Blog Post #6; Dandelion Wine (Quiz #2); Opening a Story & Analysis

Starting out in the lab today, please post a review so far of your reading of Dandelion Wine by Ray Bradbury.

1. Select 2-3 scenes or chapters in the book you have read so far and evaluate them.
2. Discuss what you think works or is effective in Ray Bradbury's writing of these stories: is it his depiction of characters? Is it the conflict, the setting, the plot, the theme, the symbolism, the dialogue, the use of literary devices like anaphora, or other rhetorical devices (see links for a list of options)...or is it his use of imagery in his description, the creation of suspense or tone, maybe it's his message about the human condition, etc. that sets this book apart from others you may have read this year. Explain your answer.
3. Since your readers may not be familiar with the stories you are examining, make sure you give a short synopsis or summary of the story you are evaluating before you explain what you felt is working in the story.

Your post should include at least 2 or 3 scenes. You may do more if you like, but if you write less than 2, you will be penalized on development for this assignment.

After 15 minutes, please go next door to take our second reading quiz on Dandelion Wine.

Period 3/4: After all quizzes are collected, let's discuss the structure of a short story by taking a look at page 180-184. Let's read and examine this story:

• A hook or "inciting incident"
• A description of setting and character
• A conflict
• A relationship between cause and effect: plot (not this happens then that happens, but BECAUSE this happens, that happens...or when this happens this results in that happening, etc.)
• A problem that needs to be solved 
• An internal monologue (characterization, POV, & voice)
• Dialogue (characterization)
• Commentary on the human condition (theme)
• An ending that suggests resolution

Advice on beginning stories:

Beginning a Story

A beginning promises more to come. It should hook our attention, allow us entrance into the world of the story. Beginnings need to be full of potential for the characters (and the reader). Some simple ways writers do this is the following (taken from The Fiction Writer's Workshop by Josip Novakovich)

• Setting: setting sets the stage and raises our expectations, introduces us to location, time, and supports character, tone, mood and POV.

On the pleasant shore of the French Riviera, about half-way between Marseilles and the Italian border, stands a large, proud, rose-colored hotel. Deferential palms cool its flushed façade, and before it stretches a short dazzling beach. Lately it has become a summer resort of notable and fashionable people.

• Imagistic or Strong Sensations: Imagery invites your reader to experience your narrative, giving you a good start. It also helps establish setting, usually.

1956. The air-conditioned darkness of the Avenue Theater smells of flowery pomade, sugary chocolates, cigarette smoke, and sweat.

• A Need or Motive: Need is essential for all major characters. It is usually what drives the conflict and characterization, also the plot in a story. Starting off with a motive or need is the fastest way to learn what characters want.

On his way to the station William remembered with a fresh pang of disappointment that he was taking nothing down to the kiddies. Their first words always were as they ran to greet him, “What have you got for me, daddy?” and he had nothing.

• Action: Action catches our attention. When we start a story in the middle of an action (a good idea in any case) this is called: in media res.

The pass was high and wide and he jumped for it, feeling it slap flatly against his hands, as he shook his hips to throw off the halfback who was diving at him.

• Scene: Usually in one sentence, combines action, setting, and character.

Card-playing was going on in the quarters of Narumov, an officer in the Guards.

• Symbolic Object: Describe an object that has significance to your story, characters, plot. Usually a reader will recognize the importance of an object if mentioned in the first paragraph of a story.

An antique sleigh stood in the yard, snow after snow banked up against its eroded runners.

• Character portrait: Introduces a reader to your protagonist or an important character.

The girl’s scalp looked as though it had been singed by fire—strands of thatchy red hair snaked away from her face, then settled against her skin, pasted there by sweat and sunscreen and the blown grit and dust of travel.

• Character’s Thoughts: Like a portrait, this one’s internal.

If I am out of my mind, it’s all right with me, thought Moses Herzog.

Helpful Writing Activities to Get a Good Opening or Hook:

1. In your journal write a variety of "opening lines." Practice a few of each type.

2. Hold a contest with a friend as to who can write the best opening line of a story. Practice coming up with ideas. When you come up with a great opening, write it down in your journal.

Story Analysis (pg. 158-176). Get into groups of 2-3. Together read the short story on pages 158-176. As you read, answer the questions and examine the text to analyze Bradbury's use of suspense in this story. When you have completed the story, please turn in your notes for participation credit.

Time left? We'll begin writing an original story with some of the advice we've learned. No time left and incomplete? We'll finish up next class if more time is needed.

HOMEWORK: Please continue to read Dandelion Wine (we'll finish the book by Friday). Read up to page 210. There will be a test on the entire book Friday.