Classes will not meet today, but none of our due dates will change.
Classes will not meet today, but none of our due dates will change.
Answer these questions as a way to help create a character or characters. When the questions mention “you” think of the character. If they mention “we” or a partner, either think of another character or yourself. The questions are the result of Arthur Aron’s research into creating emotional intimacy between individuals. They are best asked and answered in the order below. After you have answered them, consider which answers might be expanded into engaging scenes for readers.
Kij Johnson’s excellent The Dream-Quest of Vellitt Boe starts with the main character’s efforts to help one person, a former student, then the program where the main character works, then the university (Ulthar, in the quotation below), and the valley of towns around it. A summary of the journey through a land eventually increases what is at stake if the character is not successful. Notice how concisely this is done. The characters and details mentioned in the summary allow readers to remember earlier events in the book, so they are more likely to feel urgency about the fate of the main character and her world.
“Then Ulthar cannot be saved?” She thought of it: Ulthar; but also Nir and Hatheg and all the little inns and farmhouses; the shepherds and the ox-drivers; Gnesa Petso and the Bursar and Derysk Oure; the toll-taker at the bridge with her practiced tale of human sacrifice; the man renting punts on the Aëdl, the Eb-Taqar Fellows with their elaborate Flittide parties; the girl in the Woolmarket who had taught her monkey to curtsey for coins—so many men and women and children. And everyone gone. She took a breath. “There must be alternatives.” They talked on.
― from The Dream-Quest of Vellitt Boe
Here is a found paragraph.
The garage door had been up all day. The neighborhood was quiet. I came out to run to the store and saw a rattlesnake crawl behind a paper bag. Trash in the cooler garage. I’ve a wife, three kids. I am far too young for death. It must have fled the heat. Past my driveway, trees swayed against a blue sky. It was hot, even for June. I could just go back inside the house, get in the car, be someplace else. But who would come out the door next? My mom? I took a shovel and rake, pushed the bag away, and as it twisted toward sunlight, I pinned it with the rake. Soon they would be done with lunch. How much sound will it make, I wondered for a moment, then chopped with the shovel.
In a group of three, consider the content. Talk about what kinds of stylistic choices could add to it. Which of Thrill Me’s suggestions might be most helpful? Are there poetic strategies that might help? Where would additional sensory language make the paragraph more engaging? What changes to sentences could make the paragraph more interesting? Is this the best sentence order? What is the paragraph like as one long sentence? A pattern of fragments? Agree on a plan to revise the paragraph dramatically without changing the content. Then, revise it so the content and style match more completely. As you make changes, remember the textbook’s warning against styles that call too much attention to themselves, distracting from the content.
Here are two examples:
The rattlesnake must have been fleeing the heat. In my garage, it slithered into the shadows behind a paper bag. Hot, even for June, the garage door had been up all day. I’d come out to run to the store. I’m too young for dying. My wife, three kids. I could just go back inside the house, or just get in the car, be someplace else. But who would come out the door next? My little daughter? Soon they would be done with lunch. I took a shovel and rake, pushed the bag away, and as it twisted toward sunlight, I pinned it with the rake. The neighborhood was quiet. Past my driveway, trees swayed against a blue sky. How much sound will this make, I wondered for a moment, then chopped at it with the shovel.
Fleeing June heat, the rattlesnake slithered into the shadows behind a paper sack in my garage, but snakebite wasn’t how I’d die, not with a spouse, three sons, and a few short steps back inside the house to call the city, the snake handlers, or close enough, that work there. Of course, my littlest son could come out the door next because soon they’d finish their snack, so I took a shovel and rake, pushed the sack away, and as the snake twisted toward sunlight, I pinned it with the rake. Now, the neighborhood was still, and past my driveway trees swayed against a blue sky; how much sound will this make, I wondered for a second, then clanged and sparked the snake into pieces with the shovel.
Once you’ve finished as a group, take a double-spaced page of a story you’re writing. Repeat the process you just finished as a group of three with the found paragraph as an individual with your page.
Consider these example stories.
In a small group, rate the suspense of each section of Boyle’s story on a scale from one to ten.
As an individual, chart the suspense in William’s story, then Kemper’s, then Woodman’s.
Finally, in a small group chart the suspense in Bender’s story.
What techniques or strategies does this suggest for modulating suspense in your own work?
Remember Percy’s suspense-o-meters can be part of planning/pre-writing, but they can also be useful when revising.
This is a negative example of an annotated bibliography. Which of the criteria does it fail to meet? What problems does it have? How can you be sure your annotation meets more of the criteria than this one?
By: Blackmon, Wayne D. American Journal of Psychotherapy. Fall1994, Vol. 48 Issue 4, p624-632. 9p. DOI: 10.1176/appi.psychotherapy.19184.108.40.2064.
Wayne talks about three patients he had who benefited from playing the game. One patient played for five hours each week, another played for three, and the third only got to play for one hour! I like this source. They played a game called Savage Word. Wayne says that he tried to create situations in the game that would let the patients practice experiencing things that gave them stress in the real world. This stressful things were just in the game, so the patients knew they were not in the real world. So, they could consider the stressful thing from an emotional distance and think about it without it being too personal. Then, when they did encounter the stressful thing in the real world they were ready for it because they had already thought about it as part of the game that they had played with Wayne. It is wonderful that Wayne thought of this. The thing about this is that I don’t know if the game mechanics of most games are flexible for most doctors in Wayne’s position to do this. Also, a big part of most games is randomness, from either like dice or sometimes shuffled cards. Its not really the game without randomness, but what if the randomness happens in a way that freaks the patient out? That’s not good. How to do patients really make the switch from games to IRL. Maybe if patients are afraid of spiders IRL they could beat some giant spiders in the game, but if patients are afraid to talk to their boss about vacation days, how would that work in the fame? It’s not like dragons sit on piles of vacation days.