10 May, 2012

"Always"


This blog post, you may have noticed, is called "Always." I do not "Always" blog about really sad sucky occurrences but today I am. :(
A month or so ago, I submitted a story to Trove. Trove is a university Creative Writing Journal. It's pretty great. You can (and should) read it here: http://www.trove.arts.uwa.edu.au/
Today I got an email from Trove submissions, in which they shattered my fragile ego (and my heart) into tiny pieces. I'm kidding (mostly). But yeah, they rejected my story submission.
I'm not surprised, for a number of reasons. First and foremost, the story that I submitted is about Robot Unicorn Attack. So... but also I rushed the editing etc. so I guess it's not really that good.
Nevertheless, I promised to post the story here on my blog, so today you guys finally get to read it.
Would you have published it? Let me know in the comments or whatevs?
Enjoy! ♥Nancy♬
"Always" - Nancy Elizabeth White, 2012
Gwed stood calmly in his stall. He heard the other horses snorting in fright, but he stayed quiet. Just yesterday they’d seen a horse - just a normal horse - dragged kicking and screaming out of its musty stall and out of the barn doors. He was not sure why they took away the horses like that. Sometimes they were nags but he’d seen a fresh young colt dragged away once. It broke his heart to think about it. Gwed knew that he had never felt as sad as he did in here, in this barn. But at least he was safe: he was special. A slice of purple-tinged light came through the barn door. The sound of footsteps on grass preceded the appearance of two humans in the doorway. One was wearing a fancy suit and dark glasses; the other wore a white coat and carried a clipboard. As they walked by his stall, Gwed heard the low murmur of human voices float up to his sensitive ears.
 “Another horse dead after only one trial? This is simply unacceptable,” said the one in the suit. Gwed didn’t speak human but he could still hear their voices.
 “We’ll get it right. The serum should work. When it does, we can carry about the procedure on the beast,” the one in the white coat spoke next. The suited human was silent until the white coat one spoke again. “Well, I suppose it doesn’t matter what we call it. It’s never going to get any manlier! Ha...! Ha...”
 “Put it this way,” said the one in the suit, “if this last horse doesn’t perform, we’ll bring in the Percheron and the - what did you call it? - the beast. And then we’ll see some action.”
Gwed tried to look elegant as he stood in his stall. He was sure that the humans were talking about him and he wanted to look worthy of their attention. A nagging voice in the back of his head told him to keep a low profile, that he wouldn’t want to be chosen for this test... but Gwed often ignored the voice in the back of his head, so that was no hardship.
His heart skipped a beat when the two humans stopped outside the stall next to his. He knew the stallion who was kept there, they were friends. And he had hoped, hoped desperately, that perhaps they could be more than friends. Not that he’d really had a chance - who had time for love in a place like this?
Gwed’s heart broke all over again as he heard the screams of his beautiful friend. When they had first brought in Apache Sunrise he’d been fit and strong. Now, he barely even had the strength to struggle. The two humans managed to subdue him and before long he was being dragged out of the barn. The barn door slammed, and the only sound that remained were the echoes of the stallion’s screams. Gwed almost cried.

Two weeks ago, Gwed had been racing through the purple cliffs near his home. He had been wild and free and had loved every moment of his life. Now, in a tiny barn, he struggled to remember the feeling of his pure white mane and tail streaming behind him as he jumped and dashed. He hadn’t even known that the government research facility - which was where he was - had been there amongst the purple cliffs. That was until he’d bumped into their unique weapon, a huge five-pointed explosive, and woken up in the barn with only horses for company.

It was hours before the remaining horses calmed down. Gwed smiled; he was so fortunate, to be so special. He never had to cower and scream and worry the way the horses did. No one would dare to harm him, after all.
A mare said, “is everyone okay?”
 “I’m a little sad,” said Gwed. He spoke horse with a strong accent.
 “We’re all sad, Gwed,” said Pierre Courir, the dapple-grey Percheron stallion with a thick French-horse accent. “Apache Sunrise was a fine stallion.”
 “I liked him,” Gwed said. He heard a nearby stallion snort and felt Pierre Courir’s mysterious gaze on his back.
 “If only we could get out of here, non?” asked Pierre Courir.
 “Don’t get your hopes up, love,” the mare said.
 “Perhaps they will let us out tomorrow?” Gwed suggested.
The mare said, “don’t you get your hopes up either.”
Gwed felt a little awkward. He knew that he was safe here, even though he’d been locked in this smelly barn with all these horses. Horses were such inferior creatures! And yet... Gwed wasn’t quite sure what to think. A part of him, deep down inside, had actually started to care for the horses. He realised that maybe he wasn’t so different from them. After all, they were all locked up together. And he’d had a real connection with Apache Sunrise, one that he hadn’t felt for any other creature in too long a time.
 “Gwed,” whispered Pierre Courir. His French-horse accent was loud in the silent barn.
 “Pierre Courir?” Gwed said. He liked the way the Percheron’s name rolled off his tongue. Apparently French-horse was a little easier to speak than normal horse. Although of course he would have preferred his native tongue, it was just so much more... magical than the crude language of mere horses.
 “Yourself and Apache Sunrise were... close, non?”
 “Yes, we were.” Gwed closed his eyes and continued to talk. “He was taken from me all too soon.”
 “I do not think that I will be taken so soon,” Pierre Courir said, softly. “I think it will be the mare first, and then the other stallion. And then me and perhaps one day you too, Gwed. But I will be here with you for a while, oui?”
 “I hope so,” Gwed said, and raised his head to look over the wall of his stall. And there was Pierre Courir, staring right into his eyes. Pierre Courir had big brown eyes, so much bigger and browner than Apache Sunrise’s eyes. Gwed realised that what he had felt for Apache Sunrise had been nothing more than a foal’s love.
 “Good night, mon cher.” Pierre Courir said. He lowered his head and turned away.
Gwed felt his breath catch in his throat. Perhaps these days locked away wouldn’t be so bad after all. And he knew how special he was - he would surely be rescued soon.

Morning came, and musty light filtered through the barn roof to wake the horses, and Gwed.
 “Think we’ll get fed today?” the mare asked.
The other stallion said, “Gwed will.”
 “Of course I will,” Gwed said. He was confused. He was fed every day. These humans wouldn’t dare deprive him!
 “Gay freak,” muttered the stallion.
 “Homophobe,” muttered Pierre Courir.
 “Don’t even start,” said the mare, “we all need our energy for whatever is coming today.”
Outside, birds began to squawk as the light brightened. The horses fell silent, shuffling their feet or trembling in fear. At one point there had been nearly ten horses in this barn. Now there were only four.
 “What is that noise?” asked Pierre Courir, suddenly. They all strained their ears to hear what he heard.
Everything that happened next seemed to happen all at once, in a flurry of activity. The doors of the barn burst open, wider than the horses had ever seen them. They admitted a stream of purple sunlight so bright that the three horses had to close their eyes and turn against the light. Gwed squinted to see what was coming. The human in the fancy suit was back, wearing dark sunglasses and a permanent scowl. He strode through the barn, followed by a gaggle of humans in two groups: those in overalls and those in white coats. They stopped in unison in front of the first occupied stall: it belonged to the other stallion.
Suit man said, “glue factory. This one will never be strong enough.”
Two of the overalled humans opened the stall and dragged the stallion out of the barn. The suited man and his companions ignored the screams of the terrified horses and walked to the next occupied stall, that of the remaining mare.
 “No!” she cried, desperately backing up against the far wall of her stall.
 “This one too. Tests with mares have been inconclusive.”
She screamed the entire way down the barn. Gwed snorted in fear and knew that the whites of his eyes were showing again.
 “Do not be afraid, mon cher,” cried Pierre Courir to Gwed, “I am still here for you!”
But Pierre Courir’s stall was next in line. The suited man paused outside his stall for a long time, seemingly undisturbed by the fact that the stallion in question was panicking.
 “Take this one to the lab. He may just be the horse we needed to prove that the serum will work as expected.”
 “No!” cried Gwed, as a set of humans in white coats opened Pierre Courir’s stall.
 “Gwed!” cried Pierre Courir. He reared up in fear, trying as hard as he could to avoid the hands and ropes and electric prods that the humans were using to capture him.
As they dragged Pierre Courir down the length of the barn, the man in the fancy suit stopped outside Gwed’s stall. Gwed reared up, screaming in rage. How dare they take away Pierre Courir!
 “Watch out!” said one of the white-coated humans, and they all stepped back. Gwed felt a surge of pride and victory. The horses could only kick or rear or nip or bite. He had an inbuilt weapon!
 “Tranquillise him.” The suit man turned away, pausing only to call back, “I want him in the lab within an hour, conscious or not.”
Gwed rushed at the stall door, head down. He hit the wood with a crash, splintering it, then wrenched himself back so he lift his head to see.
 “Pierre Courir!” he screamed, as his friend was dragged out the barn doors, growing limper by the second.
He felt a sharp prick in his shoulder.
 “Pierre Courir!” he screamed again. “Pierrrrrr Courrrrr...” Gwed found that he couldn’t prevent his voice from slurring. “What’ssssss haaaaaappening to me?” he screeched in utter terror.
As everything went black he thought he heard human voices. “Keep his head tied down. We don’t want him brandishing that horn as soon as he wakes up.”
 “The treatment had better work on the other stallion.”
 “Can’t waste our only unicorn...”
And then the blackness was joined by silence.

Pierre Courir woke first. If he understood human speech, it would have been clear that he had been given a normal horse tranquilliser and was recovering as expected.
Pierre Courir ached with sadness. “Gwed,” he whispered, “je t’aime. Toujours, je veux etre avec toi.

Gwed awoke with aches in body parts he wasn’t even sure were really his own. Worst of all was the aching in his heart, for poor Pierre Courir. He wasn’t worried about his own safety, of course. He was special; they wouldn’t dare hurt him. But Pierre Courir... he was merely a horse!
 “Pierre Courir!” he cried.
Human voices said, “he’s awake” and “check his vitals.” But Gwed didn’t understand human speak. He heard their brash tones and struggled widely against the bonds that held him to...
 “This is an outrage!” he screamed, but the humans didn’t seem to respond.
Gwed’s vision slowly cleared. He was in some sort of white room, on a metal table. It wasn’t the barn. It wasn’t the meadow or the purple cliffs of his homeland. It was a human paradise: clean and clinical and entirely alien; it was a unicorn’s nightmare.
 “Watch that horn,” said a human, as Gwed thrashed under his bonds. Although he couldn’t understand human speech, Gwed knew exactly what the human was trying to say. He thrashed more, trying to scratch someone, anyone, with his horn. He knew the magical properties that it had and was eager to inflict some unexpected consequences on a human! They stepped out of range and proceeded to have a conversation while Gwed flailed futilely.
 “This is ridiculous, we’ll just have to carry on with the data we already have.”
 “But we have no results from the other stallion yet.”
 “Is he ready yet?”
 “Not yet, we’re running low on the serum so we’ll need another horn sample. Hurry it up!”
 “Secure the specimen-”
 “-Unicorn,” a different human interrupted.
 “Just do it.”
Gwed heard the tone in the last speakers voice and felt his whole body tense. It was so final. For the first time in this horrible ordeal, he felt worried. He had always been proud of his optimism. Even in the direst situation, not that a unicorn faced many of those, Gwed had remained calm and happy. So happy. But now, tied to a metal table, separated from Pierre Courir who, he was pretty sure, was the love of his life... Gwed did not feel happy.
 “I just want to live in harmony,” he moaned.
He felt more ropes slither across his body, dragged by these awful humans. He didn’t struggle. He didn’t struggle when a needle pricked him and stole his silvery blood. He didn’t struggle as they scraped his horn with a diamond blade, collecting unicorn horn-flakes in a sterile jar. When another needle pricked his skin, he found that he couldn’t have struggled even if he’d wanted to. The world went black.

Pierre Courir felt groggy and tired, but those feelings were secondary to the intense torture his body was currently under.
 “What’s happening to me?” he cried out. It was as if nobody heard him.
A team of white-coated humans crowded around the Percheron.
 “Heart rate is high, as expected,” one reported.
Pierre Courir could not, of course, understand what the scientist had said, but he knew that it wasn’t words of comfort. He thought about struggling against the bonds that kept him pinned to the cold metal table, but each twitch of a nerve was pure agony.
 “Neural activity normal,” another human said.
 “Serum administered and absorbed: begin preparation for trial one,” said another.
Pierre Courir saw the room spin as the metal table upon which he lay was moved. He cried out in shock as his bonds were tightened. He found himself unable to lift his head from the cold table.
 “Horse status: alive.”
 “Gwed!” he cried out. He latched onto a dim hope: Gwed was special, maybe even special enough that he could rescue him from whatever was going on here.
 “Prepare the mini-star explosive.”
 “Three. Two. One.”
In the split second before pain completely overwhelmed him, Pierre Courir heard a loud bang.

Gwed found himself slipping into consciousness again, grasping onto human voices as if those sounds might pull him from the dark.
 “Trial one is complete. The results are due to arrive in an hour.”
 “They’re moving quickly.”
 “The boss is pushing. He wants the procedure done on the unicorn as soon as possible.”
 “What is he hoping to achieve?”
 “New weaponry- woah! There’s a spike in the heart-rate, sedate him again, quick!”
Gwed didn’t feel the needle slide in. He barely felt himself slide back out of consciousness.

Pierre Courir still felt groggy and tired, but again he was preoccupied by the intense torture his body was currently under.
 “Why am I still here?” he cried out. But of course, there was no reaction: again, it was as if nobody had heard him.
A team of white-coated humans crowded around the Percheron.
 “Heart rate is within a normal range. Higher than last time,” one reported.
Pierre Courir knew that those were not words of comfort. He took a breath and gathered all of his strength to try to wrench himself from the cold metal table. Even the thought of that much movement was pure agony.
 “Neural activity is stable, but unusual,” another human said, “have a look at this chart.”
 “Not a problem, we expected that. The unicorn is likely to react differently, according to the analysis on the horn. Begin preparation for trial two.”
Pierre Courir felt movement around him as the metal table upon which he lay was moved. He cried out in shock as his bonds were tightened. He found himself unable to lift his head from the cold surface.
 “Serum re-administered. Horse status: alive.”
 “Gwed!” he cried out. He latched onto a dim hope: maybe Gwed would rescue him from what was happening here.
 “Prepare the mini-star explosive.”
 “Three. Two. One.”
In the split second before pain completely overwhelmed him, Pierre Courir heard a loud bang.

Pierre Courir awoke once more, feeling groggy and tired. Through a haze of intense pain, he wondered if he could escape.
A team of white-coated humans crowded around him.
 “Heart rate is normal,” one reported. “The horse seems much calmer this time.”
Pierre Courir ignored the human voices and concentrated. He was about to enact an escape plan. He was in pure agony, but somehow he felt strong.
 “Hmm, look at this.”
 “Re-administer the serum and prepare to record all results.”
Pierre Courir barely felt the needle prick his skin, but he definitely felt the result! A tingling feeling rushed through his body, making him shiver under his bonds. He felt strong and powerful and special. He felt as though he could fly, or dance through the air, or jump as high as a rainbow. The pain was gone.
 “Get the print out. Good, results are as expected. Unicorn horn serum one hundred per cent absorbed. Prepare for the final trial.”
Pierre Courir felt movement around him as the metal table upon which he lay was moved. He stayed calm as his bonds were tightened, secretly confident that he could escape. In just a moment he would leap into action, leave this place and find Gwed.
 “Horse status: alive.”
 “I’m coming, Gwed!” Pierre Courir whinnied.
 “Prepare the mini-star.”
 “Three. Two. One.”
Pierre Courir heard a loud bang.
 “Horse status: dead.”

“It’s time. Carry out the procedure on the unicorn.”

Gwed jerked awake. As he struggled to raise his head from the metal table, he heard the creaking and groaning of metal plates, felt the slide of oiled metal inside his neck and quickly realised that something wasn’t right. He thrashed wildly and heard the sound of metal grating as he moved his legs.
 “What is this?” he cried, and then his eyes rolled in fear as he heard the metallic timbre in his voice.
He swished his tail agitatedly and felt it tingle. That’s when he noticed that he could, in fact, see his forelock. It had grown long while he’d been kept captive - usually he kept it perfectly groomed. And usually it was white. But now it tingled and pulsed in rainbow colours.
 “My hair!” Gwed shrieked!
The shock of seeing what had happened to his beautiful mane and tail hit him deeply. But all that faded when his eyes focussed enough to see what had been done to his body. His fine hairs were gone, his once pure-white skin was no longer... well, it was no longer even skin. Gwed stared in horror at the metal plates that now made up his legs.
 “Vitals are normal, brain activity as expected,” said a scientist.
Gwed slowly started to focus on the room around him. It was sterile in white and silver, and he was still tied down to the metal table. Next to him, there was another metal table.
At first, Gwed could barely make out the shape of the creature that lay on the operating table beside him. Something about it tugged on his heartstrings and he stared and stared. The details slowly crystallised. It was a horse. He liked horses; they were almost as lovely as unicorns like himself. Not as special, of course, but this one was holding his attention. It was a Percheron, he realised. Such a majestic creature, the Percheron. They usually spoke horse-French; it was such a sexy dialect. He even knew this Percheron’s name, what was it...
 “Pierre Courir,” whispered Gwed, and finally woke up.
 “There’s a spike in heart rate and neural activity, can we sedate him?” said a scientist.
 “The plates are going to make that difficult,” said another.
 “Pierre Courir,” screamed Gwed, trying to wish his lover into life again. But Pierre Courir didn’t stir, and Gwed felt something deep and primal snap inside him.
He strained against his bonds and made up his mind to take the last available course of action.
He took a deep breath. He felt his metal organs pumping away inside his new metal body. His mane and tail tingled as rainbow colours washed through the fibre optic hairs.
 “Pierre Courir,” he said, in the ancient language of the unicorns.
And then he dashed.

At the peak of a unicorn’s health and life, its dash can crash through small trees, through soft rocks, through human constructions with wooden walls and fabric banners. But when a robot unicorn attacks, with its powerful dash, that is a very different thing.

When Gwed dashed, he broke through the bonds that held him to the operating table. He dashed through the walls of the high security government science facility that housed him. He burst out into a new world, a place tinted with purple and full of fear and danger.
All the while he was spurred on by one thought, “Pierre Courir.”

Of course, the science facility weren’t going to let their unicorn go that easily. Although Gwed seemed to be unstoppable, they managed to contain him in a maze. They set up five-pointed explosives in the hopes of defeating the robot unicorn that they had created. Still, Gwed had three lives to use - three chances to wish and wish again for his beloved Pierre Courir to return.

And maybe one day, if Gwed runs fast enough and far enough, he will get his revenge and be reunited with Pierre Courir when, eventually, he runs out of wishes.

Acknowledgement: this story was inspired by Adult Swim TM’s computer game “Robot Unicorn Attack.”

21 April, 2012

A Story About a Prince or Something


Soooooooooo... I maybe failed at my New Year's Resolution. Did I tell you about that resolution, devoted blog-readers who will remember these things? Well, maybe. Anyway, the resolution was to blog at least twice a month.
How many times did I blog during March? Yeah, none. FAIL.
But anyway, I figure if I just keep on keeping on then maybe people will still love me even though I'm a massive failure at New Year's Resolutions? (Please love me :3 )
So here, I am, sharing some substandard writing with you, just like always!
I wrote this one during work. I challenged my student to write a page-long story in 15 minutes. He didn't do very well. Maybe because I told him that he had to include a train in the story, so that was a bit tricky.
So... read this:
Once upon a time, a prince sat in a train as it rushed along the tracks on its way to the castle. It was an old train, with a steam engine and a high-pitched whistle. The carriages were wood-panelled and carpeted and furnished in rich colours, just right for a prince. The prince sat in an armchair, his sword laying across his knees, with a glass of whiskey resting lightly in his hand.
 “Your Highness,” said an attendant, dressed in crisp white, who stood beside the prince, “the train is about to arrive at our destination.”
The prince sighed deeply and drained the whiskey from his glass in a single mouthful.
 “Perhaps you ought to start calling me Your Majesty,” he said, with a voice full of sadness and regrets.
With a shrill whistle, the train arrived at the castle and, in a great procession of attendants and courtiers, the prince disembarked. Up on a high balcony of the castle he saw his mother, adorned in black, weeping as her son made his entrance. Though it took much determination, he steadfastly ignored her.
A golden throne stood before the gleaming marble castle. With movements slow and dignified, the prince knelt before the golden throne.
 “As the father passes,” a priest intoned, “so does the crown pass to the son. Arise, Your Majesty, and take your crown.”
The prince stood slowly, then bent his head again to take the crown. It was wrought of gold and encrusted with rubies; it was the heaviest thing he had ever worn. Inside, he ached for the crown to be replaced again with his shining silver helm: even the clamour of battle would be preferable to the weighty silence of this coronation.
 “I pronounce you king of the realm. All hail the new king!” cried the priest.
Out of duty alone, the prince-made-king stood tall and faced the populace. His mouth smiled, his arms went wide as if to embrace his people. While they cheered, the new king’s heart wept bitterly for his father.
Aaaaaaaaaaand that's it. It's not great or anything but, hey, at least I'm writing, right? :P Also, while I was typing it I really wanted to add the word "dais". But I couldn't be bothered actually improving the work at all, so... yeah. #lazy
As always I'd appreciate some comments. I kinda feel like there’s more of a story behind this prince and his family and stuff. What do you think? Do you think it’s a story worth telling? Anyway, feedback yes plz?
Also, if you've read this far you get some AWESOME NEWS which is that I submitted a story to Trove, which is a creative writing journal. Here is the journal: http://www.trove.arts.uwa.edu.au/ I'm not on there or anything, because a) I have no idea yet if they're actually going to use my work and b) the issue that I submitted to has not been released yet. But *fingers crossed* they might possibly like my story and *even more fingers crossed* they might think it's worth publishing. So that would rock.
The story is my Robot Unicorn Attack origins story. I'm going to put it up here on this blog but I won't be doing that until I know whether or not they want to publish it in Trove. Either way, you'll get to read it.
Thanks for reading! :)
♥Nancy♬

29 February, 2012

Valentine's Poem


Hello there everyone!
So I've already blogged three times this month, making today the fourth blog post of the month. Which is pretty great, don't you think? I thought about pushing this post back until tomorrow, which would make it the first post of March, but I've been thinking about posting this since mid-February, so it kinda feels like that would be cheating.
It's 5 minutes until midnight; I'd better hurry.
Anyway, the main reason I'm posting tonight is that I really wanted to post on Leap Year Day. It's February 29th, wooooooooo! :D
That's all I really have to say, so here's the important part: it's a poem that I wrote to my best friends, Dylan and Alana, for Valentine's Day.
Enjoy!
♥Nancy♬
Dear Dylan and Alana
Valentine’s Day is
pretty dumb, but you’re my best
friends, so here’s a poem.
I don’t know if you
can use enjambment in a
haiku, but I did.
Love Nancy

20 February, 2012

Writing From At Work

Last year one of my students was in year 8. He was a year 8 boy. A year 8 boy who likes sports. And who doesn't like reading.
It was a bit of a problem. I found it really hard to relate to this kid and really hard to talk to him, but worst of all was the fact that I didn't really know what to teach him. In general I was working on getting him to read more and improving his levels of comprehension, and working on introducing him to critical analysis of texts where I could. But really, basic essay structure was a little bit tough for him, based on the level he was at and the level of work he was doing in class. I really struggled to find things to teach him and things to say to him.
So what I did is this: I designed writing activities for him. Sometimes they were simple creative writing tasks, sometimes the task was to produce a piece of writing in a specific genre, sometimes there was more of a comprehension element.
During our 1-hour-per-week sessions, I would talk to him about his week and what he'd been reading and doing in class. And then I'd outline the writing task that I'd designed, and set him to it. I usually got him to spend at least 15 minutes writing. Sometimes 20, sometimes 5, but more often than not he wrote for 15 minutes. Which meant, of course, that for 15 minutes I had absolutely nothing to do.
I mean, it would have been kinda rude to pick up a book and chill out while he wrote. So what I started doing, while he was writing, was joining in with the writing activities. Sometimes I wrote on different things but usually I did the activities.
And now, you guys get to read the product of these sessions. On a couple of occasions I branched out and wrote different stuff and on a couple of times the activity actually did involve some analysis, so there are a couple of pieces I wrote that are less fiction and more academic. I'm going to include those in this post, but I'll put them at the end because they're less interesting than the other activities.
Detailed Writing Activity
Joe stretched his arms up and heard his spine go click click click. He must have been sitting down for way too long! He stood up from his black computer chair and dropped his pencil to the wooden desk. The pencil was a HB and it had teeth marks all up the side where Joe had been chewing it. He turned away from his wooden desk. The floor was awash with books and papers, haphazardly stacked in pules and arranged according to a system only Joe could understand. Around the walls there were many tall, wooden bookshelves, with their shelves double-stacked with old books. The whole room smelt dusty. Joe’s bare feet made no sound on the carpeted study floor, but the legs of his jeans swished as they brushed together while he walked. He went out of the study, down the green-painted hall and came out into the silver-and-marble kitchen. His footsteps on the wooden floorboards sounded very loud in the empty house. The kitchen was open plan with a long glass dining table right in the middle of the room. Joe walked straight past it, striding purposefully into the kitchen. In the far right corner, on the black marble bench-top, was a silver kettle. Joe picked it up from its heating element and sloshed it around. It was practically empty.
 “Must have forgotten to fill it last time,” he mumbled, even though there was no one there to hear him say it. He carried the kettle to the sink.
Poems
SAD
Down, unhappy, hurt, depressed,
All because I wasn’t my best.
COLD
Icy, chilly, cool, freezing.
It’s colder than I expect for spring.
FELINE
Tiger, panther, lion, cat.
They all look silly wearing a hat.
GREAT
Excellent, good, brilliant and fine,
I want all the glory to be mine.
THINGS THAT HAPPENS IN THE MORNING
Wake up,
Get my cup.
Brew the tea,
Spread my toast with honey.
Then to eat
(Can’t put up my feet)
Quickly get dressed
Brush my teeth and the rest
Did I grab my book?
Time to have a quick look.
Got all my things,
Hope the phone doesn’t ring!
Rush out to the car
Drive really far
The crowds I will beat
To get a good seat
But the lecture’s so boring
Mustn’t start snoring!
It’s always the same
Every morning.

This is a concrete poem about rats. Sorry about the scan quality!!
Analysis of Macbeth’s monologue from Act V Scene 5 of Macbeth
“SEYTON
The queen, my lord, is dead.
MACBETH
She should have died hereafter;
There would have been a time for such a word.
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.”
Macbeth delivers this monologue to his servant, Seyton, after being informed that Lady Macbeth has died, when Seyton says, “the Queen, my lord, is dead.” Macbeth then presents an analogy in his monologue, describing life as meaningless through repetition and a number of metaphors. The monologue culminates in Macbeth’s conclusion that life is “full of sound and fury [and signifies] nothing.”
His journey to this conclusion begins when he says “there would have been a time for such a word.” Saying, “there would have been a time,” implies that there is not time now. This is foreshadowing a point Macbeth reiterates later in the monologue: that life is brief, as well as being meaningless.
Analytical Paragraph about "The Clockwork Wizard"
(Yep, that's the story I wrote for a creative writing unit haha!)
The short story “The Clockwork Wizard” (2010) uses allegory in order to present its idea. This idea is that divorce can harm a family. The allegory is established in the second scene of the story, when the protagonist, ten-year-old Mary, is playing with her toys. By play-acting a voice for her favourite toy, Wizard, Mary constructs the allegory: Wizard is her “family.” Evil Sorcerer takes on the role of “Divorce Monster” who is “coming to get” Wizard - just like divorce threatens Mary’s family in reality. After establishing the allegory, Mary’s story continues in parallel with the allegorical story, in which the toys come to life and act out the roles defined by their names.This story culminates in a battle between Wizard and Evil Sorcerer. This is matched with the moment in Mary’s story when she learns that her parents’ divorce is inevitable and that she can’t “make them stay together.” With a “bolt of lightning” Evil Sorcerer kills Wizard. While the reality is that Wizard has something “broke[n] inside him,” his allegorical death suggests that Mary’s family is now dead or broken as well, due to divorce. Thus, through the construction of an allegory in which the character representing divorce murders the character representing Mary’s family, “The Clockwork Wizard” presents the idea that divorce can be extremely harmful to families - to the point that it might even kill them!
Hope you enjoyed!!
Comments plz?
♥Nancy♬

15 February, 2012

One Story, Three Books - My Problem with The Hunger Games


So, I’ve recently read The Hunger Games. And I don’t just mean the first book, I mean I’ve read the whole trilogy.
For those of you who haven’t yet read The Hunger Games, this might not mean very much at all. Okay, sure, you might be saying, you read the whole trilogy. There are some assumptions you might go ahead and make from this.
First of all there could be something along the lines of, wow, that’s a lot of reading. Those of you who know me, however, might skip right past this because you’ll know that I read really super fast, so it’s irrelevant how much reading it took me to get through all three books (case in point: I read both book 2 and book 3 in the same day).
Anyway, the next, and more important assumption that you might make probably goes something like this: if Nancy has read the whole trilogy, I guess the first book (at the very least) must have been pretty good.
And there’s the rub. This is where we stumble across my problem with The Hunger Games - the first book and the rest of the series included. I’m not about to say that I didn’t enjoy The Hunger Games (the 1st book), because I did. However, enjoyment of the first book was not the reason that I read the second two books. Usually, as a reader, that’s how I roll (read?) - I read the first book in a series, and then I decide if I liked that story and want to continue onto the second, then third, and maybe even the fourth book and more if those books exist. But when it comes to The Hunger Games, I had no choice but to read the next two books. NO CHOICE. You cannot stop at just one.
With certain products - Pringles, for example - I’d count that as a good thing. For novels, this is not a quality that I like. And in this blog post I’m going to tell you all about why I don’t like it.
Imagine for a moment, that you have no plans for the evening, no responsibilities that need tending to. It’s the perfect time for you to curl up with a book. This book can be any genre and it can be by any author. It can be new and shiny, it can be old and falling to pieces, all that stuff is unimportant. What is important is that this is a novel.
You settle down in a comfortable book-reading setting. You open your book and you begin to read. You’ve just hit one of the most important parts of the book: the BEGINNING.
The BEGINNING of a novel is crucial. There’s a lot of stuff that goes on here. This is where you get introduced to most, if not all, of the principal characters of the story. The point-of-view of the story is revealed to you - are we god-like creatures reading third person narration, or are we intruding into a characters soul as we read their deepest thoughts in first person? We get a sense of where and when the story is happening. And of course we start to get an idea of what’s actually going on in this story. Basically, we get a sense of all the conventions of narrative. We even get a good sense of the language that’s being used here: the register, the use of “figures of speech” (to use a figure of speech!), the voice, the tone... the list goes on; this is all stuff that’s revealed to us in the BEGINNING of the novel. There’s some action, some exposition. Most importantly, however it is done, is the fact that it is here, right at the BEGINNING of the novel, that we get drawn into the story and decide whether we can stand to keep reading.
It might be a cool character that interests us. It might be sumptuous descriptions of a setting. It could even be that the set-up for the action keeps us reading - we’ve got to find out what happens next. Personally, I usually find that it’s character that draws me in, but then I do tend to prefer character-driven novels.
The Hunger Games drew me in. I judge its BEGINNING to be highly successful. I like the protagonist, Katniss; I’m fascinated by the post-apocalyptic setting and the way in which it is described so that it seems homely instead of terrifying (my pre-conceptions of post-apocalyptica may have affected this feeling). I felt that the action of the story was the most important part - it’s a plot-driven work rather than a character-driven work - and so what drew me in the most was, naturally, the events that were starting to play out.
Let’s move on. Imagine that you settle deeper into your chair, or your bath or into the grass of the picturesque meadow you’ve chosen for this novel-reading fantasy. You move through the BEGINNING of the novel, and this particular choice has caught your attention. Maybe you’ve found something similar to what I found whilst reading The Hunger Games or maybe it’s something else that’s got you intrigued. Either way, imagine that you decide this book is pretty okay and that you want to keep reading. Before long you’re going to make it to the next part of the novel: the MIDDLE.
There are sooooooo many different theories about what *should* constitute the MIDDLE of a novel. Most people agree that there needs to be some kind of character development and some, you know, actual action. As a general rule there’s usually some conflict. Maybe a minor conflict, or two or three, that gets resolved, and maybe a major conflict that it’s going to take a bit more work to, well, work out.
When it came to reading The Hunger Games, the first book I mean, the middle contained a whole lot of actual action. We had a bit of character development although I did feel that the protagonist maybe didn’t develop as much as she could have. There’s an explanation for that, I think, but it’s something that we’ll have to come to a little later, as I continue on my chronological journey through you imagining to read a novel. Anyway, Hunger Games, heck of a lot of action going on in there. It’s very exciting. I did find it to be a really captivating read, mostly because I was always wanting to know what was going to happen. I read it quite quickly.
Think about your imaginary book. This book is maybe not the best book you’ve ever read (The Hunger Games was good but it certainly doesn’t claim that title for me, and I don’t want to make you think that we’re reading some spectacular work of literature - the imaginary book you’re reading is just your average-Joe novel). The point is, you’re into the MIDDLE of the novel. The plot meanders along, or maybe roller-coasters along - pacing is irrelevant here, as long as it’s holding your attention.
Personally I’ve never seen the MIDDLE of a novel as being quite as important as the BEGINNING. Perhaps that’s because I really enjoy writing the BEGINNINGs of novels. I tend to get stuck at the MIDDLE and give up on the story. Perhaps a good MIDDLE is why The Hunger Games got published, and none of my work ever has. Perhaps that has more to do with the fact that I’ve never tried to get any work published.
Anyway, you read the MIDDLE of your imaginary novel. It’s good. It’s not the best, but it’s good enough to hold your attention, however it manages to do that.
So you read read read read until suddenly there’s only a few pages left. Now I’m going to tax your imagination because I need you to imagine two separate scenarios. Let’s start with the ideal: scenario one.
Scenario one: the conflicts begin to be resolve, relationships are being tied up and the bad guys are starting to get their comeuppance. Yes indeedy, you’ve reach the END. And it feels kinda good. Maybe a little sad - you’re not ready to leave these characters behind, or maybe you feel that the plot has more to reveal. Maybe you’re not ready to drag yourself out of the fictional world you’re reading and plant yourself firmly back into an inevitably disappointing reality. Maybe it’s the opposite - you want to get out of the world of the novel; if the characters were disturbing and the events dark and scary, I don’t blame you. I’d want to rush to the finish too.
But what I always find when I reach the END of a novel, and I’m really hoping you can relate to this feeling, is a sense of fulfilment, contentment and maybe a little relief. I’m happy about it. The bad guys are getting what they deserved, so my sense of outrage and justice to be served is satiated. The good guys are all hooking up or getting married or playing with their pets at the seaside or baking a cake - feel good stuff, you know? Perhaps different genres experience different specifics, but you get the general idea.
Here’s the most important part, for me, at least. When I sat down and opened my book and let myself be drawn in at the BEGINNING, I did it some pre-conceptions and assumptions. Genre expectations, we might call them. I knew that I was reading a novel so I knew what to expect from the BEGINNING - it’s part of what’s helping you to imagine yourself comfortable with your imaginary novel, reading an imaginary BEGINNING. I knew, just as in your imaginary reading situation you also know, that after the BEGINNING we’re going to have a pretty good idea of character and setting, maybe even plot, and that then we’re going to move on to the MIDDLE. And then, because you’ve read novels before so you’ve seen the pattern for yourself and because you went to school and they taught you about the basic structure of novels, you know that the next thing you should be reading is the END. When you get there, your expectations are satisfied, there are no nasty surprises. In the one book you’ve experienced three crucial parts: BEGINNING MIDDLE END.
Let’s rewind a little and take your imagination through scenario two. Remember where we were?
And suddenly you’re a little confused, because it doesn’t seem like there are enough pages left in the novel for them to catch the bad guys. There’s no time for a wedding in the handful of thin sheets left, even if they suddenly change the font size to teeny tiny! None of these conflicts are resolving... uh oh.
That’s right, you have not reached the END. Sure, a few things might be wrapped up.
Let’s take a look at The Hunger Games. ***SPOILER ALERT*** Don’t worry, this is pretty predictable so it’s not a major spoiler, in my opinion, but I thought I ought to warn you.
***SPOILER ALERT***
At the “END” - if you can call it that! - of The Hunger Games (book 1) the Hunger Games that title the novel do come to a close. However, that’s about the only thing that gets wrapped up at the end of this novel. The Games end. Sure. Of course they have to, because this book is called The Hunger Games and the next one is called Catching Fire, so you know it’s about something at least a little bit different. But that’s about the only thing that comes to a conclusion, and even then I didn’t feel that it was a very good one.
***END SPOILERS***
And this, essentially, brings us to the crux of my problem with The Hunger Games. I’m not saying that it’s my only problem with the series; I’m also not saying that it made me entirely dislike the series. My main problem with The Hunger Games is this: the books end, without an END.
This does explain one thing: why did I feel that Katniss could have been developed more as a character? Because she was going to be developed more as a character, and does in fact go through quite a personal developmental journey over the course of all three books. She didn’t have to be fully developed in The Hunger Games because her development was going to continue in the later books.
Anyway, on with my complaint: I find this writing technique - or perhaps more aptly: money-making technique - utterly appalling. Novels have a BEGINNING a MIDDLE and then an END. They have this because it’s a convention of the genre of narrative. They have this because audiences expect it. They have it because, let’s be honest here, it’s actually not that difficult to fit one complete BEGINNING-MIDDLE-END story into one book. The Hunger Games is a series made up of three books. They’re pretty decent sized novels, too. But the print is big, so they’re not as long as they look.
A lot of people think that young adult readers (think: petulant teenagers) won’t read long books. Firstly, even if that’s true, I personally don’t think that it justifies the shameless act of marketing that is splitting a story over three books. Secondly, it’s not true. I mean really, think back to when you were a young adult reader. How many people reading this blog post right now hadn’t read a decent sized novel by the time they were into young adult texts? *crickets chirp* Exactly. I was reading novels before age six. I’m sure many of you experienced similar things, and I’m sure many of you were reading longer and more complex texts before I was. Children, teenagers and adults alike would still have read all three books of The Hunger Games even if the one story had been presented to them in one book.
There’s one pretty clear argument against what I’m saying (or at least, one that I can identify, so feel free to comment with more) and that is cliffhangers. Yes, cliffhangers are a valid narrative technique. We see them most commonly in television, when an episode of our favourite soap opera ends with the resident bad boy having the police raid his home, the cute teenager getting the results of her pregnancy test and the middle-aged woman walking into her bedroom to find her husband in bed with her evil step-sister. I’m not saying that cliffhangers are a bad thing, because they can be used extremely effectively. And they work, especially in the case of those ridiculous soap operas (which you should really stop watching because, come on now, you’re better than that).
Cliffhangers in novels are not something that I have an intrinsic problem with. After all, sometimes a clever cliffhanger is just the thing you need to keep you reading past chapter one and on into chapter two. And when it comes to cliffhangers in between chapters, I am absolutely for totally one hundred per cent okay with them.
When it comes to cliffhangers at the END of novels, I have mixed feelings. I don’t want to come right out and say that they’re a bad thing. They can be used quite cleverly, for one thing. And marketing is an important part of authorship, although I’ve always felt that it should be secondary to actually writing well. I suppose a plus-side is that it does get kids reading more books - they go from reading one book to reading three, even though it’s only one story. There are plus-sides, okay, I admit that. But overall I feel that the END of a novel, or at least the end, where the END should come, is the wrong place to put a cliffhanger.
In particular, I feel that The Hunger Games gave us too much cliffhanging and not enough resolution to tide us over. I read the next book because I felt like I had no choice. Because I felt like the story wasn’t finished (which it wasn’t). But I read on with a certain amount of resentment. I felt trapped by the money-grabbing author. I did not feel like I was reading those second two books out of enjoyment.
In some cases, I don’t mind this force-you-forwards type of cliffhanger. Soap operas, of course, are one place where I expect them. Here’s a more specific situation: I don’t mind so much when there’s a force-you-forwards cliffhanger between part two and three if part one was a stand-alone text. I still don’t really like it, but I’m a little more forgiving. You’ll recognise this sort of situation in The Pirates of the Caribbean movies. After you’ve seen film numero uno, you get an END, and it’s pretty satisfying, in my opinion. At the end of film numero two-oh, you don’t get an END. The story is spread over movies two-oh and three-oh. The END that we expected in two-oh and are deeply craving by the time the third movie comes out, is finally served up at the end of that third movie. It’s not an ideal situation. I’d rather that they’d made three stand-alone films instead of a first film, half a sequel and then the other half of the sequel. But at least you got two stories over three films, instead of The Hunger Games which gave me one story over three novels.
Let’s take a look at marketing. How much do books cost these days? A quick check at the bookstore tells me that they’re mostly around $30. There was a time when books were cheaper but that’s beside the point right now.
Let’s return quickly to our imaginary book. Imagine that it’s the day before you sat down with your novel. You’re at the bookstore. You look at the books and at the prices, and if you’re anything like me you either sigh or wince at the fact that you’re about to shell out $30 for a novel. But you really need something to read. So you choose your novel, through any method you prefer, and you pay your $30 and you take it home. Then you start to read and we’re back to the earlier situation that I had you imagine. BEGINNING? Check. MIDDLE? Check. END? Nuh-uh, not for you. You experience the shock and anger of having your expectations shot right through the brain. You feel furious because you didn’t get that END. Your bank account starts to cry as it realises what’s to come. Yes, you have to traipse back to the bookstore and fork out another $30 for book two.
If you’re reading The Hunger Games, you’re about to pay a total of $90 to read one story. Interestingly, movies cost about $15 for uni students (which most of my readers here are). You could go watch The Hunger Games - all three movies, when all three are finally released - twice each for that kind of money. Or you can take your partner/friend/cat and together you can watch each movie once. Whatever.
The point is, $90 for one story.
That’s great if you own a book store or a publishing company or if you’re Suzanne Collins and collecting royalties from every Hunger Games book that they sell. It’s less great if you’re a starving uni student or a minimum-wage teenager or a parent who just wants his/her kid to read something.
So the reason for my problem clearly stems from a number of places. Firstly, personal outrage because DAMN IT books should END at the end. Secondly, a more academic sort of outrage, because I started reading The Hunger Games with certain expectations of the genre of narrative, and they were thrown right back in my face when I reached the end, but found myself reading nothing that actually constituted an END to the narrative. And thirdly, a somewhat anti-materialism, financial kind of outrage, accompanied with a certain amount of confusion - because if you want kids to read, why are you making them pay $90 to read one story?
And that, in way more words than it really needed to be put, was my problem with The Hunger Games.
All that said, it’s actually a pretty great series and if you can stand between-novel-cliffhangers then I really recommend it.
At the very least, be sure to read it before the movie comes out!
... But perhaps that’s a rant for another time.
♥Nancy♬