revised it, what you learned about yourself as a writer, etc. Discuss special projects and reading that had an impact on you. What did you learn about writing and about yourself through these assignments this year?

Rubric

_____ Table of Contents 10 points
_____ Reflective Essay (4-6 pages) 30 points
_____ Poetry (6-8 poems) 10 points
_____ Fiction (4-6 short stories) 10 points
_____ Non Fiction (3-4 creative essays/speeches) 10 points
_____ Special Projects (3-4 special projects) 10 points
_____ Grammar (Work is clean, copy-edited, free of errors) 10 points
Penalty: (-1/2 point for each grammar error. Up to -10 points)
_____ Portfolio turned in complete and on time 10 points

Penalties:
• Late portfolios (-10 points per day late)
• Handwritten work (-1 for each handwritten page)
• Grammar errors (see above)

Suspense Story Draft Due; The Mousetrap

Period 3:

Please complete your suspense story project. This draft will be due at the end of 3rd period. Please turn in your draft. If you do not finish today, please complete as homework and turn in late.

During period 4, together we will continue reading our last piece for this year, Agatha Christie's long-running play Mousetrap. Sign up for parts in the next room.

4th period, please move next door to begin reading The Mousetrap by Agatha Christie.

Together let's read this article from the Guardian about the play. The Mousetrap opened in 1952 in the West End of London (its theater district) and is still running. It began as a radio play based on a short story: "Three Blind Mice."

Information about the author Agatha Christie can be found at the link.

A bestselling author for the past eighty or so years, Agatha Christie's has sold over two billion books worldwide and her books have been translated into over 45 languages. The world knows her name and her writing. She has eighty novels, several short story collections and over a dozen plays to her name. The play The Mousetrap, has been the longest-running straight play in theatrical history.

Here are a few clips from various Agatha Christie films:

• Murder on the Orient Express (2017)
• Murder on the Orient Express (1972)
• Death on the Nile (1974)
• Evil Under the Sun
• And Then There Were None (1945)
• 10 Little Indians (1974)
• And Then There Were None (BBC)
• The Mirror Crack'd (1980)
• Witness for the Prosecution (1957)

The queen of the whodunit is undoubtedly Agatha Christie. But various sleuths have graced the pages of British Lit. Among them, the granddaddy of detection is the character Sherlock Holmes, created by Arthur Conan Doyle. Other important sleuths include Inspector Morse (Colin Dexter), Albert Campion (Margery Allingham),  Adela Bradley (The Mrs. Bradley Mysteries by Gladys Mitchell), and Welsh brother Cadfael (Edith Pargeter).

Basically, a whodunit or mystery story involves a pretty good plot along with compelling characters. Keep some of this advice in mind when reading or writing mysteries:

1. Plot is king. Planning a plot is essential for a mystery. You can't write this kind of thing organically (like you're used to) and therein lies the difficulty (and challenge!)
2. Start with a crime in mind. Research crimes of this sort to get ideas. Choose a crime you'd be interested in exploring. Some basics are: murder, theft, sabotage, treason, manslaughter, breaking and entering, assault, kidnapping, etc.
3. Consider starting with the crime scene, then planning backwards.
4. Outline the story before starting to see if each scene fits (and how) into the plot. Each scene should advance the plot. (Good advice in writing all fiction!)
5. Rearrange necessary scenes in an order. In Agatha Christie's work, for example, she often arranges chapters to revolve around the questioning of a suspect. She cuts back and forth between key, important characters during a chapter or between scenes.
6. Using a flow chart can be helpful too in order to show dead ends.
7. Introduce what is called a "red herring" or "macguffin" (also mcguffin), a goal or object that the protagonist or antagonist is willing to sacrifice almost anything to get or pursue, often with little explanation as to why it is considered important. The macguffin is usually unimportant and leads the reader astray. Very helpful in designing mysteries.
8. Consider the plot as the way in which the problem (the crime) gets solved.
9. Put your protagonist in danger. Allow for dead ends to misdirect the reader.

10. Use minor characters (particularly their motivations) to misdirect or hint or provide clues that lead to the solution of the mystery.

EXTRA CREDIT: Use the graphic organizers today to begin planning a mystery. Some further advice about writing a whodunit is here for those of you who care. Write a draft of your mystery. It is sometimes helpful to start with the crime or murder, then work backwards with your plot. Give each of your characters a motive, a means to commit the crime, and a possible opportunity to commit the crime (even if they did not do it...)

HOMEWORK: None. Your suspense story draft is due next class. For those of you advanced, who wish to play around writing a mystery, use the graphic organizer to help you plan an idea. After completing the graphic organizer, try writing your mystery. 

Suspense Draft; Agatha Christie & The Mousetrap: Day 1

Period 3:

If you did not take the test on Stephen King's On Writing...that's what you'll be doing 3rd period. Complete the test.

Those of you who have completed the test, please work on nearing completion of your suspense story project. This draft will be due at the end of 3rd period Thursday.

During period 4, together we will read our last piece for this year, Agatha Christie's long-running play Mousetrap. Sign up for parts in the next room.

4th period, please move next door to begin reading The Mousetrap by Agatha Christie.

Together let's read this article from the Guardian about the play. The Mousetrap opened in 1952 in the West End of London (its theater district) and is still running. It began as a radio play based on a short story: "Three Blind Mice."

Information about the author Agatha Christie can be found at the link.

A bestselling author for the past eighty or so years, Agatha Christie's has sold over two billion books worldwide and her books have been translated into over 45 languages. The world knows her name and her writing. She has eighty novels, several short story collections and over a dozen plays to her name. The play The Mousetrap, has been the longest-running straight play in theatrical history.

Here are a few clips from various Agatha Christie films:

• Murder on the Orient Express (2017)
• Murder on the Orient Express (1972)
• Death on the Nile (1974)
• Evil Under the Sun
• And Then There Were None (1945)
• 10 Little Indians (1974)
• And Then There Were None (BBC)
• The Mirror Crack'd (1980)
• Witness for the Prosecution (1957)

The queen of the whodunit is undoubtedly Agatha Christie. But various sleuths have graced the pages of British Lit. Among them, the granddaddy of detection is the character Sherlock Holmes, created by Arthur Conan Doyle. Other important sleuths include Inspector Morse (Colin Dexter), Albert Campion (Margery Allingham),  Adela Bradley (The Mrs. Bradley Mysteries by Gladys Mitchell), and Welsh brother Cadfael (Edith Pargeter).

Basically, a whodunit or mystery story involves a pretty good plot along with compelling characters. Keep some of this advice in mind when reading or writing mysteries:

1. Plot is king. Planning a plot is essential for a mystery. You can't write this kind of thing organically (like you're used to) and therein lies the difficulty (and challenge!)
2. Start with a crime in mind. Research crimes of this sort to get ideas. Choose a crime you'd be interested in exploring. Some basics are: murder, theft, sabotage, treason, manslaughter, breaking and entering, assault, kidnapping, etc.
3. Consider starting with the crime scene, then planning backwards.
4. Outline the story before starting to see if each scene fits (and how) into the plot. Each scene should advance the plot. (Good advice in writing all fiction!)
5. Rearrange necessary scenes in an order. In Agatha Christie's work, for example, she often arranges chapters to revolve around the questioning of a suspect. She cuts back and forth between key, important characters during a chapter or between scenes.
6. Using a flow chart can be helpful too in order to show dead ends.
7. Introduce what is called a "red herring" or "macguffin" (also mcguffin), a goal or object that the protagonist or antagonist is willing to sacrifice almost anything to get or pursue, often with little explanation as to why it is considered important. The macguffin is usually unimportant and leads the reader astray. Very helpful in designing mysteries.
8. Consider the plot as the way in which the problem (the crime) gets solved.
9. Put your protagonist in danger. Allow for dead ends to misdirect the reader.

10. Use minor characters (particularly their motivations) to misdirect or hint or provide clues that lead to the solution of the mystery.

Use the graphic organizers today to begin planning a mystery. Some further advice about writing a whodunit is here for those of you who care.

HOMEWORK: None. Your suspense story draft is due next class. For those of you advanced, who wish to play around writing a mystery, use the graphic organizer to help you plan an idea. After completing the graphic organizer, try writing your mystery. 

Stephen King "On Writing" Test; Suspense Story Draft: Day 3

After our test on Stephen King's "On Writing", please continue to work on your suspense story draft. See previous posts and follow Stephen King's advice regarding how to use suspense techniques to make your story great.

HOMEWORK: None.

Misery: Conclusion; Suspense Story Draft: Day 3

Today, we will screen the rest of Misery. With time left, we will return to the lab to continue writing our suspense stories. Use the techniques of suspense as discussed in class to develop your story.

Please turn in your viewing notes for Misery after viewing the film today.

HOMEWORK: Please complete your reading of Stephen King's "On Writing", chapters 13-16. As before, take note of his advice to young authors in your journal. You will have a test on his book Friday, May 18.

Stephen King; Writing Tips; Suspense Scene #2; Misery: Day 1

Period 3:

TASK #1:
In the lab today, please take a look at Stephen King's official website. You can find information about the author and his books here.

TASK #2:
Then read Some tips about writing by Stephen King. In the COMMENT section of this blog, please identify which tip(s) seem most important to you and explain why. This post is due by the end of period 3. Please complete this before you try task #3.

TASK #3:
Choose either your Stephen King exercise from last class or the 300-word short story scene you wrote from last class. (Copies of your work will be handed back to you...)

Add suspense to this story by using one or more of the techniques we covered in class last week:

Some ways to create suspense:

• Show (describe) the danger or threat
• Hint at possibilities through your diction (careful word choice) and imagery
• Delay gratification by keeping your reader guessing as to what will happen next
• Use description as a way to break up or slow down the resolution of events
• Use dialogue as a way to break up or distract characters from the resolution of events
• Cut to a different scene--use white space to transition from one scene to another
• Cut to the POV of a different character--this is called parallel action
• Stop the scene before you resolve it--this is often called a cliffhanger

Write a second or third scene based on what you have already written. Expand and extend the story by at least 300 words or more. If you killed off your character, consider a character who notices this other character missing. What do they do to find out what happened? Keep writing...

Aim to finish a draft by the end of period 3.

Period 4:

Let's stop writing and begin to watch Misery, one of Stephen King's favorite novels that he wrote. He mentions Misery in the first section of his memoir. Details about the film are here:

Misery (1990) was directed by Rob Reiner. William Goldman (the author who wrote The Princess Bride) wrote the screenplay based on Stephen King's novel.

Paul Sheldon (the protagonist) is played by James Caan.
Annie Wilkes (the antagonist) is played by Kathy Bates.
More cast/crew information about the film can be found at IMDB.com at this link.

HOMEWORK: Please continue reading Stephen King's "On Writing" chapters 9-12. There will be a test on this book when you have finished reading it. Take notes on Stephen King's writing advice in your journal. These notes may help you study for the upcoming test on the book. We will likely finish the book by Friday or over this upcoming weekend.

Writing Tasks; Suspense & Stephen King's Writing Prompt Exercise

TASK #1: Write a short (200-300 word) scene that involves a specific character involved in a specific conflict. Keep your scene tight--in other words, just focus on the now of the character in the conflict.
For now, just write that scene...you will be adding to this scene in future classes. To get you started, use one of the hooks in the writing practice today. You may also use the material from your journal as to character, situation, and setting.

Please turn in a draft of your 200-300 word story by the end of the class.

While are not going to read Stephen King's first section of his book On Writing due to length and time. But, we can still use what he wrote to spur us on to greatness and a bunch of ideas for our own writing.

TASK #2: In chapter 5 of his book, Stephen King provides writing students with an exercise. He provides the detailed backstory for two characters. Then asks you to alter the story a bit, and write a 6 page story. Do that. Except, instead of 6 pages, write 6 paragraphs. Try to add some of the suspense techniques we covered in our last class (see previous post for details!)

Turn in this draft by the end of the class period as well. 

Stephen King: On Writing Post Ideas for YOUR blog

TASK #3: Stephen King invites us as readers into his life. He says of his memoir that it is his attempt to "show how one writer was formed...snapshots, most out of focus" (page 4, On Writing). For your next few blog posts, you will be asked to reflect on your OWN life as to how YOU were formed. These 'snapshots' will be collected together for your own mini-autobiography/memoir that will be collected on YOUR BLOG as part of your final journal. I will be adding to this list as the days wane.

Please use any of the following prompts to write your posts. You may write as many of these as you can or want. Remember: our goal is to approach writing fluency. You can't get better at writing by avoiding it. Use these prompts to give your ideas a good jumping off point for your inspiration and reflection. Above all, try to tell as much of the truth as possible. Where you don't recall a detail, it is fine to make something up. Feel free to use dialogue, imagery, or other effective writing techniques to tell your story or communicate your ideas.

PROMPTS (with chapter models from On Writing by Stephen King):

• Chapter One: Write about your earliest memory.
• Chapter One: Write about an injury you suffered when you were young.
• Chapter Two: Write about one of your babysitters (or one of your babysitting jobs, if you'd like)
• Chapter Two: Write about a time when you were sick or violently ill
• Chapter Three: Write about a crazy stunt your brother, sister, or you did
• Chapter Four: Write about your experience or first memory of death (if you can't think of one, ask your parents, or a sibling)
• Chapter Five/Six: Write about getting a childhood sickness (the measles, chickenpox, pneumonia, ear aches, stomach viruses, etc.) or operation (even your first shot at the doctor's office...)
• Chapter Five/Six: Write about a doctor's visit (include some dialogue...)
• Chapter Seven/Eight: Write about your first story you ever wrote
• Chapter Nine: Write about your first crush, kiss, or date
• Chapter Nine: Write about an embarrassing moment (how did you survive?)
• Chapter Ten: Write about one of your siblings (or a friend, if you are an only child)
• Chapter Ten: Write about your first "scientific experiment"; or write about your first experience with a "blackout" or when the electricity (or internet) went out
• Chapter Eleven: Write about a favorite t.v. show when you were growing up
• Chapter Twelve: Write about your first 'rejection'

HOMEWORK: Read Stephen King's On Writing, chapters 6-8. There will likely be a test on what important advice Stephen King gives novice writers from chapters 1-8. Please take notes and study what he says is important for a writer to remember. 

Suspense, Mystery, and Horror Writing: On Writing by Stephen King

Some things to remember about writing stories:

• We get our inspiration from our memories
• A good story surprises us in a plausible way
• Plot is not just this happened, then that happened, but this happened because of that happening...
• The shorter the story, the more concise--the more development of plot, characters, and theme the longer the short story
• Description slows down the reading process: you can control the pace of a reader
• Dialogue speeds up the reading process: you can control the pace of a reader
• Traditionally, conflict is person v. person, person v. self, person v. nature, person v. society

Come up with two separate ideas for a story. You can choose any genre at this point, but realistic fiction will probably work best. To get a premise for a story, choose a character in a specific situation or setting and give that character a problem to solve or resolve.

• ex. Brandon is waiting for the bus when a black car drives up and a mysterious man in a grey suit opens the door and beckons him inside the car. 
• ex. Marissa is finishing her shift as a waitress when a tattered-looking bum slips into the diner. He appears to have something hidden in his coat.
• Now you try.

In Stephen King's book On Writing, he has a section called "Toolbox" in which he reminds us that:

• Writers have a figurative "toolbox" just like a carpenter does. We use the tools of our trade to make stuff or fix stuff.
• On the first shelf of the writer's toolbox is: vocabulary. Words. The more words you know or come to know, the better. Some writers use a lot of words, others not as many, but writers have a way of collecting words so they can use them in their writing. You can too!
• Write a short list of your favorite words (try to get at least 10) in your journal
• On the second shelf is grammar. While you are learning this, note that well-constructed sentences can have a lot of power in a story. You have to master enough grammar to communicate your ideas effectively when you write. There's no way around this. Luckily, you're currently in the right place to improve your grammar.
• Write a short sentence that is grammatically correct.  Ex. The cat scratched him.
• Then write a long sentence that is grammatically correct that communicates the same basic information.  Ex. The black and white calico cat reached out his paw without hesitation or provocation and slashed him across the back of the neck, drawing rigged welts of blood in parallel lines, forcing a shrill screech to fill the otherwise quiet and dark basement--then the cat fled back up the stairs, leaving him alone in stinging pain.
• Then write a third time, dividing up your long sentence into a variety of short and long sentences. Ex. The black and white calico cat reached out his paw. Without hesitation or provocation, it slashed him across the back of the neck. The claws drew rigged welts where blood appeared slowing, like peeking from behind a curtain of skin. A forced and shrill screech filled the quiet and dark basement. The cat fled. It scampered back up the stairs. He was along with his stinging pain.
• And finally, on the third shelf is style. Style includes your use of tenses (present, past, future), POV (1st, 2nd, 3rd), diction (word choice), paragraphs (how long or short they are), sentence length, and, of course, the use of various literary elements and techniques. We'll discuss this more at length later.

Throughout this unit, we will be working with the techniques of suspense. For mystery, suspense, action, and horror writers, this skill will be essential. Suspense is used in all good storytelling, no matter the genre. Romance and Science Fiction or Westerns and Fantasy or Comedy or Realistic Fiction and children's literature. Even poetry and plays use suspense. So let's learn how to improve our craft.

Suspense: delaying the reader's gratification. The intense feeling (often of anxiety) a reader feels when characters in stories/films, etc. are either in danger, threatened or the outcome of the story is in question. This uncertainty creates a feeling of suspense. The feeling a reader gets is called MOOD. The way the writer uses words (diction) to create that mood is called TONE. Tone is your job as a writer. With the proper tone (say a suspenseful tone) your mysteries, horror, and suspense stories will be more effective.

As writers, we want to make sure our readers ask: what's going to happen to my favorite character in this situation or what will happen because this is happening to my favorite character?

Some ways to create suspense:

• Show (describe) the danger or threat
• Make a list of some common and uncommon dangers or threats
• Hint at possibilities through your diction (careful word choice) and imagery
• Delay gratification by keeping your reader guessing as to what will happen next
• Use description as a way to break up or slow down the resolution of events
• Use dialogue as a way to break up or distract characters from the resolution of events
• Cut to a different scene--use white space to transition from one scene to another
• Cut to the POV of a different character--this is called parallel action
• Stop the scene before you resolve it--this is often called a cliffhanger

Together, let's read the first chapter (or two) of Stephen King's On Writing (part 3). As we read, consider your goals as a writer. What did you want to come to the School of the Arts and major in creative writing to learn? Consider how a master storyteller like Stephen King can help you achieve your writing goal(s).

Finally, if we make it this far, let's go to the lab to do at least one (and maybe two things):

LAB:

TASK #1: Write a short (200-300 word) scene that involves a specific character involved in a specific conflict. Keep your scene tight--in other words, just focus on the now of the character in the conflict.
For now, just write that scene...you will be adding to this scene in future classes. To get you started, use one of the hooks in the writing practice today. You may also use the material from your journal as to character, situation, and setting.

Finally, we are not going to read Stephen King's first section of his book On Writing due to length and time. But, we can still use what he wrote to spur us on to greatness and a bunch of ideas for our own writing.


Stephen King: On Writing Post Ideas

TASK #2: Stephen King invites us as readers into his life. He says of his memoir that it is his attempt to "show how one writer was formed...snapshots, most out of focus" (page 4, On Writing). For your next few blog posts, you will be asked to reflect on your OWN life as to how YOU were formed. These 'snapshots' will be collected together for your own mini-autobiography/memoir that will be collected on YOUR BLOG as part of your final journal. I will be adding to this list as the days wane.

Please use any of the following prompts to write your posts. You may write as many of these as you can or want. Remember: our goal is to approach writing fluency. You can't get better at writing by avoiding it. Use these prompts to give your ideas a good jumping off point for your inspiration and reflection. Above all, try to tell as much of the truth as possible. Where you don't recall a detail, it is fine to make something up. Feel free to use dialogue, imagery, or other effective writing techniques to tell your story or communicate your ideas.

PROMPTS (with chapter models from On Writing by Stephen King):

• Chapter One: Write about your earliest memory.
• Chapter One: Write about an injury you suffered when you were young.
• Chapter Two: Write about one of your babysitters (or one of your babysitting jobs, if you'd like)
• Chapter Two: Write about a time when you were sick or violently ill
• Chapter Three: Write about a crazy stunt your brother, sister, or you did
• Chapter Four: Write about your experience or first memory of death (if you can't think of one, ask your parents, or a sibling)
• Chapter Five/Six: Write about getting a childhood sickness (the measles, chickenpox, pneumonia, ear aches, stomach viruses, etc.) or operation (even your first shot at the doctor's office...)
• Chapter Five/Six: Write about a doctor's visit (include some dialogue...)
• Chapter Seven/Eight: Write about your first story you ever wrote
• Chapter Nine: Write about your first crush, kiss, or date
• Chapter Nine: Write about an embarrassing moment (how did you survive?)
• Chapter Ten: Write about one of your siblings (or a friend, if you are an only child)
• Chapter Ten: Write about your first "scientific experiment"; or write about your first experience with a "blackout" or when the electricity (or internet) went out
• Chapter Eleven: Write about a favorite t.v. show when you were growing up
• Chapter Twelve: Write about your first 'rejection'

HOMEWORK: Read Stephen King's On Writing, chapters 2-5 (pages 146-170) (that's about 12 pages per day...); We will be using what we read next class for a writing assignment, so please read these chapters. 

Princess Bride (conclusion); Archetype; Blog Responses

We will complete the viewing of The Princess Bride. 

Again, as you watch, please identify one of the plots we discussed (and you read about on your handout):

• The Quest
• The Adventure
• The Romance
• The Chase & the Rescue
• Transformation/Coming of Age

Be prepared to write about how the archetype you chose is presented in the film. You should refer to specific characters, themes, settings, actions, and scenes in the film and explain how the film fulfills the archetype you chose. 

Ex. The Hobbit (chase/rescue): While other archetypes are found throughout the book, when Bilbo and the dwarfs enter Mirkwood, the dwarfs are hunted and captured first by the spiders who pursue them in the dark. Bilbo has to find the spiders and fight the giant arachnids. Eventually, with the help of his magical ring and his sword Sting, Bilbo defeats the spiders heroically. After rescuing the dwarfs from the web cocoons, the dwarfs, hungry and exhausted, are captured a second time by the wood elves. Bilbo, again, has to come to their rescue. He slips into the elfin fortress and concocts a cunning plan to save the dwarves by hiding them in empty wine barrels and floats them down to Lake Town where they are finally safe.

In the lab:

1. On YOUR blog, please write your explanation of the archetype you chose to examine in The Princess Bride.

Then:

2. The Hobbit is one of the most famous fantasy stories ever written. It has influenced many fantasy writers and popularized the fantasy genre. On YOUR blog, write a review of The Hobbit. What did you learn about writing fantasy from reading (or hearing about) this book? Consider what we've learned about tropes, how to write fantasy settings, how to write fantasy action sequences, the quest archetype, and the hero's journey--or other things you found valuable. 

Blog post rubric: 

• For full credit, your post should be well written, thoughtful, specific (with examples drawn from the text [film or book] to support your opinions or observations).
• Try to write at least 300 words or more for each post.
• Add a picture, video clip, or graphic to your blog posts. You can easily find this information online (Google search: images, or youtube.com). Information about The Princess Bride can be found at IMDB.com at the link.

HOMEWORK: None. If you did not complete your blog posts today, please do so as homework.

The Hobbit Test; Archetypal Plots & The Princess Bride (day 1)

This morning we will take our test on The Hobbit. Please answer the test question with as much detail as possible.

When we are done with the test, we'll go next door to begin watching The Princess Bride.

Read the information about archetypes, then as we watch the film, please choose one of the archetypal plots and explain (in sentences) how the film follows this archetypal pattern (and which characters or events are involved in that plot). It may be helpful to summarize the plot you are examining.

If you need a plot, try an archetype:

An archetype--meaning arche (original) and type (form) is a pattern that many writers use to pattern their plots. It's helpful for a writer to be familiar with some of the basic plot and character archetypes so that you know what a reader expects in a story.

Archetype, or "original pattern", is a model from which other characters or stories are based. Archetype is as old as human storytelling and continues throughout contemporary literature (just that you don't always notice it as archetype).

When an author uses an archetype, he is patterning his character(s) or plot after other types of that kind. For example: character archetypes might include: 1. The hero 2. the protective mother 3. the prostitute with a heart of gold 4. the trickster or 5. the evil or cruel master.

Plot archetype might include: 1. the Rags to Riches plot 2. the Quest 3. Transformation or 4. traditional love story: boy meets girl, boy loses girl, boy gets girl back.

There are many, many more. And yes, archetype used too often, can create stereotypes.
The ones that we will focus on can be used with the Action or Adventure genre. Let's take a look. For each type, jot down some films, books, or stories you have read or watched that fit the archetype.

The Quest
The quest is traditionally a journey about the self.
1. The story starts at Protagonist’s home
2. Protagonist is pushed or spurred into action
3. The decision to ACT leads to the first major event
This first event is called a Motivating Incident
The main character has both:
Intent= to find the goal
motivation=reason for wanting to achieve it
4. The protagonist rarely travels alone; helpful characters aid the protagonist
5. Usually, the quest includes a series of incidents (actions) that help to develop the protagonist
The author must ask: what difficulties would make the most interesting and challenging obstacles for the protagonist.
6 The final act of the story includes a revelation, epiphany, discovery or realization about the main character’s life or personal situation.
7. Often, additional complications arise as a result of the protagonist obtaining his goal.
8. The protagonist usually returns home, making a complete circle. He returns changed, developed.

The Adventure
1. The focus of this plot is on the action (journey), not the person making the journey.
2. Story concerns traveling into an unknown or new place.
3. The hero's goal is never found in the self or at home, but in the new places visited.
4. The Hero must be motivated by someone or something; the intent is not as important as motivation.
5. The Hero doesn't necessarily need to change in any meaningful way by the end of the story.
6. Adventures often include romance (see the Romance plot below).

Romance

1. The protagonist falls in love with another character (the object of affection)
2. There should always be an obstacle that prevents the object of affection from getting together romantically with the beloved
3. The first attempt at romance is always thwarted or delayed and put off
4. Characters are often caught up in their personal emotions and problems
5. Lovers are tested by a series of problems or conflicts (often from the outside)
6. If the love is "forbidden", then the characters also have to come to terms with the society or culture that is preventing them from being together
7. Lovers will usually get together at the end of the plot (in forbidden love plots, however, usually they don't)

The Chase & The Rescue

1. The chase: A protagonist either is chased by some sort of antagonist, or a protagonist is chasing an antagonist--often those accused or suspected of a crime.
2. The chase: The story involves several near "catches" but eventually ends with the protagonist winning. If a character is caught, see "The Rescue": 
3. The rescue: Someone captured might be released by the hero (or the hero escapes). A triangle often forms between the protagonist, the antagonist, and the captured victim. There is usually a big fight at the climax of the story between hero and villain resulting in the freedom of the victim. Slave narratives and the archetype of the princess in the castle fall into this category as well. 

Transformation/Coming of Age:

1. The protagonist changes internally more than externally
2. The focus of the plot is on the change itself; how it happens and how the protagonist reacts to it
3. The protagonist moves from one period of their life to another. Example: Adolescence to Adulthood
4. The protagonist must learn to understand and cope with this change; conflict arises when the protagonist cannot cope or fails to understand what is happening
5. The change or transformation is often gradual
6. As a result of the change, usually the protagonist learns something valuable about himself; there is a gain of wisdom but usually at the price of a certain sadness.