“If someone tells you writing is easy, he is either lying or I hate him.” —Farley Mowat

Wednesday, November 28, 2018

Instagram Story



Every night at 5, George left his job at the technology park and headed to his car. He would walk across the parking lot to section C2 which was designated for employees in his tier. When he had started, back in the late 80’s, he had been division H. A lot had changed since then. Back then he was still living with his parents and borrowing his mom’s car to get to work. Now he drives a 2012 Lincoln, almost paid off, and owns a small home in Wolcott. A neighborhood just west of the city. He’s worked hard to forge a decent salary. He was never late and never left early. Rarely had he used all his vacation days. He didn’t really know what to do with them. There had been no girlfriends. A few dates with girls from work had only amounted to unreturned phone calls and awkward lunch breaks. George was alone. In fact he was lonely. His mother was worried about him. This irritated him. Last month while driving home from Latham, he’d pulled over at a diner off Route 90. He had to pee. He felt awkward just walking in and using the restroom and so he ordered a coffee and sat at a table by the window near his parked car. The waitress had been friendly. Her name tag read: Ashley. Ashley had strawberry blonde hair and freckles and made George awkward when she said ‘A big, strong man like you needs somethin’ more than coffee’. In fact George wasn’t a big strong man at all. He was self conscious of his small frame. Even his hands were small and he quickly put them under the table during this exchange. He ordered a grilled cheese and thought about how he’d be home late for the start of Jeopardy. He finished his sandwich in a hurry and blushed when the waitress asked his name and laid his check on the table. He’d studied her long fingers, tipped with bright red polish. He began to take his meals at the diner every night. Driving in the opposite direction of his home, and onto route 90. This cost him 45 cents in tolls in either direction. He’d keep exact change to quickly hand the woman in the booth.

One night, after a month or so, Ashley joked “the food here’s not that good George. You sweet on me sugar?” He’d turned the shade of her nails and she’d laughed “This one’s sweet on me Janice” she called over to her co-worker. Then the two of them laughed and so did a few costumers. George left 20 whole dollars on the table and slipped out when she’d gone in the kitchen. On his way home he stopped at the toll booth. He stayed stopped like that. Minutes began to tic by in the red glow of the stop light. The barrier arm remained down. The line of cars behind him began to honk. He’d run out of change. George takes his meals at home again now. On a tv table while sitting on the couch. In front of Jeopardy. He didn’t used to drink beer but now he does. And sometimes when he stands up and heads for the fridge and asks her if she wants a refill, she’ll raise her legs straight out, blocking the path between the couch and the coffee table and say, “That’ll be 45 cents please”.



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Aase Berg: In the Guinea Pig Cave

https://greenlanternpress.wordpress.com/tag/in-the-guinea-pig-cave/?fbclid=IwAR26M6td4SFaLK-xzLMN-2FMVVV71RASPYJHE0UDt04izmQ6bmdmzhXR78E

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Under the Surface

Sunday, November 25, 2018

Like a Pancake out of Hell, it was Silent as a Bull in a Haystack.


1. Update on due dates for portfolio

2. Christopher Dewdney: Dialectic Criminal (On the use of clichés)



Good as gold’ – connections between value and wealth
I was feeling good. It was like finding your favourite desert, the finest variety, in the yellow-stickered reduced section. 

‘As hard to find as a needle in a haystack’-- connections of difficulty in finding a minority in a majority

I couldn’t see it. It was as if I was lost and looking for my mother in a crowd where everyone wore the same cardigan and jeans. They all walked with the same concerned expression on their faces, yet none of them are ever her.

‘Flat as a pancake’ – connection with flatness
It was as flat as freshly wet sand. There is the impression that there were once sculptures there, before the tide. But now there is nothing. Just the sand.

‘Hard as nails’ – connection with solidness, toughness and immovability
He stared me down and did not move. It was as if he had become a brick wall, and with every word I spoke he became two times thicker and twice the height. There was no getting past him.

‘Faster than a bat out of hell’ – connection with recklessness and speed
He ran. He darted down alleyways like street mice run through gutters and drains, dodging raindrops as they go.

‘Meek as a lamb’ – connections with being gentle, docile and innocent
She sat trying to look innocent. She thought only of a single goldfish in its bowl, swimming meekly in circles, quietly and unsuspicious.

‘Charging around like a bull in a china shop’ – connection with clumsiness
Like a sightless sheepdog, confused in the dark, the boy ran onto the playground falling into the other children around him.

‘Silent as the grave’ – connection with unnerving noises
The room was quiet. It was as if every worker had been silenced by a bad punch-line, all of them too ashamed to acknowledge that the joke had ever been told.

(see https://ashhartridgeonline.wordpress.com/2013/09/08/writing-exercise-10-rewriting-cliches/)

INTERESTING COMPARISONS


She had a smile like a broken deckchair.
He had the personality of the common cold.
 He danced like a lawnmower.
It was quiet as stone.


Time has not stood still. It has washed over me, washed me away, as if I’m nothing more than a woman of sand, left by a careless child too near the water. — The Handmaid’s Tale, Margaret Atwood 
She was the third beer. Not the first one, which the throat receives with almost tearful gratitude; nor the second, that confirms and extends the pleasure of the first. But the third, the one you drink because it’s there, because it can’t hurt, and because what difference does it make? — Song of Solomon, Toni Morrison 
She herself is a haunted house. She does not possess herself; her ancestors sometimes come and peer out of the windows of her eyes and that is very frightening. ― The Bloody Chamber and Other Stories, Angela Carter 

 3. Dialogue conventions:
https://firstmanuscript.com/format-dialogue/


4. STORY IN A BAG (part 1)
https://www.dropbox.com/s/68ww3ktz4328k9w/short%20story%20in%20a%20bag.key?dl=0


Tuesday, November 20, 2018

Time, the afterlife, the future, spooneristic spacetime manipulation

bpNichol: Fictive Funnies











Spacetime Trousers



1. Sheila Heti: "My Life is a Joke."





2. David Byrne: In the Future

Writing: Write "In the future..." piece after Byrne.




3. Steve Venright: Manta Ray Jack and the Crew of Spooner

How does the structure of this text (i.e. spoonerisms) subvert the linear flow of the narrative, insisting that time (and reading) cannot proceed in a straightforward line? How this also affect the construction of meaning?








Monday, November 19, 2018

Calvino: Cities and Memory 1 & 2


Cities and Memory 1.


Leaving there and proceeding for three days toward the east, you reach Diomira, a city with sixty silver domes, bronze statues of all the gods, streets paved with lead, a crystal theater, a golden cock that crows every morning on a tower. All these beauties will already be familiar to the visitor, who has seen them also in other cities. But the special quality of this city for the man who arrives there on a September evening, when the days are growing shorter and the multicolored lamps are lighted all at once at the doors of the food stalls and from a terrace a woman's voice cries ooh!, is that he feels envy toward those who now believe they have once before lived an evening identical to this and who think they were happy, that time.






Cities and Memory 2.


When a man rides a long time through wild regions he feels the desire for a city. Finally he comes to Isidora, a city where the buildings have spiral staircases encrusted with spiral seashells, where perfect telescopes and violins are made, where the foreigner hesitating between two women always encounters a third, where cockfights degenerate into bloody brawls among the bettors. He was thinking of all these things when he desired a city. Isidora, therefore, is the city of his dreams: with one difference. The dreamed-of city contained him as a young man; he arrives at Isidora in his old age. In the square there is the wall where the old men sit and watch the young go by; he is seated in a row with them. Desires are already memories.

Revision



 In the terrible years of the Yezhov terror, I spent seventeen months in the prison lines of Leningrad. Once, someone "recognized" me. Then a woman with bluish lips standing behind me, who, of course, had never heard me called by name before, woke up from the stupor to which everyone had succumbed and whispered in my ear (everyone spoke in whispers there):
"Can you describe this?"
And I answered: "Yes, I can."
Then something that looked like a smile passed over what had once been her face.

Anna Akhmatova


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Steve Venright:  Manta Ray Jack and the Crew of Spooner


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Editing/Revising

First draft: It was one of those nights when you could see shadows dance across the lawn. I was sitting on my front porch with Chuck and Buck, two of my best friends, and we watched as the light traced patterns on insect flights.
Edited draft: Shadows crept across the lawn in the moonlight. My two best friends, Chuck and Buck, helped me watch the light trace patterns on insect flights.


START LATER AND EARLIER
Ending before the resolution is often really effective— bring the reader up to the point where the momentous thing is about to happen and then cut away. This leaves them actively involved in the story, wondering what might occur. The open-endedness keeps the ending energetic and active.

-Beginning further into the action
More active: the reader is plunged into the story, has to orient themselves. Is more engaging and active. Details can be revealed later.

“Try to leave out the parts that readers tend to skip.” —Elmore Leonard.

MURDEROUSLY KILL AND ALSO FATALLY ELIMINATE LIKE A VERBOCIDAL ASSASIN METAPHORS, SIMILES, ADVERBS AND ADJECTIVES

Can you eliminate metaphors, similes, adverbs and adjectives which are unnecessary or redundant and also not important or effective?

Kill unnecessary metaphors, similes, adverbs and adjectives. Kill them. Now.

STAGE DIRECTIONS

She reached out her arm to open the door.
Okay, unless she has mind powers and telekinesis, do we need the direction?
He turned to go down the next street.
He picked up the oars and pulled a few more strokes, eager to get to his favorite fishing spot.
We “get” he’d have to pick up the oars to row his boat, or that is a seriously cool trick.
Be active. Characters can “brush hair out of their face” “open doors” and even slap people without you telling us they reached out an arm or hand to do this. We are smart. Really.


BACKING INTO THE SENTENCE/PASSIVE VOICE
In an effort to break up and vary sentence structure, many writers will craft sentences like this:

With the months of stress pressing down on her head, Jessie started ironing the restaurant tablecloths with a fury.

Problem? Passive action. When we use the word “down” then “on” is redundant. Either she is ironing or not ironing. “Started” is overused and makes sloppy writing. That actually goes back to the whole “stage direction” thing.
Active:
Jessie ironed the restaurant tablecloths with a fury, months of stress pressing on her shoulders.
The door was kicked in by the police.
Police kicked in the door.
If you go through your pages and see WAS clusters? That’s a HUGE hint that passive voice has infected your story.

“ALMOST ALWAYS USE ‘SAID’ AS A TAG, HE SPAT EXPECTORANTLY.

“You are such a jerk,” she laughed.
A character can’t “laugh” something. They can’t “snip” “spit” “snarl” “grouse” words. They can SAY and ever so often they can ASK. Said becomes white noise. Readers don’t “see” it. It keeps them in the story and cooking along. If we want to add things like laughing, griping, complaining, then fine. It just shouldn’t be the tag.

“You are such a jerk.” She laughed as she flicked brownie batter onto Fabio’s white shirt.
______
Some of this borrowed from: https://authorkristenlamb.com/2016/05/six-ways-to-self-edit-polish-your-prose/


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Read: "My Life is a Joke," by Shelia Heti. (Posted in "Content" on Avenue.) There's the text but also an audio version.



Tuesday, November 13, 2018

GETTING TENSE ABOUT TENSE







100 Years of Solitude by Gabriel Garcia Marquez


GETTING TENSE ABOUT TENSE



Is he right?
Is present tense actually cinematic?
How can you handle memory and future thought in the present tense. 

Read 100 Years of Solitude: beginning. Note: “Many years later, as he was to face the firing squad he would remember…”

A. Write eight I will remembers, beginning:
“When I was 87, I remembered….”


B. 1. Write in present tense
-protagonist is doing something
-they remember some time from the past when they thought of what they were going to do in the future (or what was going to happen.)
-now in the present they do something else and think about what they are going to do. 
-the narrator remarks on what things are always happening, and are still happening, and will continue to happen.


Then take your neighbour’s present tense story and:

2. Then change it into future tense. The protagonist will be doing that something.

     Then pass it along to the next person:

3. Then change it into past tense.






Sunday, November 11, 2018

Time

Clock: https://www.youtube.com/watch?v=hnm8PVx3HYw

Christian Marclay, The Clock




Time

How do we conceive of time?
How does it operate?
Can we live in more than one time at once?
(thinking about Remembrance Day: imagining the men in the trenches 100 years ago, thinking about the men and women after that, and the situation now, and then imagining the soldiers of the future.)

-recounting past event: I went to the store. It was the best of times. It was the worst of times.
(every photograph is of a past event)


-memory, flashback, nostalgia,
-rewriting the past,
-forgetting, remembering a memory and not the event itself

-awareness of what will happen
-prophesy, prediction
-deja vu.
-deja vu all over again . (i.e. everything seemed like it has happened before and keeps happening)

-imagining, fantasizing,

-mythical past, a kind of past out of time
"Once upon a time'

-dream states

-drama changing how time flows:
"my whole life flashed before me." "time stopped."
--or boredom changing how it flowed: "It was so boring, it seemed time slowed down."
"so exciting everything passed by in a flash."

-conditional future: what might happen, what should.

-recounting events backwards, following the causal chain. (detective?)


https://fiftywordstories.com/tag/palindrome/:

Stories written backwards really are nonsense. Unpublishable as discarded tales collecting dust. Misunderstood. Why are words tricky? How one shows irony of knowing without knowledge.
Knowledge, without knowing of irony, shows one how tricky words are. Why? Misunderstood, dust collecting tales discarded as unpublishable nonsense, are really backwards written stories.
*

Palindrome story: http://spinelessbooks.com/2002/palindrome/

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EINSTEIN'S DREAMS by Alan Lightman


1. Write a prose piece embodying how time moves in some noticeably different way.
2. Write a contrasting piece where time moves in a noticeable different way that the one you just wrote.

Sunday, November 4, 2018

Experimental Fiction techniques


Image result for bpnichol comic



Experimental Writing 


What is reality?
How is agreed upon?
—cf. superstition, miracles, quantum physics, etc.
How do we represent it? 

Experimental vs. the conventional ways of representing reality and its structures and hierarchies?

What is “fiction”?
How does it work?
What is “reading”?
How is “data” different than fiction?
What if you concentrate on only one element: form, lexicon, etc.
How you can interrogate a text to examine its (and our) assumptions about something?
How can it show how we think? feel? what consciousness is like? 

What a single moment is like? A single human?
How meaning works, how language works?
How does fiction organize experience? reality? the human and non-human?
Whose reality? And how did this fiction get to us? 
Who made it? How? 
Who else is included or excluded from it?


What happens when you throw a spanner in the works?
How can highlighting one element reveal something significant?
What happens when things don't work the "normal way" in fiction"? 
What's revealed?


Andy Warhol: 24 hours of recorded speech
Kenny Goldsmith: everything he did for 24 hours.



Erasure:
Beaulieu: sounds of NY, but also who did the work?
https://www.jean-boite.fr/product/a-a-novel-by-derek-beaulieu

Heart of Darkness: erasing everything but the landscape.


Procedure—Animal Farm in Pig Latin. 
https://issuu.com/ourteeth/docs/animalway_armfay/6

Moby Dick in emojis

Extremes: entire book in 1 second.


Activities.

enter text.


Translations
-translate into several very different languages and then back to English.


Find and replace— with Word processor
-take text. replace all adjectives with “blue” (or another adjective) 
all nouns with “owl” (or another adjective.)


Constraint: lipograms

one syllable words only. Or Christian Bök: Eunoia words





Writing is inhibiting. Sighing, I sit, scribbling in ink
this pidgin script. I sing with nihilistic witticism,
disciplining signs with trifling gimmicks — impish
hijinks which highlight stick sigils. Isn’t it glib?
Isn’t it chic? I fit childish insights within rigid limits,
writing shtick which might instill priggish misgiv-
ings in critics blind with hindsight. I dismiss nit-
picking criticism which flirts with philistinism. I
bitch; I kibitz — griping whilst criticizing dimwits,
sniping whilst indicting nitwits, dismissing simplis-
tic thinking, in which philippic wit is still illicit.

Pilgrims, digging in shifts, dig till midnight in mining
pits, chipping flint with picks, drilling schist with drills,
striking it rich mining zinc. Irish firms, hiring micks
whilst firing Brits, bring in smiths with mining skills:
kilnwrights grilling brick in brickkilns, millwrights
grinding grist in gristmills. Irish tinsmiths, fiddling
with widgits, fix this rig, driving its drills which spin
whirring drillbits. I pitch in, fixing things. I rig this
winch with its wiring; I fit this drill with its piping. I
dig this ditch, filling bins with dirt, piling it high, sift-
ing it, till I find bright prisms twinkling with glitz.

*

Time Moving Backwards

“It was a movie about American bombers in World War II and the gallant men who flew them. Seen backwards by Billy, the story went like this: American planes, full of holes and wounded men and corpses took off backwards from an airfield in England. Over France, a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen. They did the same for wrecked American bombers on the ground, and those planes flew up backwards to join the formation.

The formation flew backwards over a German city that was in flames. The bombers opened their bomb bay doors, exerted a miraculous magnetism which shrunk the fires, gathered them into cylindrical steel containers , and lifted the containers into the bellies of the planes. The containers were stored neatly in racks. The Germans below had miraculous devices of their own, which were long steel tubes. They used them to suck more fragments from the crewmen and planes. But there were still a few wounded Americans though and some of the bombers were in bad repair. Over France though, German fighters came up again, made everything and everybody as good as new.

When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating night and day, dismantling the cylinders, separating the dangerous contents into minerals. Touchingly, it was mainly women who did this work. The minerals were then shipped to specialists in remote areas. It was their business to put them into the ground, to hide them cleverly, so they would never hurt anybody ever again.”



― Kurt Vonnegut, Slaughterhouse-Five