Writing Assignment: Writing a Backwards Flash Fiction Story

I had a strange dream last night: I had written a flash fiction story--

Backwards.

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Creative Writing--Prompt #7

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Keep in mind that you are NOT required to use these prompts for your drafts. They are just brainstorming tools. However, you MAY use these prompts to develop your drafts. In short, it is up to you. You can also use them at another time during the semester, not just this week.

Option #1 (200-250 words):

Write a short memoir about a time that you said or did something embarrassing and/or nasty to someone, an action for which you later regretted. In your piece, note how the wronged person reacted, and develop a scene that includes some recreated dialogue between you and that person, which may or may not include an apology. If the event took place a long time ago, reflect on how your actions affected your subsequent relationship with that person. In order to protect the innocent person, you may change the name of the wronged person. If you submit such a piece, I will assume that this is private writing, unless you tell me otherwise.

Option #2 (200-250 words):

Write a short memoir about a time that someone else said or did something embarrassing and/or nasty to you. In your piece, note how you (1) WANTED to react to this person’s actions and (2) how you REALLY reacted. If this person apologized to you, discuss whether or not the apology was acceptable to you. In other words, did the apology seem sincere? In this mini-memoir, develop a scene that includes some recreated dialogue between you and that person. If the event took place a long time ago, reflect on what that person’s action means to you now and how that person’s action has affected your subsequent relationship. In order to protect the guilty person, you may change the name of the wrong-doing person. If you submit such a piece, I will assume that this is private writing, unless you tell me otherwise.

Option #3 (200-250 words):

Write a travel essay about an important journey (meaning “vacation” in American English or “holiday” in British English).

A special suggestion for 4th year students: compare and contrast your traditional 4th year trip to your metaphorical journey through your four years of university.

For Option #3

Here are some examples of travel writing: Traveler Tales

Some characteristics of good travel writing: Suite101

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Creative Writing—Prompt #6

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Keep in mind that you are NOT required to use these prompts for your drafts. They are just brainstorming tools. However, you MAY use these prompts to develop your drafts. In short, it is up to you. You can also use them at another time during the semester, not just this week.

Option #1 (200-250 words):

In the style of Ernest Hemingway’s Hills Like White Elephants write, from the 3rd person, objective point of view, a recreated dialogue between you and a real significant other. In a sense, I’m asking you to observe yourself interacting with another person but from a “dispassionate distance,” which means you won=t have access to your own thoughts; you will simply observe yourself as others observe you. In the objective point of view, the “narrator” is an invisible presence, very much like a journalist or video camera that does NOT offer “evaluations” of the characters or action, but simply “records” concrete details and dialogue. You may incorporate description of action and setting, but it must be rooted in the physical world, having to do with the five senses: sight, sound, touch, taste, and smell—in other words, nothing abstract or “evaluative” in the narrative sections.

Option #2 (200-250 words):

In the ironic and sarcastic style of Zoo York a New Yorker “casual,” write an essay about Skopje 2014 or any government project or policy with which you disagree.

Option #3 (200-250 words):

No matter what genre, a good writer often describes vivid physical details about the people, time, and place of an event. In this exercise, study the above photograph of the child at the fence, and describe the physical details, just as you see them, with no interpretation as to meaning. Just describe what you actually see.

Option #4 (200-250 words):

Select a favorite family photograph that was shot during an important family event. Write an essay about that event, using the photograph to describe setting of time, setting of place, and descriptions of family members.

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Creative Writing--Prompt #5

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Keep in mind that you are NOT required to use these prompts for your drafts. They are just brainstorming tools. However, you MAY use these prompts to develop your drafts. In short, it is up to you. You can also use them at another time during the semester, not just this week.

Option #1 (200-250 words):

Starting with today's date, begin a 7-day journal. In this journal, you should make important and vivid observations about the world around you, recalling conversations/scenes with friends and others, offering background information on yourself and others, recounting activities done for that day, and noting mini-epiphanies experienced throughout the week.

After one week, refer to this mini-journal and write an essay that spotlights the high or low points of your week.

Option #2 (200-250 words):

Read the “found” poem called “The Coffee Fortune Wall of Shame” (see below). I “found” this poem by collecting these coffee fortunes from my various café excursions throughout Skopje and also swiping them from coffee drinkers who left these cute brown slips of miswritten (albeit charming) bits of wisdom behind. There is no rhyme or reason to this poem—I am simply the note taker.

Select one bit of wisdom from this “poem,” and write an essay, using one of the fortunes (misspellings, odd grammar, etc.) as the title. OR make up your own coffee fortune and build an essay around it.

The Coffee Fortune Wall of Shame—A Found Poem

You are wonderful.

Flert.

Don’t fish on a tree.

Unexpected meeting.

Govern without being present.

Pick your words.

Whatever you make, that’s it.

Breathe.

Jealousy is selfishness.

An empty pocket is a load.

Be punctual.

Stand out, don’t be out.

The tired make mistakes.

Help! I’m trapped in an espresso machine!

(Sorry. I made that last one up.)

Option #3 (200-250 words):

Interview a stranger (a store clerk, café server, plumber, etc.) or someone you don’t know very well, and find out some basic information about that person. Then, based on what you have found out, write an essay in that person’s voice. (For an example, see “The Bell Ringer,” by Greg Hershey, which I have emailed to you. After you read this essay, these images will make sense).

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Creative Writing--Bonus Prompt: "I Like You!"

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The following gem popped up in my spam box:

My dear friend!

Come with me to the clover field...

Let our laughter serenade the night, among the red lilies still in bloom.

Make me a bed of purple passion beneath the starry autumn night...

And you will have my sensual heart before the night dissolves into light.

I have no secrets to hide from you. All that I am is yours to keep.

Fear not my hand should leave yours because two our souls are now entwined as one.

Sometimes I cannot find those words to let out what is inside

because you are holding the keys of my heart. I know that I can love you

if you're ready and willing to try. I want to be your best...

Take my hand, take my heart, live in love and bring light in the dark

All I want is you... and you can have me too...

Hugs and kisses

Nika

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Most of the time, I don't even read my email spam; I simply delete it.

However, for some reason, I clicked on this message--I think because the subject line said, "I like you!" And who doesn't like to be liked?

The message did not disappoint--What a charming piece of purple prose!

Come on.

Admit it! You have written your share of turgid prose, in both Macedonian and English. I know I have--well, maybe not in Macedonian.

In this "bonus" prompt, I challenge you to write a narrative non-fiction piece, about any event or person from your life, using the most overwritten prose that you can muster.

Then go back and edit out every adjective and adverb.

Compare the two pieces.

Between the two drafts, you just may have the beginning of a polished piece of writing.
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Creative Writing--Prompt #4

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Keep in mind that you are NOT required to use these prompts for your drafts. They are just brainstorming tools. However, you MAY use these prompts to develop your drafts. In short, it is up to you. You can also use them at another time during the semester, not just this week.

Option #1 (250-500 words):

Take a real event from your life and write it in a drama format. For an example, see

A Possible Scenario at the Police Station

“A Possible Scenario at the Police Station,” an excerpt from my memoir, stretches the boundaries between non-fiction and fiction.

I took a real event from my life: a conversation between Harley D. Semple, my grandfather, and the Sioux City (Iowa) Police Matron, which resulted in my involuntary commitment to the mental institution.

I was NOT present during this conversation; I was locked in another room at the police station.

In the resulting “playlet,” I made a supposition about the conversation that transpired between these two people.

I based this short scene on an important clue that I discovered in my commitment papers: in August 2004, I was able to procure photocopies of them from the Woodbury County Court House. As I read through them, I discovered that my grandfather had originally signed the legal papers for my commitment; however, his name was crossed out and the police matron’s name was substituted.

For 35 years, I had questions about who had really signed the papers. My grandfather had denied vehemently that he was responsible, and, technically, that was the truth. However, these papers proved, beyond a doubt, that he was, indeed, responsible for my commitment; he had somehow “dodged” the technical responsibility by (possibly) convincing the police matron to sign those papers.

My grandfather signing the papers and the police matron crossing out his name and substituting her own name is verifiable. The content of my “playlet” is not verifiable.

The “how” and “why” are unknown; thus, my short drama attempts to answer those unknowns with an educated guess. The absolute truth will never be known, given that the two people involved are now dead.

Is this non-fiction? I’m saying, “Yes and no.” In any case, I have stretched the boundaries between fiction and non-fiction.

Is what I have done ethical? I think so, but I suppose that question is open to debate.

Option #2 (250-500 words):

Take a situation from your own life that made you very angry. In a brainstorming piece, spew that anger on paper, censoring no emotion or vitriol. Just get it down on paper. If necessary, write it in Macedonian (you can always translate it later).

This piece will NOT be art. It will be messy, disorganized, and chaotic. But don’t worry about that—just get the rawness down on the page.

Later on—maybe even months or years from now—revisit this piece and see if an artistic and publishable piece might emerge from this.

Even if you write this piece, you don’t have to share it with me.

I have sent to you (but have not posted and will not post) a brainstorming piece about the room situation that we experienced last class. At this point, I would not want to share this piece with a wider audience, given my visitor status here at the university. However, I am entrusting this class with this very rough and somewhat angry piece. Later on, I may write an essay about this situation, but it would be more moderate than the raw emotion spewed in this draft. But, then again, this piece may go nowhere but here.

I just want to show you that all writers write pieces that may never see revision and publication.

Option #3 (250-500 words):

Develop ONE short scene, complete with narrative, dialogue, description, and action. In this scene, reveal something vitally important about yourself or another person without revealing the information directly; in other words, "Show, don't tell." (You may revise a scene from one of your existing personal essays/memoirs/short stories based on real life).

Remember Milena’s scene with the triplets? Something like that might be a good starting point.

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Creative Writing (Creative Non-fiction): Prompt #3

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Keep in mind that you are NOT required to use these prompts for your drafts. They are just brainstorming tools. However, you MAY use these prompts to develop your drafts. In short, it is up to you. You can also use them at another time during the semester, not just this week.

Option #1 (200-250 words):

Write a letter to your future husband, wife, child, etc., and tell him/her about your life before he/she came into it. If that person is already in your life, write from your past perspective. (From Writer's Digest online)

(You may recognize this idea from last semester as a fiction prompt.)

Option #2 (200-250 words):

Read “Richard Hickock”: From In Cold Blood (Truman Capote) from Life Writing, pp. 231-237. OR see In Cold Blood, pages 213-219.

In this book, author Truman Capote reported on the brutal Clutter murder, which took place in Holcomb, Kansas, in 1959. Capote invented or, at the very least, expanded on a style of non-fiction writing called “new journalism” (also known as “literary journalism”) in which the “reporter” participates in the “story,” even though he or she was not there, and sometimes long after the event has occurred.

In a “new journalism”/“literary journalism” piece of your own, write about a familiar event that occurred, but one in which you did not actively participate. However, in your essay, pretend that you were there and taking down notes as the event unfolded. You may have to interview people (perhaps start with a family event). You may recreate dialogue (Capote sure did).

The event you choose does not have to be about a brutal event, such as a murder and execution. You may also use a photograph (see Option #3) to write your new or literary journalism piece.

Option #3 (200-250 words):

Find a favorite photograph of a person, pet, or event and write a mini memoir about that person, pet, or event.

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Creative Writing (Creative Non-fiction): Prompt #2

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Option #1 (250-500 words):

Describe, in some detail, your BEST or WORST elementary, middle, or high school experience.

Option #2 (250-500 words):

Write a personal essay about a tragic local, regional, or national event from your own perspective. It doesn't matter if you were directly involved, but your personal perspective on the tragedy does matter.

For examples, see,

Leap

by Brian Doyle

9/11: Where Were You on That Terrible Tuesday?

by Jennifer Semple Siegel

Option #3 (250-500 words):

Write a complete mini-memoir, following the traditional story structure (beginning, rising action, climax, falling action, epiphany, and resolution), that covers no more than about five minutes. In other words, reach back into your past and select a moment from your life that has had a tremendous effect on your life.

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Note: You are NOT required to use any of these prompts. These are simply tools to help you overcome writer’s block.
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Creative Writing--Creative Non-fiction: Prompt #1

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These prompts are offered to you as tools to help you get started. You are not obligated to use them at all.

Option #1:

a. In an essay, reveal why you like to write.

b. What are some differences between writing in Macedonian and English?

Option #2:

a. Write a short poem about an important real event that happened to you or something important that you witnessed firsthand.

b. From the poem, write an essay or short memoir about that event.

Option #3:

a. Take three objects from your shelves, purse, backpack, or pockets, and write a sentence or two about each object.

b. What do these three objects have in common with each other?

c. How important are these objects to you?

d. Explain why these three objects were on your shelves, in your purse, backpack, or pockets.

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Creative Writing--Some Links for Spring 2010

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A Pistol is Fired (see Chapter 12 of I, Driven)
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I have posted some items and links for Creative Writing:

Syllabus (Spring 2010)

Elements of Non-fiction

Private vs. Public Writing

Chapter Eight (or "Rudy"), from I, Driven: memoir of a teen's involuntary commitment (Jennifer Semple Siegel)

The Politics of Memoir (A rather long essay that explains how I approached writing I, Driven, my memoir)

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Creative Writing: Private vs. Public Writing

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(1) Purpose: Private Writing as Therapy and/or Catharsis

There is nothing inherently wrong with expressing private writing in a journal, which is a good way to express emotion without worrying about the typical "writerly" concerns, such as form, structure, originality, and avoidance of trite language and clichés.

The writer should NOT be concerned with the artistry of private writing.

The writer’s primary purpose is to get the emotion down on paper, to express it, and, perhaps, derive some therapeutic value from the exercise.

The writer knows NOT to share this draft of the piece with others (except, perhaps, a trained psychologist who is working with the writer in therapy), although the writer may use the private writing as a jumping off point for a semi-public or even a public piece.

A creative writing teacher should NOT be asked to evaluate private writing, unless the writer is prepared to hear a critique (from an artistic standpoint) and is willing to revise it into public writing. Otherwise, submitting such writing is an exercise in futility and a waste of time.

(2) Purpose: Semi-Public Writing for Possible Revision

The writer begins to consider artistry, but most semi-public writing doesn’t move past this level. Writers should expect many false starts.

The writer may show his/her the semi-public writing to one particular person, perhaps the subject of the piece.

The writer may show the writing to a close circle of friends, a writing group, or a therapist.

The writer who shows a semi-public piece to family, lover/spouse, and close friends should not expect an objective critique because the people who love the writer are usually biased. Generally, psychologists are not trained to judge therapeutic writing from an artistic standpoint, and probably wouldn’t address such concerns anyway. On the other hand, the writer should expect an objective critique from a writing group.

The writer may submit, as a draft, a semi-public piece to a creative writing teacher, but, again, the writer must be prepared to hear a critique (from an artistic standpoint) and be willing to revise. Otherwise, submitting a semi-public work is an exercise in futility and a waste of time.

(3) Purpose: Revised Public Writing for Submission

The writer has revised the piece for Final Portfolio and/or publication submission, paying special attention to form, structure, originality, and avoidance of trite language and clichés. The piece is ready to make its public debut. If the writer submits the piece to a creative writing teacher as part of a final portfolio, the piece should be ready for a final grade.

The writer may submit the public piece to a creative writing teacher for an opinion, but, again, the writer must be prepared to hear a critique (from an artistic standpoint) and, perhaps, be willing to revise it. If the writer feels the piece is finished, then he/she should NOT submit the public writing as a draft. Otherwise, submitting it as a draft is an exercise in futility and a waste of time.

The writer, keeping in mind that the publication game is a crap shoot, may submit a public piece to a publication, but should be prepared for three possibilities: acceptance, rejection, or an editor’s request for a revision.

At this point, it’s up to the writer to decide whether or not to revise.

(4) Purpose: Published Work for Critique and/or Possible Republication

The published piece has already made its public debut, having been published in a national or regional glossy magazine, anthology, or literary magazine.

The writer should NOT submit published work to a creative writing teacher for a critique, unless the writer (1) discloses the piece’s publication history, (2) is open to critique, AND (3) intends to revise the work for republication. Otherwise, submitting such work is an exercise in futility and a waste of time.

The writer should NOT submit a published piece to another publication, unless the writer knows that the publication is open to reprinting previously published work. The writer MUST disclose a work’s previous publication(s) in the cover letter, even if it appeared only in an undergraduate literary magazine.

In short, it is unethical to submit work without disclosing its previous publication history.

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Creative and Academic Writing--Elements of Non-fiction

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What is Non-fiction?

Non-fiction is writing that is expository and/or descriptive, having to do with ideas, issues, actual events, and/or real people.

However, creative non-fiction borrows elements from fiction, poetry, and drama: plot structure of a true story, dialogue (re-created), “character development” of real people, scenes, summary, and description.

Types of Non-fiction: Narrative Non-fiction and Rhetorical Non-fiction. However, the dividing line between these two types of non-fiction is often fuzzy.

Narrative Non-fiction:

Diary: a more intimate, personal, and private chronology of events that is presented sequentially–mostly chronicles personal feelings.

Journal: tends to be a more public forum, the writer being more concerned with ideas and the world at large.

Literary Journal: direct responses to other texts, based on feelings, emotions, imitation, and/or analyses. Often used by writers for getting ideas of their own.

Letter: informal or formal message written directly to a family member, a friend, an acquaintance, or a stranger. Letters of famous people are often published in collections.

Epistle: a more formal version of the letter, often intended for public dissemination (publication and/or public speech). As such, the epistle usually addresses public issues, such as religion and politics.

Biography: a chronology of a famous or distinguished person’s life, written by a biographer other than the person whose life is being chronicled. Typically, a biography attempts to cover the person’s entire life.

Literary Biography: a specialized type of biography in which a writer’s life story is told from the perspective of his or her body of literary works.

Autobiography: a writer’s (usually a famous or noted person), version of his or her own life. Typically, the writer attempts to cover his or her entire life thus far.

Memoir: a writer’s (not necessarily a famous or noted person) attempt to emphasize events and/or people he or she has experienced and/or known from his/her own perspective. A memoir does not usually cover an entire life, but, rather, emphasizes key events and people. Memoirs tend to resemble fiction, and, in fact, some memoir writers have been accused of stretching the truth (see James Frey, A Million Little Pieces).

Rhetorical Non-fiction presents facts and ideas in such a way to persuade a reader of a viewpoint.

Journalistic prose: reportage that goes beyond the simple reporting of events; thus, the writer takes and supports a position and then write a piece for publication.

Descriptive prose: writing that is concerned with the physical world: sight, sound, taste, touch, and smell. Also known as “sensory” writing.

Expository prose: writing that explains, offers information, and/or defends a viewpoint. Research is often involved. Often the line dividing the following can be fuzzy:

Argumentative/Issue/Persuasive: writing that defends/supports a viewpoint on a controversial issue.

Informative: writing that is intended to offer information on a subject–usually noncontroversial–without making major judgments on an issue.

Process: writing that explains how something works (informative process) or how to do something (directive process)

Essay: a term for a piece of nonfiction prose that has an introduction, a body, and a conclusion–a complete work.

Informal essay: writing that is more personal, tentative, or subjective–not the “last word” on a topic. Language/tone/register tends to be informal/casual. Creative non-fiction falls into this category.

Formal essay: writing that is serious in tone/register, objective, and formally structured. Extensive research of issues is usually involved.

Parts of the Formal Essay (Traditional Five or Six Paragraph Format):

Introduction: the beginning of the essay that introduces the topic and attracts the reader’s attention by offering an anecdote, story, or scenario.

Thesis: the major claim (position of the writer) or what the essayist plans to cover.

Explicit Thesis: the major claim or topic of essay that is stated directly in a clear and concise sentence.

Implicit Thesis: the major claim or topic of essay that is implied throughout the essay–not directly stated.

Body: the “meat” of the essay, the evidence to support the thesis, which is offered to the reader, such as research, statistics, interviews, and solid reasoning/inferences.

Counterarguments: in an issue essay, recognition, refutation, and/or
accommodation of opposing viewpoints. Usually not needed for the informative essay, but a very powerful rhetorical device for controversial topics.

Conclusion: the ending that wraps up the essay by restating the thesis in different words and sometimes offering an extra “nugget” for the reader for further thinking.

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Creative Writing--Prompt #6

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Select ONE of the following options:

Option #1 (250-500 words):

Starting with today’s date, begin a 7-day journal for a major character from a story that you have already written or are writing now. If your story is set in the past, begin with today’s date, but in a year within the era of your character’s life.

In this journal, your character should make important and vivid observations about the world around him/her: recalling conversations/scenes with friends and others, offering background information on him/herself and others, recounting activities done for that day, and noting mini-epiphanies experienced throughout the week.

Option #2 (250-500 words):

Write a story that uses mostly dialogue. For the dialogue tags, do not use any verb except “say”/“says”/“said” or “ask”/“asks”/”asked.” In addition, do NOT use any adverbs within your dialogue tags.

In other words, use the dialogue itself to develop character and plot. Also, do not tell how a character feels; show the emotion in action or as described (via the five senses) by the narrator.

Option #3 (Revision):

Begin revising one of your drafts, a story that you might include in your final portfolio.

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If you have an alternate idea that you would like to try out instead of the above options, it’s okay.

NOTE: Don’t worry if you don’t finish this piece today or ever; you might discover that this prompt, for you, is a “false start.”

Writers should experience a lot of false starts.

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Creative Writing--Guidelines for Preparing and Accepting Critiques from Peers

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Your Reviewer (NOT! At least I hope not.)
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Preparing to Accept Critiques:

1. Leave your ego at the door.

Do NOT come to class or group expecting to be praised for every word that you write. The purpose of this class is to help you become a better creative writer, so a little humility will go a long way.

2. Before coming to class, analyze your own work,

Using Peer or Self Reviewing a Story as a guideline; that way, you will get an idea of what kind of comments to expect from your group.

3. Write a short paragraph in which you assess your own work-in-progress draft, such as weaknesses and strengths.

What do you like best about the piece so far?

The least?

Where are you experiencing the most difficulty in the piece?

What help do you want most from the class?

4. Develop some questions that you have about your piece,

Which you will ask your peers after the class has critiqued your work.

5. If you think of any additional questions during the critique,

Please feel free to jot them down, but do wait until the class has finished with its critique before asking your questions.

Accepting Critiques:

1. It’s your story or poem.

You can choose to accept or reject a critique, for not all peer reviewers exhibit the same analytical abilities. Besides, YOU are the creator, but...

2. Approach the review with an open mind;

You never know what stroke of brilliance you might find, even in an awful review.

3. If you are not clear about something a peer reviewer has said

About your story, you have the right to ask him/her for clarification, but do this in a polite manner; try not to be defensive.

4. Read Nancy Kress' Writer’s Digest article,

“Critiquing the Critics” (see your email message for how to access it), and READ IT CAREFULLY. This October 1992 article is one of the best that I have found on the subject.

5. If you are having difficulties with a peer reviewer,

Please see me. Bring copies of your work, the reviewer’s written critique, and your concerns.

Note to Author:

This is your story, and, ultimately, you’ll have to decide what works and what doesn’t work. Read the critique carefully, take what you need from it, and ignore the rest. And PLEASE read “Critiquing the Critics,” Writer’s Digest; if nothing else, it will make you feel better if you get a negative critique.

Still, don’t expect constant praise. If you go into the workshop with an open mind, your work will open up to the world; conversely, if your mind is closed to new suggestions and ideas, your work will wither.

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Creative Writing: Peer or Self Reviewing a Story

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Using the list below, consider the following areas in your analysis:

1. Theme

What is the story about? You should be able to summarize the story in one or two sentences.

2. Plot/structure

Does the story follow the traditional story structure?

Beginning ➔ Rising action➔ Climax➔Falling action➔ Epiphany➔ Resolution

If not, does the nontraditional structure work? How is the story structured? (If you can’t figure out the structure, feel free to ask the author.)

3. Conflict

Does the story involve a well-defined conflict that makes the story worth reading? What is the conflict? (No conflict = no story. All fiction MUST be driven by conflict.)

4. Beginning.

Does that first sentence and/or paragraph reach out and grab you, immersing you into the story?

5. Characterization (protagonist and antagonist; supporting characters).

Does the protagonist, the main character, evolve during the course of the story, or is he or she a static character who does not change as a result of the unfolding events and his/her epiphany?

How might the author develop a better evolved protagonist?

Does the antagonist (an opposing force for the protagonist) create enough of a conflict for the protagonist? If not, how might the author develop the antagonist better?

Are all the supporting or minor characters necessary? If not, who might the author cut?

6. Verisimilitude (Believability)

How believable are the plot and events?

Does the overall plot line feel plausible to you, even if the author has written a ghost story, science fiction, or fantasy?

Does the author avoid resorting to cheesy plot devices, such as “deus ex machina” (in which a “god” or unknown force rescues the protagonist at the very last minute, without having been foreshadowed)?

7. Setting

Does the setting reflect the mood of the story? How does the writer develop setting as mood?

8. Point of view (POV)

What point of view does the story use?

Options: first person (“I”); third person (“he” or “she”), singular; third person, limited omniscient (multiple viewpoints, usually two or three); third person, omniscient (all-knowing “God” viewpoint); third person, objective; second person (“you,”not used too often).

Does the point of view seem appropriate? If not, what POV would seem more appropriate?

9. Tense (Present, Past, Future)

What tense does the author use?

In your view, is this the appropriate tense? If not, explain why.

Does the author mix past and present tense? If so, ask what tense the author has intended, and mark the lapses with a “9.”

Please note that stories written in the moment (present tense) will often refer back to past events in the past tense, and this is perfectly correct, so make sure that you don’t mark these passages as inconsistent. (Future tense is rarely used in modern fiction, usually in conjunction with the present tense.)

10. Dialogue/Dramatic Monologue

Does the writer incorporate dialogue (two or more speakers) or dramatic monologue (one speaker)? If not, might the piece benefit from some well-placed dialogue or dramatic monologue that reveals details about the speakers? Put a “10” where the author might consider developing dialogue and/or dramatic monologue.

11. Scene, Details, and Description

Has the author included important story events in scenes that include dialogue, details, and description to show character and/or plot development? If not, mark those areas with an “11.”

12. Summary

Does the author summarize parts of the story that, while important, are not important enough to warrant an entire scene? Mark areas that should be summarized. mark those areas with an “12.”

13. Scope

Is the scope, or time frame, of the story narrow or wide enough?

(One of the most common problems of student stories involves a scope that is too broad, which I refer to “I’m-going-to-start-at-the-character’s-birth-and-continue-until-he-or-she-dies”syndrome).

Think “slice-of-life” for story scope.

14. Language

a. Is syntax (word order within the sentence) used in ways that we don’t usually hear or expect? If so, does the unusual structure work for this story? If not, mark “14a.”

b. Is the language direct? Does the author use economy of language as opposed to wordiness? If not, what could be deleted? Mark suggested deletions with “14b.”

c. What kinds of imagery are used? (Imagery = use of the five senses: sight, sound, touch, taste, and smell, as experienced through concrete language). (Mark “14c.”)

d. Has the author used any inappropriate word choices, including wrong words and/or cliches? Mark these words “14d.”

e What passages could be rewritten to incorporate concrete language rather than abstractions? Mark these areas “14e.”

f. What could be suggested rather than told outright? Mark these areas “14f.”

g. Circle any “to be” forms of verbs (e.g., is, am, are, was, were, will, etc.). Could any of these passive verbs be developed into active verbs (in which the subject is doing the action)? Mark these areas “14g.” (Active voice is almost always more powerful than passive voice.)

h. Circle any adjectives and adverbs. Which of these modifiers could be cut? (Mark “14h”)

i. Does the author use appropriate sentence length to develop pacing? (Short, staccato sentences = fast pacing; lengthy, compound/complex sentences = slow pacing. In short, an author can manipulate pacing via sentence length. Authors often use sentence length variety to reflect changing pace within a story.) Mark inappropriate pacing with “14i.”

15. Surface Areas: (Punctuation, Spelling, Grammar, Mechanics)

In dialogue or first person narrative, the writer may be intentionally suspending the rules of proper English. If so, ask the writer about intent. Ultimately, is the result successful?

16. Peer Narrative

a. In some detail, discuss overall STRENGTHS of story.

b. In some detail, discuss overall WEAKNESSES of story.

c. In your opinion, what are the most critical areas that the author should be working on?

Note to Reviewer:

When critiquing a story or poem, please tell the writer what you like about the story and then give him/her some specific and constructive ideas for improving areas that could use some improvement.

Be honest, and tell the author what you think he/she needs to know, BUT use positive and encouraging language.

However, don’t overpraise the story or poem because, ultimately, false praise will not help the author write better.

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Creative Writing--Guidelines For Writing a Critique of a Creative Work

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These guidelines pertain to ALL creative writing, not just fiction:

1. Read

Read through the story or poem once before making any comments on the peer sheet or manuscript. For this first reading, you are simply reading as if you were picking up a magazine or short story or poetry collection--in short, a casual reading.

2. Think

Take a few minutes to think about what you have just read.

3. Write

On a separate piece of paper, jot down your overall impression (which you MAY or MAY NOT be sharing with the author), e.g. “I don’t like stories or poems about baseball, so I didn’t like this one” OR “I didn’t like the grandmother as a person” OR “I just love the religious overtones of the piece.” The idea is to get past “personal biases” and “agendas” and get on with offering the author a fair critique based on craft, not personal tastes on the part of the reviewer.

4. Reread

Read the story or poem again, this time, as you read, jotting down comments on a separate piece of paper. If you discover that you don’t like the story or poem no matter how many times you read it, try to figure out WHY. For example, does the story or poem need technical work, or do you have a personal aversion to style, a character, theme, etc.? If so, let the writer know about your biases.

5. Answer Questions

Now look over your notes and answer the questions from Peer or Self Reviewing a Short Story.

6. Write a Constructive Critique

Write a constructive critique of the story. You may jot down notes on the author’s manuscript.

Begin your critique by accentuating the positive.

When discussing weaknesses, do so in a spirit of professional respect and a willingness to be helpful. Be honest, but write in a thoughtful and considerate manner--the way that you would want your work to be critiqued. And give the author your best shot!

7. Offer the Critique to the Author.

When you are finished, distribute the critique and story to the author.

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Creative Writing–In-class Prompt #5

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Select ONE of the follow options:

Option #1:

Write The Killer Husband from the viewpoint of ONE of the following characters:

--The first (and murdered) wife

--The second wife

--One of the killer’s children

--The priest or clergyman

--The executioner

--The policeman who records the killer’s confession

Feel free to change the title and do whatever it takes to make the story your own.

Option #2:

Write a prequel (events occurring before the main story) or sequel (events occurring after the main story) to “Hills Like White Elephants,” by Ernest Hemingway.

Option #3:

Write a story consisting completely of dialogue, with NO exposition at all. You may use, where appropriate, dialogue tags, but without adjectives and adverbs. In other words, this option requires that the dialogue alone should develop your characters, the plot, and the structure of your story.

If you have an alternate idea that you would like to try out instead of the above options, please go ahead.

Don’t worry if none of these prompts inspire you.

Don’t worry if you don’t finish this piece today or ever; you might discover that this prompt, for you, is a “false start.” Writers should experience a lot of false starts.

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Creative Writing--Editing Exercise: Pruning Dialogue Tags and Adverbs

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Two Questions/Two Answers Regarding Dialogue Tags

Question 1: What is the purpose of dialogue tags?

Answer: Dialogue tags should be used only for clarity, to denote who is speaking, nothing more and nothing less.

Dialogue tags should not call attention to themselves. In fact, if a writer can get away with not using dialogue tags at all, then he or she should do so. Think of a dialogue tag as a practical “tool,” not as a means of developing a character or moving plot along.

Question 2. What are the best verbs to use in a dialogue tag (Also known as “attribution”)?

Answer: The best verb to use in dialogue tags:

“says” or “said”

“asks” or “asked”

Of course, there will be exceptions to the use of these verbs, but, generally speaking, you'll never go wrong using one of these.

Also, instead of concentrating on developing good dialogue, some beginning writers get lazy and depend too heavily on adverbs to “save the day,” so to speak.

However, if the dialogue itself does not reveal something important about the character or promote the plot, no fancy adverb will be able to help.

Example of a bad dialogue tag:

"Let's play soccer," Mary chirped sweetly.

Better:

"Let's play soccer," Mary said, smiling at her teammate.

The following is a rough draft excerpt of “When I Die”; the instructions for editing this passage are at the end. Later, I will post the revised version of the excerpt:

“When I die” Aunt Sal quips loudly “I want something important for my obituary.” She looks up, her eyes following the electrical lines which run directly over the swimming pool in her backyard. I used to dream about those wires crashing down while I swam laps and for a while I refused to swim in Sal’s pool. But, now, I figure that I’m more likely to pick up an exotic disease there than have an electrified wire snap apart and fry me to death. Sometimes, you just have to narrow your fears down to a few major ones. Otherwise, life gets too damned complicated. I’ve narrowed my fears down to the big three: flying, chiropractors, and Sheldon catching me with another man–innocent or not.“That’s why I decided to join the Board of Eminent Domain,” Sal added thoughtfully. That’ll look good in my obituary when the time comes.” “Well, what d’y’ll do on this board?” Ruby inquires, taking a drag on the ever-lit cigarette. Sal shrugs. “I don’t know, I was just appointed. My first meeting’s next week.” “They condemn your property,” I interject, “And then they snatch it from you for a song for government purposes.” “Over my dead body!” Sal screeches sassily. “Not on my board.” “That’s the general idea, your reason for being, Sally-baby” I jump in saucily. Ruby leans her head back and closes her eyes languidly. “Hardly seems fair government officials coming in willy-nilly and taking your land.” “Well, all I can say” Sal said. “I’m gonna be a watch dog. See that no one gets ripped off.” Sal added strongly. I jumped in, “Like the Winnehaha deal?” Sally quipped, “Well, at least they built something fun, not just another old road!” Ruby sits up, and asks, curiously. “What’s ‘Winnehaha’?” “Long story,” I answer, sighing. I add “Indian tribe claimed some land and a lake out by the airport.” I tell her about the casino and theme park. Ruby asks, “Oh. Isn’t that where we’re going for the reunion?” “That’s it,” Sal says, conspiratorially, rubbing her hands together. “Maybe we can get in a little slot action.” “I don’t gamble,” Ruby quips in a superior tone. “Might as well throw money into the gutter.” With complete and utter shock, Sal and I just look at each other. How can a person with Mallory blood not gamble? No way!

_____________________________________________

Instructions for editing:

–Paragraph according to traditional dialogue conventions. (Use ¶ symbol for indicating a new paragraph)

–Rework dialogue tags: changing verbs, adding and/or deleting as needed.

–Fix incorrect punctuation.

–Cross off any unnecessary adverbs.

________________________________________

The "When I Die" excerpt and exercise are copyright 2009, by Jennifer Semple Siegel.

This excerpt may not be reposted or published without permission from the author.

However, educators are welcome to use the exercise in their classrooms for educational purposes.
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Creative Writing: In-class Prompt #4

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Select ONE of the following options:

Option #1: The Story Machine (250-500 words)

Using the “The Story Machine” list below, pair up a character in Column A with an unlikely activity from Column B. Based on your combination, write a short story. (Note: if you choose a likely combination, your resulting story may be less interesting, although I should make no assumptions about this class! Surprise me! Better yet, surprise yourselves!)

Option #2: The Objective Point of View, 3rd Person (250-500) words

Using Ernest Hemingway’s Hills Like White Elephants as a model, write a story from the objective point of view (see page 4 of the “Creative Writing–Writing Fiction” handout).

Option #3: Second Person (“You”) (250-500 words):

Write an “interior monologue” in which YOU (as a “fictional you” protagonist) directly address another person (antagonist), with whom your protagonist has a serious problem or issue. Speak as if the antagonist were standing in the room with your protagonist, but the antagonist isn’t allowed to answer back. YOU (as a “fictional you) will monopolize the conversation. For an example, see Girl,by Jamaica Kincaid. See also page 4 of the “Creative Writing–Writing Fiction” handout.

If you have an alternate idea that you would like to try out instead of the above options, please go ahead.

Don’t worry if none of these prompts inspire you.

Don’t worry if you don’t finish this piece today or ever; you might discover that this prompt, for you, is a “false start.” Writers should experience a lot of false starts.

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The Story Machine

Column A: Characters

1. Tour guide

2. Delivery person

3. Pediatrician

4. Police officer

5. Chef

6. Fund raiser

7. Local talk show host

8. Mayor of a small town

9. Airline pilot

10. Writer

11. Biologist or chemist

12. Clinical psychologist

13. Ditch digger

14. Fork lift driver

15. Janitor

16. Teacher

17. Petty crook

18. Professional gambler

19. Soldier

20. Graphic artist

Column B: Actions by Characters

1. Is being stalked by a stranger

2. Subdues an unruly passenger on a flight to Paris

3. Submits a sexy novel to a publisher

4. Hypnotizes an acquaintance at a party

5. Rescues an elderly person after an accident in her/his home

6. Observes a man and a woman engaged in a drug deal

7. Collects stuffed/plush animals and dolls

8. Enters a cherry pie in a local cooking contest

9. Participates in a demonstration for peace

10. Takes a tour group to the World Trade Center site

11. Near the Turkish Market, observes a young boy kicking a puppy.

12. Attends The Skopje Jazz Festival (or other local event) wearing a clown costume

13. Parachutes out of an airplane

14. Enters a dance contest

15. Tries to join Mensa (High I.Q. organization)

16. Moonlights as a Taxi driver

17. Steals $1,000 from his/her mother

18. As an animal hoarder, owns 55 dogs and 33 cats, but lives in a big city apartment

19. Attends Star Trek conventions at least six times a year, dresses up as a Ferangi.

20. Saves a child’s life

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"The Story Machine" has been adapted from What If? Writing Exercises for Fiction Writers. New York: HarperCollinsCollegePublishers, 1995. 134-135.
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Creative Writing--Books on Reserve at the Department Library

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I have placed the following books on reserve (Ss. Cyril and Methodius University of Skopje [Macedonia], Department of Philology):

Bernays, Anne and Pamela Painter. What If? Writing Exercises for Creative Writers

Hazuka, Tom, Denise Thomas, and James Thomas (Editors). Flash Fiction: 72 Very Short Stories

Jason, Philip K. and Allan B. Lefcowitz, Creative Writer's Handbook, 2nd Edition.

Masih, Tara. Field Guide to Writing Flash Fiction

Semple Siegel, Jennifer.Are You EVER Going to be Thin? (and other stories)

Tobias, Ronald. 20 Master Plots and How to Build Them

Whiteley, Carol. The Everything Creative Writing Book

You are NOT required to buy these books; they are for your use and reference, for now and in the future.

I will soon be adding additional reference books about creative writing to the general collection. When I do, I'll let you know.

Enjoy!
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