Week 15 Lab: Advice to Writers site

For my last story lab (and last assignment for this class!), I looked around Jon Winokur's Advice to Writers website! This site was very interesting and full of great tips and ideas.


My favorite thing I saw was a piece of advice from just a few days ago, on November 24th. A contributor named Stephen Sondheim had this to say:


"The last collaborator is your audience…when the audience comes in, it changes the temperature of what you’ve written. Things that seem to work well — work in a sense of carry the story forward and be integral to the piece — suddenly become a little less relevant or a little less functional or a little overlong or a little overweight or a little whatever. And so you start reshaping from an audience."


This advice struck me as a unique way to view the writing process as well as helpful advice. Considering one's audience is a crucial element of effective writing. Quality writing should affect the reader in some way. The reaction of the audience becomes part of the writing experience itself after you (as a writer) pen a finished product. Sondheim's idea of a "last collaborator" jumped out at me as an especially creative way to name this phenomenon. Ultimately, the best writers learn to adjust their work to the audience. This doesn't mean writing fluff to please an audience or letting potential readers guide your core ideas or style; it does, however, involve a consideration of how you can bet communicate your ideas and employ your style in a way that helps the audience rather than blurring your intended meaning. Writing can quickly become excessive and overly complicated. The best writers learn to resist this and focus on engaging their audience.


I've enjoyed this final story lab and this class in general! This will be my last post on this blog. I've gained a lot from making it, perhaps someone else will have gained something from reading it (at least my stories).

Looney Tunes, Warner Bros. Source: Wikimedia

Reading Notes: Inferno, Part B

More reading Notes for Week 15!

Bibliography: Notes are on the Dante's Inferno unit. Story source: Dante's Divine Comedy, translated by Tony Kline (2002).

Last reading notes ever for this class! Wow! I've enjoyed doing these. I'll be focusing on powerful, strong, and beautiful sentences/chunks of writing again for Part B.

Near the middle of the second part of the unit, I came across this sentence, as Dante enters the third ring (which represents those who were violent against God): "O God's vengeance, how what was shown to my sight should be feared, by all who read!"

This sentence is a great example of engaging a reader in the action by referencing them. This exclamatory sentence alerts the reader to pay attention to this ring of hell, as it is particularly to "be feared." A sentence like this often indicates a new section of a story and can excite readers.

Another great example of a strong sentence came in canto 14, where Dante says that "We came, in silence, to the place where a little stream gushes from the wood, the redness of which still makes me shudder."

This sentence is a beautiful description of the setting. Dante describes his approach to the location before discussing the location itself. Not only is a description of the color given, but also how the color makes Dante feel. This type of sentence is a compelling piece of writing to weave into the broader action of a plot. 

Another powerful sentence appears under the subheading "Ulysses's last voyage" towards the end of the unit. The author writes that the "greater horn of the ancient flame started to shake itself, murmuring like a flame struggling in the wind."

The vivid detail included in this sentence demands a reaction from its readers. The use of "murmuring" as a a metaphorical action verb is interesting and original, as Dante paints an intense image in the minds of readers. I hope to use powerful language like this in my stories.

In my own writing, I want to master the use of symbolism and imagery like Dante. This was a great unit to end the class readings on! Hopefully I'll have the opportunity to take notes like these in other classes, focusing on my favorite parts and analyzing what made them work so well.

Gustave Doré's illustration to Inferno, Plate LXV: Canto XXXI: The titans and giants.

Originally from 1857. Source: Wikimedia

Reading Notes: Inferno, Part A

Reading Notes for Week 15!

Bibliography: Notes are on the Dante's Inferno unit. Story source: Dante's Divine Comedy, translated by Tony Kline (2002).

Last week of reading notes, hard to believe! I'm going to focus on beautiful/strong sentences again this week.

Kline's translation of the famous beginning of Inferno starts like this: "In the middle of the journey of our life, I came to myself, in a dark wood, where the direct way was lost. It is a hard thing to speak of, how wild, harsh and impenetrable that wood was, so that thinking of it recreates the fear."

The idea of life being a journey is powerful. Dante finds himself in a "dark wood" without a clear direction of where to go. This resonates with me on a metaphorical level. The descriptive words in the second sentence ("wild, harsh, and impenetrable") give readers an idea of this intense setting. This is one of the most famous introductions to a tale in European literary history, and it's easy to see why with this powerful language and gripping imagery!

Another notable sentence also appears in "Canto 1: Dante and Virgil." Dante writes, "Then the fear that had settled in the lake of my heart through the night that I had spent so miserably became a little calmer."

Again, the imagery here is beautiful. This description of how fear feels to Dante is both relatable and captivating. This sentence helps readers sympathize with the protagonist even before he begins his journey through hell.

One additional standout sentence occurred in "Canto 3: The Gate of Hell," where Dante is now with his guide, Virgil: "And placing his hand on mine, with a calm expression that comforted me, he led me towards the hidden things."

Dante is understandably afraid of this hell, and Virgil proves to be a reassuring presence. Inferno is full of moving sentences that I hope to emulate in my own fiction! I have really enjoyed this week's readingsso far and am excited for part B.

Gustave Doré's illustration to Dante's Inferno. Plate VIII: Canto III.

Originally from 1857. Source: Wikimedia

Reading Notes: Ashliman, Part B

Bibliography: For this week I read the Ashliman version of Brothers Grimm unit. Story source: The Grimm Brothers' Children's and Household Tales translated by D. L. Ashliman (1998-2013).


One more round of notes this week, now for part B of the Grimm unit tales as translated by Ashliman.

I want to look at good starts to tales for these notes!

One beginning of a story that stuck out to me as effective was in the tale "The Little Lamb and the Little Fish." The story begins by saying: "Once upon a time were a little brother and a little sister who loved each other with all their hearts. Their own mother, however, was dead, and they had a stepmother who was not kind to them. She secretly did everything she could to hurt them." This start introdcues us to central characters and introduces the conflict that launches readers into the rest of the story. We are told about the mutual love between two sibilings, a source of pain in their mom dying, and the mean nature of their stepmother. This sets up the action of the plot very well.

Another example of a strong start to a story from this unit can be found in the story "Death's Messengers." This start has a very different feel from the last one that I analyzed: "In ancient times, a giant was wandering along the highway when suddenly a stranger jumped toward him and shouted, 'Stop! Not one step further!'" Although explanations and character introudctions can be helpful, another great way to begin a story is what we see here: jumping right into the action. We get introduced to the setting in a vague way ("In ancient times") that allows readers to create their own mental image of the scene. We then encounter an action word ("suddenly") and meet a "stranger." This start is fun and grabs attention in it's own way without a traditional set-up approach. The beginnings of these stories were unique and effective for differet reasons.

I enjoye the tales and stories in the Grimm unit! I hope to use some of these techniques for beginning stories, introducing characters, and jumping into the plot in my own story writing.

Painting of the Brothers Grimm from 1855 ("Deutsch: Doppelporträt der Brüder Jacob und Wilhelm 

Grimm/ Die Brüder Grimm") by Elisabeth Jerichau-Baumann. Source: Wikimedia

Reading Notes: Ashliman, Part A

Bibliography: For this week I read the Ashliman version of Brothers Grimm unit. Story source: The Grimm Brothers' Children's and Household Tales translated by D. L. Ashliman (1998-2013).

Another round of notes! I want to focus on strong/beautiful sentences again this week, my favorite type of story notes.

I enjoyed the story "The Seven Ravens." One sentence that stood out to me in that text was in the middle of the tale. After the man wishes that his sons would turn into Ravens, they do: "He had hardly spoken these words when he heard a whirring sound above his head and, looking up, he saw seven coal-black ravens flying up and away." This sentence conveys a tone of immediacy ("hardly spoken") and uses powerful descriptive language ("whirring sound" and "seven coal-black ravens"). Coming at a moment of intense rising action, this sentence launches the story into the conflict. In the context of this great tale, it certainly worked well. 

This unit also had a fantastic version of the famous Little Red Riding Hood story, called here "Little Red Cap." After the wolf has devoured the grandmother, Red finally arrives at the house. The author writes that "She walked into the parlor, and everything looked so strange that she thought, 'Oh, my God, why am I so afraid? I usually like it at grandmother's.'" The sense she has is such a great twist that often gets left out. She already can somehow tell by the environment that something is off, and this strangeness scares her. This sentence not only conveys her emotion, but sets up the next scene where Red encounters the Wolf disguised as her grandmother. Familiar stories can often become less exciting because we know what to expect. However, with vivid language and new ways of framing it,  new parts of stories can stand out to us. 

I enjoyed these European fairy tales/folk tales! I hope to incorporate some of this style of writing into my own folktales, especially creating powerful sentences to be placed at intense plot moments.

Little Red Riding Hood and the Wolf from "The Traditional Faëry Tales of Little Red Riding Hood, 

Beauty and the Beast, & Jack and the Beanstalk, 1845" Source: Wikimedia

Reading Notes: Alice in Wonderland, Part B

Bibliography: all notes from stories in the Alice in Wonderland unit. Story source: Alice's Adventures in Wonderland by Lewis Carroll (1865).

Another round of notes for this week! I want to look at setting.

In Chapter 7, "A Mad Tea-Party," Carroll sets the scene well: "There was a table set out under a tree in front of the house, and the March Hare and the Hatter were having tea at it: a Dormouse was sitting between them, fast asleep, and the other two were using it as a cushion, resting their elbows on it and talking over its head." In fiction writing, being able to get your readers to see the picture in your mind is crucial if you want to communicate the story in your head. Carroll is specific in laying out this scene, which helps his audience visualize the scenario in this creative world. He uses details like "resting their elbows on it" to set up his chapter in a solid way.

Carroll also provides a great beginning to the eight chapter, "The Queen's Croquet-Ground." He writes that "A large rose-tree stood near the entrance of the garden: the roses growing on it were white, but there were three gardeners at it, busily painting them red." Notice how he uses descriptors such as "large," "white," "three," and "red." These simple details help make everything feel more vivid as a reader. He also tells us the type of tree and includes an adverb to describe the manner in which the gardeners are painting. Especially when writing about a strange event or any scene that may be unfamiliar to your readers, these easy-to-grasp details can be extremely helpful in framing a scene.

Chapter 11 features a strong introduction as well: "The King and Queen of Hearts were seated on their throne when they arrived with a great crowd assembled about them — all sorts of little birds and beasts, as well as the whole pack of cards: the Knave was standing before them, in chains, with a soldier on each side to guard him, and near the King was the White Rabbit, with a trumpet in one hand and a scroll of parchment in the other." Carroll again employs specific details to construct the scene for readers. His use of adjectives in subtle but helpful ways is something I want to emulate in my own storytelling.

I enjoyed the readings from this unit!

Another of John Tenniel's original engravings from 

Alice in Wonderland, 1865. Source: Wikimedia

Reading Notes: Alice in Wonderland, Part A

Bibliography: all notes from stories in the Alice in Wonderland unit. Story source: Alice's Adventures in Wonderland by Lewis Carroll (1865).

Here are this week's reading notes, part A!

I want to focus on beautiful/strong/interesting sentences for this week, one of my favorite ways to take notes for this class. 

In the first chapter of the book, "Down the Rabbit-Hole" (which is familiar to most of us), Carroll describes Alice after following the rabbit into the rabbit-hole: "In another moment down went Alice after it, never once considering how in the world she was to get out again." I love the concept of going somewhere on an impulse without considering how you might return home. This sentence highlights the reckless spirit of adventure that can be so fun to be captured by. 

Later on in the story, after Alice has made it down the rabbit-hole, Carroll pens another great sentence: "For, you see, so many out-of-the-way things had happened lately that Alice had begun to think that very few things indeed were really impossible." This imaginative world has been building and building, increasing in creativity and extraordinary features as the story progresses. This is an acknowledgement of the wildness of this creative world, which seems to be without limits. I enjoyed this sentence, as it indicates what Alice (or any of us!) would be thinking after those experiences.

In chapter five, called "Advice from a Caterpillar," Carroll writes, "The Caterpillar and Alice looked at each other for some time in silence: at last the Caterpillar took the hookah out of its mouth and addressed her in a languid, sleepy voice." This sentence sets a vivid scene instantly. Carroll helps us imagine this otherworldly scene and uses powerful adjectives to describe the tone of the caterpillar's voice. This type of sentence can help immerse readers in the world of a highly imaginative tale.

Buried in a fast-paced scene in the "Pig and Pepper" chapter, Carroll uses the voice of the duchess character to make an interesting observation: "'If everybody minded their own business,' the Duchess said in a hoarse growl, 'the world would go round a deal faster than it does.'" It's always a clever trick as a writer to use unlikely, non-central characters to make universal commentary. This instance is effective and stands out as a well-placed and sharp sentence.

This week's reading has been so far! Carroll is a fantastic writer.

John Tenniel's original engraving of the rabbit from 

Alice in Wonderland, 1865. Source: Wikimedia

Week 12 Lab: Writers Write website

For my story lab this week, I looked around the Writers Write website. I thought this website was fun and had some excellent writing advice. Although the whole website was interesting and helpful, the section I enjoyed the most was an article called "The 3 Best Tips For Writing Dialogue." Dialogue can be difficult to craft in a way that sounds realistic and is engaging. I've struggled at times to create quality dialogue in my stories.

The first tip on this article is simply to "read." This is an undervalued component of writing solid dialogue. Seeing both good and bad dialogue in stories can help you as a writer decide what types of dialgoue you want to include in your stories. Imitating good dialogue style is very doable!

The next tip was to "listen." Reading lines to yourself out loud can be a good way to catch lines that don't make sense or sound strange. Ear tests are helpful in determining how realistic dialogue sounds. This is a practical tip that applies to all sorts of dialogue.

The final tip in the article is to "watch." The author says to "Watch the scene play out in your head.
Make the actions of your characters follow their words. In this movie both of the actors are just sitting or standing, delivering these lines."
This advice is really interesting. Generating a movie scene in your mind allows you to visualize what would be happening and fix anything that would be out of place. This can also help you focus on the individual characters and their possible emotions in order to write lines that best reflect your conception (as a writer) of your own characters.

This writing website was great, I definitely have enjoyed the story lab for this week. Hopefully these tips about writing effective dialogue will help me craft compelling lines of dialogue in my stories during the rest of this course!

Ballpoint pen being used to write. 

From author Ildar Sagdejev. Source: Wikimedia

Reading Notes: Celtic Fairy Tales, Part B

NOTES

Bibliography: Stories from the Celtic Fairy Tales (1) unit. Story source: Celtic Fairy Tales by Joseph Jacobs with illustrations by John D. Batten (1892).

Week 12 notes continued! Still reading the Celtic Fairy Tales unit.

One element that stood out among these tales was effective openers. The story "King O'Toole and His Goose" begins like this: "OCH, I thought all the world, far and near, had heerd o' King O'Toole — well, well, but the darkness of mankind is untellable!
Well, sir, you must know, as you didn't hear it afore, that there was a king, called King O'Toole who was a fine old king in the old ancient times, long ago, and it was he that owned the churches in the early days."

The reader is left with several questions instantly. Why is King O'Toole so dark? Did he did do evil deeds? How did he become so notorious? Why did he own the churches? Does this connect to his bad  reputation? A good opener often serves as an effective launching point to the tensions of a story. Readers are not only drawn in by good writing, but also by questions that might naturally arise from a quality opener.

Another good beginning to a story can be found in the short tale "Beth Gellert." This story begins with descriptions and introductions: "PRINCE LLEWELYN had a favourite greyhound named Gellert that had been given to him by his father-in-law, King John. He was as gentle as a lamb at home, but a lion in the chase." We have (briefly) met three characters in the first sentence: the prince, the king, and the pet. The second sentence then helps us realize how important this greyhound must be, as the author chooses to describe the pet before the human characters. The description of "gentle as a lamb at home, but a lion in the chase" creates powerful images in the minds of readers. It suggests that the dog is likable and sweet around the family, but quite capable of being fierce in the hunt. In a short opener, establishing a character like this can set the tone for the rest of the story.

I had a lot of fun reading the Celtic Fairy Tales unit! The authors did a great job with openers, and I hope to incorporate some of their style into my own tales.

This beautiful depiction of a greyhound

is from artist Alfred Dedreux, a French

painter who lived in the 19th century.

Source: Wikimedia

Reading Notes: Celtic Fairy Tales, Part A

NOTES

Bibliography: Stories from the Celtic Fairy Tales (1) unit. Story source: Celtic Fairy Tales by Joseph Jacobs with illustrations by John D. Batten (1892).

Week 12 notes! This week I am reading Celtic Fairy Tales.

One story I enjoyed was the "Field of Boliauns." In this tale, a man named Tom discovers a leprechaun. The little creature has with him a special kind of beer, which I thought was funny. Tom demands that the leprechaun show him to his gold. The leprechaun tricks Tom, and Tom leaves with no new riches. I enjoyed the pacing of this story and the lighthearted tone used by the author. It certainly made the tale fun to read. Lighthearted stories with magical elements make up some of the best folklore. I want to include more of this style of tone in my own writing going forward. 

Another interesting story in this unit was "The Shepherd of Myddvai." In this tale, a shepherd becomes enamored with a maiden from the sea. After passing a series of tests, she agrees to become his wife. However, she has a stipulation: she will leave him after three "blows" (which end up amounting to anything from light shoulder taps to rough touches). This eventually comes to pass, and the beautiful maiden returns to the lake. I found this tale interesting because of the strange agreement that the story is centered around. The man agreed to this deal, obviously not understanding what would constitute a "blow," simply because of his love for the maiden. She can be read as a cruel character with questionable motives. The tale was engaging, but left me with more questions than answers. Sometimes stories like this are very worthwhile though, as they challenge readers to make their own interpretations. Also, the aspect of trickery seems to be a recurring theme in some of these Celtic folktales and fairytales.

I enjoyed the first part of this unit and am excite to apply what I've seen to my own stories!

Ornamental Celtic knot design from a Wikimedia user: Source