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NeoGAF Creative Writing Challenge #73 - "Funk"

Status
Not open for further replies.
Theme - "Funk"

Word Limit: 2500

Submission Deadline: Wednesday, May 4th by 11:59 PM PST.

Voting begins Thursday, May 5th, and goes until Sunday, May 8th at 11:59 PM PST.

Optional Secondary Objective: The Other

Write from the perspective of someone or something that doesn't know English in English because I only know English and I'd very much like to read your story. No dibs but I call Vikings.


Submission Guidelines:

- One entry per poster.
- All submissions must be written during the time of the challenge.
- Using the topic as the title of your piece is discouraged.
- Keep to the word count!

Voting Guidelines:

- Three votes per voter. Please denote in your voting your 1st (3 pts), 2nd (2 pts), and 3rd (1 pt) place votes.
- Please read all submissions before voting.
- YOU MUST VOTE in order to be eligible to win the challenge.
- When voting ends, the winner gets a collective pat on the back, and starts the new challenge.

Writing Challenge FAQ


The Entries:
Dresden - "Funk Never Dies"
beelzebozo - "Our Taxonomy"
Ashes1396 - "Doors"
ronito - "Han meets the Black Dragon"
Miri - "Smiles and Fade"
CF_Fighter - "Fluorescent"
Tangent - "Guilt"
DumbNameD - "Happium"
Cyan - "Passenger"
AnkitT - "Cyanide and Happiness"
 

Irish

Member
Alright, now this sounds awesome. Plus, I'll actually have time to write this son of a bitch because next Monday is my last day!

I'm really liking that secondary, Tim. (Congratulations, btw.)
 
Irish said:
Alright, now this sounds awesome. Plus, I'll actually have time to write this son of a bitch because next Monday is my last day!

I'm really liking that secondary, Tim. (Congratulations, btw.)

Of life? D:
 

Irish

Member
Nah, next week it's just the end to my tortuous, all day long Monday classes. From 8 in the morning until 10 at night, I'm in classes for the most part. It sucks and I'm never doing it again. :p
 
Yeah, I make it a point to get my tutorials scheduled in the afternoon and spread out across the week. Are you doing engineering or something?
 

Irish

Member
Nah, I'm just doing random classes that seemed to apply to a lot of things like English, Communications, Government, and History. I have no idea what I'm gonna do yet. I also skipped orientation and counseling or whatever, so I'm just going with the flow, which probably isn't the best of ideas.

I thought scheduling everything on one day and freeing up the rest of the week would be awesome, but that one day ends up draining me for the entire week.

I think it's just the combination of an early morning class and a late evening class. I don't think it would have been so bad if I had my night class earlier in the day.
 
Yeah, that would be crazy. Insane if you were doing a double degree like me. I assume you're first year? It's okay to dabble early on if you're doing Arts, but, since you're American, I'd make sure to start thinking about which, and the amount of, units required for your desired major by the end of the year unless you're rich or something. I feel for you Americans - I couldn't imagine taking on that kind of debt for university.
 

Irish

Member
Heh, I'm not rich by any means. I totally understand what you are saying though. Trust me, I'm not just doing totally random classes. Each of one I'm taking is required for everything just about. (at least the stuff that seemed interesting to me)

Right now I'm just enrolled at a community college, so the cost isn't exorbitantly high by any means.

However, when I make my schedule up for next semester, I'm really going to have to think about what I'm going to do.
 
Oh, okay. Cool. Hope it works out for you, man.

ThoseDeafMutes said:
Curses, another theme that I don't think I can do anything with.

Really? That just leaves more blaxpoitation-meets-Vikings tales for me.
 

beelzebozo

Jealous Bastard
i'm participating. i have something i worked on this morning that should be done and submitted in the next few days. it feels good to write something.
 

Dresden

Member
They call him Jimmy Brown, all stoked out on coke at six in the morning stumbling through the market with a song on his lips. A little pack of brats follow him, all of them as junked out as he is as he makes his way around the market, hopping over puddles of shit and rivers of piss with style clinging to his legs making them dance as he totters and hops. They pass by a small store with a crowd of people watching a cricket game; a woman saunters by with kids of her own, hunger etched on the curves of her body, visible under the thin shirt she wears; an old billboard advertising Flavono cigarettes looms over a crumbling building where a woman drapes herself on the mantle of the window with her bare legs dangling down below. Right by that there's a big heap of trash with garbage water puddling out from under it, streaming down to meet and mix with the river of shit and piss that flows through the market.

He's about twenty with a face that suggests thirty years of age and when he arrives at the low squat building that smells like shit--just like every other building--he sends the kids in to collect the cash. They all scramble in and there's shrieks inside and Jimmy Brown stands outside still singing aimlessly, slurring lyrics, confusing songs. There's no consistence to any of his crooning, the words are swapped carelessly like a jumbled up scrabble board, the vowels swapped out mix-n-match the opening of “The Bells” shifting into oh yeah night train night train carry me home...

The kids come out with wads of bills and a woman comes out after them still screaming her head off. She's got no shirt on and her face is all bruised up as if she'd been freshly beaten just the night before. Jimmy Brown stops singing and steps forward as the woman charges forward weeping and he punches her hard in the face, to add on another bruise to that catalog.

“We need it,” she moans.

“Nah,” he says, “don't need a thing, dear. Night train, night train, carry me home...”

And he turns and walks off with the coked out kids still stumbling behind him like a drug-hazed Hamelin piper. The woman screams something at him but he pays her no mind and makes a dainty little jump to avoid tripping into a small pool of shit.

#

“People, people we got to get under--” and he belts out in that deep voice of his as the drug takes him deep, “people, people, we got to get under—hey people didn't say you mean nothing got us a funky new president ooh yeah--”

“Coca,” the boy next to him mutters. He pokes Jimmy in the side. “More.”

“I got nothing for you,” says Jimmy, thinking, whatever the tab was it was some good shit, and he's still riding that burn as he slaps the boy aside and takes another toke from the pipe. “Taxes keep going up, I got a paper cup, oh yeah, oh yeah...”

They're in this old warehouse full of people just like them. Most of the kids have left to do whatever the fuck kids did. Jimmy Brown lets the smoke in and it burns like acid in his lungs, nothing at all like the flower, hash, mari-j. Where did he get the money from? He'd been broke in the morning—then he remembers, the kids, coming out of that sluthouse with the bills in their hands—they'd bought lots with that cash, and he'd sent them packing after getting a couple for his own, and then he'd come here to chill--

He closes his eyes and wonders about this vague concept of home for a while, notes nothing, understands nothing, just rides the burn of the smoke etching down his throat. Jimmy Brown sinks deep and makes out a small argument nearby with the voices rising high tension mounting and he wonders if he should get going, leave before something not cool happens, because not cool means he ain't going to be taking it easy, no kicking back for Jimmy Brown. He tries to get up and giggles as he falls back and bumps his head against the filthy concrete wall.

The argument stops and he jumps as the sound of a gunshot rings throughout the room.

“Whassat,” he yells, then he gets the urge to sing once more so he tacks on, “but, but man makes anything he can but a woman makes him a better man man needs him a better woman, oh, oh--”

The door opens up and Jimmy Brown stops singing, stares at the figure before him. The man's got a pistol in his hand and he smiles as he steps forward towards Jimmy.

“Just taking it cool,” says Jimmy. “What you doing?” Then he catches a boot to the face. Falls down spitting blood and teeth. Another foot digs into his ribs.

“Mothafucker,” the man says, “you got money to pay?”

“Pay? Pay what?”

“You fuck her face up so she can't get no customers for the next week or so. Then you come in and take our skins like you got--” and here he kicks Jimmy in the gut, his boot digging in deep into the soft belly-- “like it's yours, shitfuck.”

“Bitch was already beat up,” Jimmy whines.

“No she weren't. I seen her the night before, fucked her too.”

“Then it was you then so night train, night train--” The smell of gunpowder fills the room and Jimmy Brown stops singing as the pain hits him. He coughs and when he touches his chest blood is bubbling out and there's this terrible sense that he's emptying out, losing, dying.

Hands dig through his pockets. Comes out with a wad of bills.

“Got less than half left.” The man looks down distastefully at Jimmy Brown with his blood pooling out under him and shoots him once more on the head before he leaves.

#

They call him Jimmy Brown. He's a young lad no more than thirteen but he's already got a great voice, and he sings as he makes his way through the market.

Money won't change you
Money won't change you
Money won't change you
But time will take you on


He still remembers the old one who got shot in the head for doing something to a woman and shrugs 'cause that's all he can remember. Jimmy Brown, there's more than one these days. All the kids behind him, they all get called Jimmy Brown. That's 'cause, he thinks, Jimmy Brown is Jimmy Brown. It's hard to think as stoked out as he is, riding that burn, the ache in his throat and the blood clogging his nostrils. He's got a pistol tucked into the waistband of his pants and there's a song on his lips as he makes his way through the market, all the other Jimmy Browns following him, all singing, 'cause funk never dies, not at all, not so long as someone's there to sing it.
 

AnkitT

Member
I dont think i'm getting the secondary on this one. Describing things from the POV of s non-english speaker, is it? The primary has me thinking "Black Dynamite"

PS: Sorry for the no show at the voting, hadnt read all the stories.
 

ronito

Member
wow. I'm....I'm totally without any sparks of ideas at all. Usually that only happens with the winner's curse. Congrats Gumshoe, btw.
 
AnkitT said:
I dont think i'm getting the secondary on this one. Describing things from the POV of s non-english speaker, is it? The primary has me thinking "Black Dynamite"

Feel free to ignore the secondary, but as Dresden has brilliantly demonstrated, the funk can be found in a lot of places.
 

Cyan

Banned
Hey dudes. So there was a little bit of back and forth in the previous thread about critiques. I'll note that while a critique can't be wrong, a critique can sometimes be unhelpful. With that said, maybe this is a good time to talk about what makes for a helpful critique. (do please note, this is not specifically aimed at anyone--certainly I am not always helpful in my critiques)

A helpful critique generally contains several elements:
-strength(s)--What did the story do well? No need to be saccharine, but including something positive makes the rest more palatable, and it gives the writer something to build on. Generally best to put this first.
-weakness(es)--What could be improved on in the story? Don't forget to include specifics, a 'why' or 'because' (e.g. "The ending didn't work" vs "The ending didn't work because the main plotline wasn't resolved and the characters were left in limbo.").
-how--How can the weaknesses be fixed? (Bonus points if you can see a way the strengths could be applied to overcome the weaknesses!) Alternately, what is the one change that would most improve the story? This last part is optional. It's hard, and sometimes you'll simply be unable to come up with anything useful. If that's the case, don't panic, just leave it.

I realize that there are a bunch of stories each go-round, and it's difficult to find the time to read them all, let alone provide in-depth critiques. That's fine, and you should never feel obligated to critique everyone--when you do critique, you are doing us a favor. But it behooves us to put in a little more time and effort to actually make the critique mean something. After all, time spent writing unhelpful critiques is simply wasted.
 

Cyan

Banned
ronito said:
wow. I'm....I'm totally without any sparks of ideas at all. Usually that only happens with the winner's curse. Congrats Gumshoe, btw.
Ok, so I'm going to try out your "discard three ideas" thing this time around. Are these ideas usually vague and high-level, or fleshed out at all?
 

ronito

Member
Cyan said:
Ok, so I'm going to try out your "discard three ideas" thing this time around. Are these ideas usually vague and high-level, or fleshed out at all?
usually they're more than just a spark. I don't necessarily call a "spark" an idea. I almost always have a spark but an idea to me is when I have at least one character and a message I want to get across. At that point it's an idea. Sometimes that goes until the entire thing is thought out to the level of dialogue other times it's just a set of characters and setting and a message. That's why I'm sorta at a loss. I usually have sparks but not even one this time.
 

JoeBoy101

Member
Got an idea for this but having trouble fleshing it out. That, plus I think I'm using funk as drapery and not capturing it like I need to. Probably going to can it and start another. Pity is that I really like the title:
The Funkslinger

AnkitT said:
I dont think i'm getting the secondary on this one. Describing things from the POV of s non-english speaker, is it?

I envisioned it more like 'A Clockwork Orange', where the English language is used, but slang and traditions are usurped by something alien and different.
 

Ashes

Banned
Cyan said:
*snipped*
But listen to this man! He brings good advice.

Yeah, I fucked up the crits yet again; what else is new?

And I'm drawing a complete blank on this one. It's just such a boxed in theme.
 
Ashes1396 said:
Yeah, I fucked up the crits yet again; what else is new?

And I'm drawing a complete blank on this one. It's just such a boxed in theme.
I said it in the other thread, but you're worrying again. Stop that.
 

Cyan

Banned
Ashes1396 said:
Yeah, I fucked up the crits yet again; what else is new?

And I'm drawing a complete blank on this one. It's just such a boxed in theme.
Ashes, my brother. I agree with crow's advice. ;)
 

Ashes

Banned
Yeah, yeah, I get it. I think with the last challenge, I couldn't see the house for the bricks or something.

I agree that if advice isn't helpful, it becomes useless, and a pointless waste of time. So advice to anybody new, call out any crit you don't think is fair, and I'll try my best to explain my view, If I haven't already -this isn't a workshop thread or anything, but it isn't a panel of judges judging you thing either- and if I have time that is. I've been working on my novel the whole day today, and it's very tough work. I think at this point, I'm just frustrated that I'm not even reaching my own low level of expectations. I'm putting the work in, I'm plowing the fields, but nothing is growing.

Anyways, I think I have my story for the week done and dusted. I haven't written it yet, but it's up here in my head, and it plays out from start to finish very well. I'm taking a slightly different take on the secondary objective; in the society in question, the people here talk English, but their mother tongues are not English. Whilst reading up on stuff, I got so very interested that I suddenly looked up at the clock last night, and it was nearly 3am. Where did the time go?
 

beelzebozo

Jealous Bastard
Our Taxonomy
2,152 words


Smelled like a big fog.

That’s what I thought. The collected smells of London. The shirt she sent was cold and damp and that’s how I imagined London, it fit, even though it had been in transit long enough that all this was really probably very just in my head.

She calls me at seven. I’ve got my hand in a popcorn bowl and I get salt, yellow like sand, on the phone. I promise myself that I will not eat this tomorrow. Tomorrow, I eat this.

On the phone, I say yes to her questions, I say many comforting things. She is upset with her school and thinks I don’t understand. I don’t understand. I only thank her for the shirt she sent, hoping that covers up the grotesque disconnect; I tell her about the coolness it brought, the fog, the London funk. She said she felt that when she sent it, too. She said she felt wrapped in it almost every day now.

She wears a jacket I bought her when she goes out to pubs with her friends. These events exist only in anecdote, so their brevity here is functional: she condenses them to snippets, I condense them further. Boys. Girls. Someone she likes, someone she doesn’t. Someone who is trying to help her and someone out to get her. I remember the politics of socialization but only in theory. All I really see when she paints a picture of these nights is her, in the jacket, beautiful. I sit in sweatpants, ones I cut off at the knees. We hang up and I wipe my hands on a paper towel and throw it in the trash. There are four others just like it, stained yellow.

I write her a letter. I tell her about how I feel about kids. A little girl comes to the place where I work, asks me questions like a friend, like a dad, and is the thing most wanted. She is four. She carries a jacket over her shoulder and is flocked at the edges with frills and curiosity. I show her how the thermometer works and she smiles, big, a smile that breaks free of her face and washes over the room. Grandma and Grandpa in the corner are smiling, and I am too. She has the sniffles. A shot is ordered, and I administer it. I kneel down by her on the floor—duck down into her part of the world, a perspective I envy—and hold the tiny tan arm still. The needle slides in gently at an angle, the skin so tight it seems to me like a balloon waiting to pop. She winces a wince that is not fear, but the wince of someone who knows they’re supposed to be wincing. When the needle is out and I say okay, all done, she’s already smiling again. She hugs my neck and whispers thank you. Her breath smells like chocolate and coconut. When I’m alone that’s the smell I think about: the smell that comes to me when I try to remember sometimes I’m useful, that I’m worth a little but maybe not a lot.

Worth not much is still worth a little. These are the thoughts you keep.

My girl, the one in England who I love, who I can’t touch, she likes birds. She collects moments and draws her pictures with words. Her papaw hit an owl with his car when she was little. She carried it off the road and watched it die. She tells me, the head, Greg, it was spun all the way backward! Just like they say. The eyes were looking up at the sky, going somewhere, and something in its throat gurgled to escape. Parts of its body had been squeeze to the tip, bloody blisters bursting. Can you imagine? This, she said, was the turning point. She liked everything a little less, sometimes obviously, sometimes imperceptibly, but always less. She was five or eight or ten or somewhere between—this time for her was blur.

When she could touch my arm she’d do so and point to a bird that flew to a tree, jerked its head side-to-side. Her field guide tells us taxonomy, but it’s the funnyparts I remember: the bird that looks like it has a tomahawk for a head, the bird whose beak looks like puckered lips waiting for a kiss. When I tell her this, she gives me a kiss, and I want birds that look like interlaced fingers.

My Papaw did this too, but did it from his favorite oblong window, on a couch that faced opposite it, peering out with his feet pulled up behind him and a pair of binoculars on his eyes. He kept two wooden houses he built on six foot metal poles stocked with black sunflower seeds. This, he said, was what they really liked, and perceived his success at drawing locals to dine while the neighbor’s birdhouses sat empty to be largely attributable to his far superior understanding of avian gastronomy. He said this in fewer words. He was a fewer words man. He named the birds the way I do, named them by what they did: mudsuckers dipped down and sipped at puddles, causing little ripples to emanate out, lifting their head and looking left, right, middle, right, left, to be sure they weren’t being watched. Butterballs were fat little birds who muscled the others in his houses to the side. They were first to arrive, last to leave. Thrushthroats had a big red stripe that ran from just under their beak to their breast and spread. He sat with the binoculars pressed to his eyes, smiling. This lent him the air of a guerrilla warrior with the most amiable of goals: the birds would be watched, whether they liked it or not.

Another war was taking place between he and the local squirrels, who fought to ascend the six foot metal poles and maneuver the bottom of the birdhouses, designed with a circular plate to keep them from engaging in a daily petty larceny, here a seed, there a seed, everywhere a seed seed. My little brother and I wanted to help. We found acorns littered all over the driveway, grass, amidst crunchy falls leaves, discarded by the trees or squirrels or both. We pick them up and throw them back to the treelimbs, to the squirrels, who we figured would get the message. So many acorns and these squirrels wanted seed. “I’ll have what they’re having,” they say, but nature’s prix fixe menu notes that there are rarely substitutions. We crush an acorn with a rock, and split it. It dawns on us then why the war between bird and squirrel rages on, and always will. Little brother spits and laughs, and we are both laughing, in hysterics. His teeth are gapped and I can see his pink tongue through them pulsing while he yuks. They’ll always be gapped, standing in for all the things I love in him, all the things that are frustrating about him. He is reckless and laissez-fare in a way I can never be, draws trouble to his chest. He is always laughing, and so he always wins.

Far away now. Papaw, who is dead. Little brother who is in care of the state, speaks to me with gapped teeth through glass, who cannot come home. Girl who touched my arm now a thousand miles away, I think. Or maybe two thousand. Distance and direction and time are not my strongsuits. I reach for a pencil on the desk and I spill my coffee. Once is excusable. Three times this week, and I call my doctor.

My hands shake when I try to hold something very still. You keep moving because then it’s something you choose.

I live by myself and I watch birds now too. I do it for my own reasons. I guess everybody does. I do it to know that there are birds. To know that life’s cycles go on. This makes my fears seem small. I will die and I will rot and a smell will rise from the earth where I lay, but that funk will be gone soon, and birds will still sing and eat black seeds and squirrels will covet. These battles are beyond me. I am a spectator with only one ticket.

I robe myself in the smell of London, slim to my chest with the top button loose. I put on a tie and I meet my friends for dinner. I love my friends. I don’t get enough of them. I lived with one for a time and we got along swell. Our house was full of stray popcorn kernels and a constant whir of popcorn being made. We would rearrange furniture and find a kernel here, a kernel there, like we ran a movie theater. Is this not a jovial place? I remember it fondly. The girl I love is suspicious of him. He had a night with a friend of hers after some drinks, and it didn’t go the way that friend of hers wanted it to after that, he now out of love with the moment even as it persisted for her. Who do you blame here? I see his heart and I see it’s a good heart. It’s a heart even I envy. I know my heart is not so good. To hear her denounce it is a denouncement of my heart, of all lesser hearts like mine. I don’t think she’s wrong to feel sore about it for her friends, but only the two of them know what was said or done then. All that’s left for me is the sweet, idle chit-chat we exchange while I gather my breakfast and he washes sheets in the morning.

This is how I see it, but I am afraid to tell her so. It seems fundamental. It seems like a point of view she could not forgive. We could talk about it, disagree, forgive. But the smell of suspicion hangs over me, my condoning, and it lives on as a wedge that drops between us. With no hand on my arm these wedges are amplified, the chasm widens gradually. Sweet fruit does not rot instantly—there is a gradual turn from sugary edible nutrition to the foul stenched blob you toss in the trash at arm’s length. But it always seems instant, because you forget these things and find them one day in the fridge. Maybe that’s it. I am something stored, and maybe, arm’s length, her voice says, how did I forget this was in there?

I squeeze this fruit. I cradle the phone.

I tell her I love her more than anything, and she says she’s frustrated, overwhelmed. I wore your shirt tonight, I say. Really? she asks, and there is a smile that she tacks to the end of this word. I draw a laugh out of her with a story some days and I think I may be able to keep her with them. But I know deep down a laugh is a laugh is a laugh. Hell, I laugh at a dog biting its own ass on the carpet. She tacks subtle emotion on the tips of her words and rarely shows me all the cards. I tell her I’m sick of my hair and I want it shaved. I want to feel the air on it again. I want to hear approval in her “oh,” I want to hear scolding, but the indifference is intolerable.

My papaw taught me to draw water from my ear by lying on hot concrete after I swam. I lay there with my head to the ground as if I tracked something, in fact hearing nothing. The water starts to rumble as it rolls, and then it is just a warm trickle down your lobe that seeps into a dark spot on the pavement. It feels so big in your head, that water, but out in the world it’s just a dark spot, one the size of a dime, and the sounds of splashes and Papaw belching and slamming doors with a backward kick of the foot return to full vividness.

That little dime can kill you though—if it stays inside it gives birth to infection and sepsis.

I tell myself to call her tomorrow and to have something interesting to say. To have done something that will make her wish she were there. Maybe I should go see my brother, if I can keep my hands still enough to drive. I miss his voice, his smile, his gapped teeth, his laughing. Even through the phone and glass he cannot stop laughing. But the hands are the real question--that's the variable I have to consider.

I take her shirt off my body. It’s warm now. That’s nicer, I guess. I press it to my face and smell. The smell of the city, so prominent once, is fainter, almost gone, and I miss it.
 

iavi

Member
Two entries already?
How the fuck do you do it?
Nice! It'll take me a while to finish this one, but I've already started, so, luckily enough, it shouldn't be a repeat of the last entry. I'll actually finish it, aha.
 

Tangent

Member
I realized that I don't know if my congratulations will be heard since I posted them on the previous challenge's page. So, here it is (along with my feedback to crits from "carry on," etc.).

Congrats Tim! And Ronito & Scribble for being in the top 3!

Ashes1396 said:
crits:

@Tangent: Comedies are difficult; imaginative but dull, though educational. Good story for kids market perhaps.

Overall

Didn't feel like a good week of stories. Some people settled into old groves or odd ones, and others strayed into newer territories; most were too short, or too long, or paced awkwardly.
Those who strayed into new territories had teething problems but practice makes better art.
A fair few were tired, and almost repetitive versions of earlier work, which would be good if it were a revision.

I LOVE the idea of writing for kids! Love it! But yes, I agree comedies are difficult -- I wasn't really going for a comedy, but that is all the more reason to make sure that I'm not producing comedy when unintended. Thanks for the crits. As for the last note: interesting point. Good food for thought.
 

ronito

Member
ah the bar. The dim lights, the clinks of emptying glasses, the hopeful glances betrayed by a palpable desperate loneliness. This is what writing is made of.

When I was a mormon I used to wonder why there were no great mormon writers. I think the lack of bars might just be it. It's full of a kind of desperation most mormons will never know.
 
ronito said:
When I was a mormon I used to wonder why there were no great mormon writers. I think the lack of bars might just be it. It's full of a kind of desperation most mormons will never know.

You have Orson Scott Card, that has to count for something.

Many ideas have come to me, I knew my hospital "lockups" would be a basis for some type of story one day. Now I just have to find time to write it.
 

ronito

Member
CF_Fighter said:
You have Orson Scott Card, that has to count for something.
Like I said, when I was a mormon I used to wonder why there weren't any great mormon authors.....


Honestly though, Ender's game was good. So good he's written it four or five times now.
 
ronito said:
Like I said, when I was a mormon I used to wonder why there weren't any great mormon authors.....

Ice cold.

ronito said:
Honestly though, Ender's game was good. So good he's written it four or five times now.

They're not at Ender's Game's level, but I will say Speaker for the Dead and Seventh Son were pretty good and different sorts of novels.
 

iavi

Member
Tim the Wiz said:
They're not at Ender's Game's level, but I will say Speaker for the Dead and Seventh Son were pretty good and different sorts of novels.

I've never read "Seventh Son," but "Speaker For The Dead" is quite possibly my favorite novel of so far. As good as "Enders Game" is, SFTD has a clearly presented intricacy to the characters that just wasn't done in the former, though; to be fair, the fact that they were children didn't much help that--as much as they felt like adults already.
 

ronito

Member
Finally got my first idea.
Completely obvious/cliche.
Now for just 3 more.

As for Tangent's post. Thanks for the congrats.
And we should totally do a kid's story thing.
Scribble, if he entered, would probably win though.
 

Cyan

Banned
ronito said:
Finally got my first idea.
Completely obvious/cliche.
Now for just 3 more.
Two down, for me!

Was going to post them once I've got three, but maybe that's a bad idea.
 

ronito

Member
second and third one gone.
(first one was about the Funk musician. Second one about a computer cowboy using a drug called "funk", last one was about a heroine addict remembering his parents dancing to funk as he overdosed.)
 
Got my first one down the other night, did it based on my own hospital experience and the emotional/mental funk you fall into after a couple days of being inside. Revising it now. Should post it this weekend.
 

Cyan

Banned
Irish said:
Nope, go ahead and post 'em up. I 'promise' *fingers crossed* that I won't use them. Promise.
Hehe. Nah, I was thinking someone might be working on something vaguely similar, and be annoyed about it. But whatevs.

Here are my three throw-away ideas:
Guy in a funk band witnesses what he realizes later was a murder, from on-stage. But the perp is his best friend--must decide whether to turn him in.

When the shaman of his tribe falls deathly ill, it falls to a young drum-player to use his drumming prowess to drive evil spirits from the body of his youngest sister.

A guy with almost supernaturally terrible B.O. who can't get a job or a place to live, and has no friends, discovers that he can become a crime-fighting superhero!
 
Cyan said:
Hehe. Nah, I was thinking someone might be working on something vaguely similar, and be annoyed about it. But whatevs.

Here are my three throw-away ideas:
A guy with almost supernaturally terrible B.O. who can't get a job or a place to live, and has no friends, discovers that he can become a crime-fighting superhero!
That one sounds so awesomely bad that it'd make a wonderful satire piece. It has to be written.
 

AnkitT

Member
I went back and thought about rewriting my first story that I ever wrote for this one. But i dont know how to really make it fit with the theme. Oh well, i'll figure it out.
 

ronito

Member
Cyan said:
Hehe. Nah, I was thinking someone might be working on something vaguely similar, and be annoyed about it. But whatevs.

Here are my three throw-away ideas:
Guy in a funk band witnesses what he realizes later was a murder, from on-stage. But the perp is his best friend--must decide whether to turn him in.

When the shaman of his tribe falls deathly ill, it falls to a young drum-player to use his drumming prowess to drive evil spirits from the body of his youngest sister.

A guy with almost supernaturally terrible B.O. who can't get a job or a place to live, and has no friends, discovers that he can become a crime-fighting superhero!
See? It works.
First one: ok, interesting
Second one: more interesting
third one: DO IT!!

look forward to see what's the fourth.
 

Roofy

Member
hey guys, can anyone help me come up with a simile or metaphor for something that is short lived? Thanks for the help guys!
 
And I'm done. Finally got my rejection from Baltimore.


Roofy said:
hey guys, can anyone help me come up with a simile or metaphor for something that is short lived? Thanks for the help guys!
Would need to know what the story is about, the word choice you've been using, and the paragraph it will go into.
 
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