Lovecraft: Day 2; The Colour Out of Space & Horror Writing Tips

Key Vocabulary for this unit:

Mood: the general feeling or atmosphere that a piece of writing creates within the reader.
Tone: The speaker's or narrator's attitude towards the subject, rather than what the reader feels. Tone is created through...
Diction: the choice of words selected by a speaker or a writer.
Denotation: the literal, dictionary definition of a word.
Connotation: a meaning that is implied by a word apart from the thing which it describes explicitly. Words carry cultural and emotional associations or meanings, in addition to their literal meanings or denotations.

Please turn in your answer to the question: What does the ropy thing in Sarrantonio's short story mean--what is the metaphor? Use textual support or references from the story in your answer.

Then, let's get back to Lovecraft's story: "The Color Out of Space"

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."

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.

EXTRA CREDIT OPPORTUNITY: You may read "The Cask of Amontillado" by Edgar Allan Poe and answer the 5 posted questions at the end of the text for extra participation credit. This may help those of you who have been falling behind or not reading the other required stories. Turn in the answers by Friday for credit.

Finally, in regards to the types of horror/weird stories, Lovecraft 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. Try these tips/tactics with the other writing prompts/brainstorming we have done so far. Begin writing your horror story draft. This is not due yet.

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.

EXTRA, EXTRA CREDIT: For interested writers, here is a link to some Lovecraft fiction online: Dagonbytes. You may read any of Lovecraft's stories from the website. To gain credit, (a repeatable opportunity) summarize the story (what happens and to whom and where or when...please include the ending) AND examine and explain how Lovecraft uses setting, diction, or tone to create his story's mood. 

HOMEWORK: Finish reading Stephen King's On Writing. Complete any blog posts you did not complete over our Spring Break. Catch up. Read. Begin writing your horror story draft. Use the prompts, tips, and models we read to help you do just that.

H.P. Lovecraft; Starting Your Horror Story

Today, let me introduce you to H.P. Lovecraft. We'll continue to examine his work into next week as well. Here's a start.

"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."

Let's take a look. "The Color Out of Space" by HP Lovecraft & "The Ropy Thing" by Al Sarrantonio.

HOMEWORK: Please read or finish the packet of short stories. Finish reading Stephen King's On Writing. Complete any blog posts you did not complete over our Spring Break. Catch up. Read.

Reading Tips; H.P. Lovecraft: Day 1

Please turn in your annotated copies of the short stories "The Monkey's Paw" & "The Lottery".

We will finish our discussion on reading tips. Then it's back to reading and writing exercises. Today, let me introduce you to H.P. Lovecraft. We'll continue to examine his work into next week as well. Here's a start.

"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."

Let's take a look. "The Color Out of Space" by HP Lovecraft & "The Ropy Thing" by Al Sarrantonio.

HOMEWORK: Please read or finish the packet of short stories. Finish reading Stephen King's On Writing. Complete any blog posts you did not complete over our Spring Break. Catch up. Read.

Identify what the "ropy thing" represents in the story and turn in for participation credit.

Stephen King; Reading as Writers; Exercises; The Lottery/Monkey's Paw

Let's start. Stephen King interview: A  Good Read-Writers with Stephen King

Take 10 minutes and complete at least 1 of the blog assignments from your homework (see post on Stephen King's "On Writing" below!) (Linden: if you've already done this--btw, thank you--go for the extra credit and write another post on your blog perhaps using one of the other prompts. There are, btw, several options here....)

Then, let's discuss a typical problem with young writers. Reading. Watch these videos, take notes, respond in your journal or blog after. What do you like about reading? Why read? What's in it for a writer? Other comments?

• Writers on Writing: Joshua Henkin on Reading (2 min.)
• Why Writers Must Read (2 min.)
• Famous writers on the Power & Beauty of Reading (15 min.)

Tips to help you succeed:
Some of us read because we have to (as part of our growth or part of our studies), sometimes to seek out knowledge and learn something, and sometimes we read because we want to relax or be entertained.

As much as we'd love for everything you read to be the kind of book you would pick up on your own and devour, that's simply not going to happen often. Students often are too "busy" to read (or at least that's the excuse) and may hate reading what they're told to because they are told to read. Many of you would rather hurt yourselves than follow the practical advice of someone older (or wiser) than yourself. Welcome to adolescence, you rebel.

Other reasons? Take 2 minutes to write down all the other reasons why you don't read. Anyone have something different?

Still, how do we handle the problem of reading as writers? Here are a few tips (not that you're likely to follow my advice...but, hell, maybe someday...):

1. Find time to read. Set aside at least 30 min. each day--if you can--devoted to nothing else but reading. If you can't find 30 minutes, start with 5, or 10, or 15...and work your way up.
2. Stop making excuses about why you can't read. And read. We often make excuses for our habits and shortcomings rather than put forth the effort to change.
3. When you find yourself stuck in the writing process, read--instead of talking or complaining or avoiding the inevitable. After a few minutes try going back to your writing. Keep doing this as needed.
4. Know why you're reading. There are a few kinds of reading: scanning/skimming, close reading, guided reading, etc. Most of the books you're likely to have to read will be skimmed or scanned. Other passages or stories may be guided reading--that's when I force you to listen while we read in class or I give you something to look for when you're reading. Close reading involves analysis and requires you to think. This is the sort of thing we want to achieve in a classroom or instructional setting where I am asking you to read to learn about how to write better. But, as much as I might insist you do this, many of you would rather fall asleep or avoid any kind of effort or work to improve. I hope you'll particiapte in class by asking questions or challenging a line of thinking--even this line of thinking. Most of won't put the time or effort in to reading and engaging in close reading, but if you can, you can really improve your writing and learning skills. So, my tip: try to engage more in close reading as opposed to skimming/scanning and particapte in class by asking specific questions or raising concerns.
5. If you are a struggling reader (only about 10% of Rochester students in our district are reading at proficient levels...), start with less imposing or scary types of books to practice reading. Many of you might not like reading because you don't understand the words and their placement in a sentence. Instead of avoiding what's uncomfortable, aim to be okay with uncertainty. In the meantime, read children's books that you avoided when you were younger to practice safely, or read high-interest subjects like books on dinosaurs, games or sports. Comic books or manga, graphic novels, song lyrics, plays, and picture books can be le ss formidable. Practice with these. 

So let's get reading today. We have crossed over to horror/suspense writing. There are two literary terms you need to come to understand for this unit (we've covered these before, but here they are again:)

A. Tone: the writer's attitude or feeling about the subject matter (characters, setting, theme, plot events) in a story. Tone is created through diction: the careful, specific use of certain words. Sample tones to use with suspense/horror fiction: horrifying, suspenseful, mysterious, fearful, frightening, cautious, spooky, etc.

B. Mood: The feeling a story creates in the reader through the use of description and diction. Similar to tone, the mood of a story can be mysterious or horrifying or suspenseful or frightening, etc.

Guided Reading: As we read "The Lottery" by Shirley Jackson, find and underline or highlight passages or lines in the story that Jackson uses to create TONE. In the margins identify the TONE Jackson probably wants us to feel. Note how this TONE may shift as the story progresses. What words tend to stick out or cause you as a reader to wonder or feel a certain way?

As you read "The Monkey's Paw" by W. W. Jacobs, find and underline or highlight (or comment in the margins how the story makes you FEEL--aka, MOOD). Look for passages or lines or description that makes you feel nervous or scared or worried for the characters in the story. Mark or annotate your copies.

HOMEWORK: #1: Complete the two short stories if we did not complete them in class; annotate and complete the task above as you read.

#2. Continue reading Stephen King's "On Writing". Aim to complete this "book" by Monday at the latest. You will be asked to create a video review of the book. More details to follow. If you didn't complete your homework during Spring Break, please do so by Monday's class.

Finally, read the article on "What Kind of Reader Are You"? and post a comment on YOUR blog about which kind of reader you are.

Next class we'll start working on a horror/suspense story of your own, so start thinking of some ideas about what scares or disturbs you...

Student blogs

Linden
Ariel
Giovanni
David
Simone
Andrew
Harrison
Pia
Sarah
Aryonna
Hannah
Amir

Stephen King: On Writing (Blog Assignments)

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. You can also write a post on YOUR BLOG discussing with the world your favorite words and why they are your favorite...
• 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 alone 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 is essential. But any writer's story can be improved with the use of suspense. 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
• 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

YOUR TASK: Read Stephen King's On Writing (his book has 5 parts, you're only reading part 3). As you 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). Take his advice. He's a successful writer and probably has something to teach us. 

Stephen King: On Writing Post Ideas

TASK #1: Read On Writing. In your journal, take notes about key or important tips about writing.
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). Along the way he drops some pretty solid advice to young writers. Read for these nuggets of wisdom.

Please use any of the following prompts to write your posts. You must write at least 3 posts! You may write as many of these as you can or want. The more you write, the more credit you gain. 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, taken from Part 1 of the book--you did not read part 1 of the book...but you can still benefit from these prompts):

• 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'

Tips/Advice & prompts from chapters 1-8:

• If you want to be a writer you need to do 2 things: 1. read a lot & 2. write a lot. Why is this valuable advice for you?
• Write about the book you read as a youth (younger than you are now) that inspired you to become a writer. Explain why you wanted to write after reading the book.
• King writes that he likes to write about 2,000 words a day (about 10 pages). How many words are you capable of writing per day do you think? What keeps you from achieving this goal? What can you do about it to reach your goal?
• Where do you prefer to write? Describe your "writing space".
• King writes in chapter 3 that you need a room, a door, and the determination to shut that door. What does he mean? For you, when should you "shut your door"? What interruptions cause you to stop writing? What are you going to do about those interruptions?
• In chapter 4, King insists that good writing starts with the truth. What are you afraid to write about because it means telling the truth? 
• If you "write what you love to read" what would that be? What do you love to read? How might that inspire or help you write? What writing market are you most interested in? [Sci-fi, fantasy, romance, horror, mystery, comedy, children's fiction, poetry, plays, media, journalism, westerns, action/adventure, general fiction, realistic fiction, teen fiction, gay/lesbian fiction, religious/inspirational fiction, memoir, etc.]
• In chapter 5, King discusses that a story is like a fossil. Sometimes it comes out of the ground in one piece, but most of the time it comes out as pieces. How true for you is this observation? Discuss a story/project that came out in one piece and contrast that with a project/story that you struggled to find all the pieces...
• In chapter 6, King comments on the importance of description. Find a passage from a novel (Montana 1948, for example) or story and examine the description. What is it doing there on the page? What's its purpose? Explore. 
• Write a series of descriptive similes or metaphors that help to describe a character or a place. "The room stank like an abattoir" for example. Come up with at least 10 of your own.
• In chapter 8, King stresses that to improve characterization and dialogue you should do 2 things:  1. pay attention to how people around you behave and 2. tell the truth about what you see or observe. Watch a person and describe the "character". Include what a character may say as well. 

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: Please read the packet On Writing by Stephen King. On YOUR blog, please write at least 3 posts using the bulleted prompts listed above. 

Have a nice break!

Mystery Draft Project: Due! Journals Due!

After taking notes on our short video, please turn in your journal to be graded today.

• Beginnings, Middles, Endings
• Writer's Block: Terrible Writing Advice
• Beginnings & Endings 

After we watch the videos, please turn in your journal. Take the short quiz on And Then There Were None. After the test, use the rest of your time today in class to write and complete your draft!

Done? Before you send me your Google doc and submit your work, check out the following:

• Did you title your story? [Stuck for a title? How about "The Mystery of ____ (noun)."]
• Does your story have a beginning, middle, and end? If not, write the parts that are missing...
• Do you use mystery tropes to help you write a story that could be marketed as a mystery or thriller?
• Did you include a scene with each suspect?
• Did you detail and describe your setting? Setting includes location, weather, season, as well as time. It also includes props and items or objects of interest (like the murder weapon or the crime scene...)
• Do you use characterization to describe your characters? Characterization is the dialogue a character says, the dialogue others say about a character, the thoughts a character has (ex. stream of consciousness), a character's description (physical and behavioral or mental traits), and a character's actions.
• Is there something at stake for your characters? For example: your criminal probably doesn't want to get caught for some reason, your detective or sleuth probably wants to solve the mystery for some reason, the victim of the crime may want to know "who done it?" for a reason...
• Remember that you can use imagery (describe smells, sounds, tastes, tactile feelings, and sights so that your scene comes alive for the reader!)
• Aim to write specific nouns and active verbs. 
• Correct and edit your grammar.

Remember the advice from the 3rd video today: read over your story draft before submitting and fix any glaring errors or problems with the draft. 

HOMEWORK: Complete And Then There Were None if you haven't done so already. Read the solution to the mystery and the epilogue (opposite of a prologue...like the one in Montana 1948!). If you will be absent Friday due to a field trip, please take and read "On Writing" by Stephen King. Friday's post will explain what you should do with his work after or during your reading of it. Complete "On Writing" by the time you return to class after Spring Break. 

All late and missing work must be turned in by Friday for minimal credit! Extra credit for the marking period may be turned in by April 19 (next Friday). 

Mystery Fiction Draft: Day 5; Clue (conclusion)

This morning, we will complete our viewing of Clue. At the end of the film, we'll use the rest of the period to continue writing your mystery story draft--or read And Then There Were None.

At the conclusion of Clue, please post a review of the film on YOUR blog.

Need an ending? Check out the article from Cat Rambo: 3 Things That End a Story Well; 6 Clever Ways to Achieve the Perfect Ending (article from Writer's Edit), and Beginnings, Middles, Ends: Crafting the Mystery.

HOMEWORK: Please read chapters 13-16 (pg.211-269) for Wednesday (there may be a quiz on chapters 1-16!). Bring your books and your mystery drafts back with you to class.  Drafts of your mystery story will be due at the end of class Wednesday, April 10. We will workshop the drafts Friday.

Your journals are also due Wednesday. Please bring them to class.

Mystery Fiction Draft: Day 4; Clue (part 2)

This morning, we will continue our viewing of Clue. Around 10:00, we will stop the film and use the rest of the period to continue writing your mystery story draft--or read And Then There Were None.

Stuck or need a new way of moving forward? Take a look at this: Writing the Middle of the Story: 12 Tips to Help You

HOMEWORK: Please read chapters 9-12 (pg.139-210) for Monday. Bring your books and your mystery drafts back with you to class.  Drafts of your mystery story will be due Wednesday, April 10.

Mystery Fiction Draft: Day 3; And Then There Were None (chp. 5); Clue: Day 1

This morning, please watch the following two videos and take note of suggestions/tips concerning mystery fiction.

• Tips When Writing Mysteries/Thrillers
• How to Create Suspense

On your own time (particularly if you're stuck or need inspiration and more tips when writing your story draft, check out this article on an author's blog (Chuck Wendig) by Susan Spann: "25 Things You Need to Write a Mystery Novel."

Use these ideas/tips as necessary. Use them for your own mystery story project. Use the rest of period three (until 9:45) to continue writing your mystery story draft--or read your homework. At 9:45, stop for a bit and check out this link about author Agatha Christie.

Jot down some interesting notes about the writer in your journal. At 9:55, let's get back to Chapter 5 of And Then There Were None.

At the conclusion of Chapter 5, we'll take a little interlude break to watch the comic mystery film Clue (1985 - based on the board game) starring Tim Curry, Madeline Kahn, Lesley Ann Warren, Christopher Lloyd, Martin Mull, Eileen Brennan, and Michael McKean. Written & directed by Jonathan Lynn.

HOMEWORK: Please read chapters 6-8 (pg. 91-137) for Thursday. Bring your books and your mystery drafts back with you to class.  Drafts of your mystery story will be due Wednesday, April 10.