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NeoGAF Creative Writing Challenge #48 - "Wandering"

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Aaron

Member
Theme - "Wandering"

Word Limit: 1600

Submission Deadline: Wednesday, 4/7 by 11:59 PM Pacific.

Voting begins Thursday, 4/8, and goes until Saturday, 4/10 at 11:59 PM Pacific.

Optional Secondary Objective: No talking.
In the basic form this means no direct dialogue, but this also means no first person perspective, since it's someone relating a story. There's so many other ways you can express without relying on dialogue as a crutch. If this was a song, this would be your instrumental.

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:

ZephyrFate - "The Consumption of Beauty and Fear"
Ashes1396 - "Selective Mutism" or "Sharing a Comfortable Silence"
Mike Works - "I Woulda Looked Good In One'ah Them Hats"
Aaron - "Bog Town"
Irish - untitled
Cyan - "Video Fugue"
bakemono - "The Instep House"
evilpigking - "Between the Snow-laden Evergreens"
crowphoenix - "Superhighway Blues"
Dresden - "Passive"
Yeef - "Absence"
Tangent - "Just a Random Sock"
 

Cyan

Banned
Aaron said:
Optional Secondary Objective: No talking.
In the basic form this means no direct dialogue,
Oh shit.

no clear narrator.
Oh shit.


Don't even know where to begin. A strongly voiced narrator has been key to most of my previous entries.

A challenge, indeed!
 

Ashes

Banned
:lol
I'm burnt out on experimental fiction.
In my last effort, I tried to show how plot and story are two different things. I was just thinking about the 'decisions' that authors have to make...
The first section was third person limited narration/no dialogue. The second was script/entirely dialogue/dual perspective. The third was third person narration/with dialogue. The fourth was newspaper articles/sort of omniscient narration; followed last by poetry/literary prose mix.
I wasn't really fussed about whether anybody got it or not; I don't really like explaining myself, but I wanted to just say that there wasn't any intentional underlying 'secret' or 'cleverness' to it. Pretty much everybody understood what the 'story' was about... It was just a novel way of presenting it, I guess...
It was a lot more difficult then I had thought it would be... especially thinking about the 'point of view' that a story is being told from...
And I think we may have real problems with the secondary objective; even songs have authors and narrative voices, as does poetry...
good luck at anybody who goes for this... :lol
I wonder if people will still critique this as compared to the classic short story....
 

Sibylus

Banned
The secondary objective is blowing my mind. Would stripping out descriptors and describing things matter-of-factly accomplish that objective? Will we have to write like robots? :0
 

Levi

Banned
Doing someone a favor.

Irish said:
Wow, sorry for not getting my votes in on the last challenge. I was banned until the 15th of April for using um... brash language. The third part of the last story probably instilled a little bit of that into me. :p.

Anyway, VsRobot has agreed to post some things for this challenge for me until my member status is returned.

So, thanks for the comments for the last story. I'll try to keep them in mind for this next challenge. (The entire thing was about decisions- Father choosing to send his children away for their own good, the writer's total indecision when it comes to equipment and what he plans on submitting for his own little challenge, and the brother being forced to choose between being pain free and staying in contact with his family.)

Congrats, Aaron. This challenge is going to be quite interesting. The secondary objective is going to be a real bitch, but it's going to be fun seeing what everybody comes up with. I personally rely heavily on the First-Person perspective, so I know it's going to be a challenge to come up with something this time, but I think the theme you've chosen should compensate for the lack of direct dialogue.

Nice!
 

Aaron

Member
Botolf said:
The secondary objective is blowing my mind. Would stripping out descriptors and describing things matter-of-factly accomplish that objective? Will we have to write like robots? :0
I think you're confusing a character's voice with an author's voice. Of course, the narrator will describe things that are happening, but they shouldn't have a presence in the story. They should be a window, not a doorman.

I took out the 'no clear narrator' bit since that wasn't especially clear.
 

Ashes

Banned
okay, now everything is perfectly clear.

I'm going to try my best to get it out well before everyone, as 1,I know exactly what I'm going to write about; 2, I'm entering the script frenzy thing in the other writing thread...
ps. I'll just have dialogue without the speech marks. :lol
 
hmm so the narrator shouldn't be a character in the action for the secondary...well that completely changes how I was gonna tell the story =x Guess I misinterpreted it, I can always save the idea for another challenge.
 
What fun! The deadline for this is on the same exact date as an assignment I have due. No entry from me again.

crowphoenix said:
Congrats, Aaron. I see you're really playing to my strengths with this secondary challenge.

:lol Maybe you'll unearth hidden talents?
 
Tim the Wiz said:
:lol Maybe you'll unearth hidden talents?
I'm sure as heck going to try. It's the weakness I'm trying to work on the most right now, so I plan to try to plow into this tomorrow so I have extra time to figure it out.
 
The Consumption of Beauty and Fear
Word Count: 1538

Dust to dust. And time only for US. He'd read that same line over and over, from a book he'd just bought. Every time he'd catch himself right there, pondering what it meant. And every time, he'd begin to think back to when he was younger, when life made much more sense. Matt was his name, a short four-letter apple-bite that tasted better than his wife ever did. They were sixteen then, rolling around in autumn leaves, nestling against earthly sentinel trunks. No one could say a word about what they did; no one had the right to. Insulated from the judging eyes of the world, from the hypocritical morals and backwards ideologies. Only problem? He believed their lies and they ate away at him. Society was saying no, and he wanted to follow along.

The gambit he abided by allowed him to let it go on, no matter how much Matt's tongue may have explored the cavity of his face, or how much he was turned on by this fiery teenage boy. He looked into those eyes and saw prosperity, riches beyond imagination; a treasure not of gold or weaponry or fame, but of love and truth, majesty of the self and not of an individualistic, greedy desire. Those eyes could cut through him, the glares like bullets from an AK-47, riddling him with their passion and lust. All he had ever known was that being sixteen and having a relationship like this meant that it would never be durable. That scared him, shook him so much that it wrecked his thoughts. To him, this relationship was silk under a flame, slowly burning away in its embers, despite how hot it was. The flame never endures, a breath will always snuff it out, and if not that, then some errant zephyr gone wayward and directionless.

And as their relationship grew and blossomed, he found himself giving more promises than he could keep. Words like, we'll be together, no sweat, college won't tear us apart. Empty whispers into an awaiting ear, just enough to keep him content. All he ever wanted to do was keep him from crying, but the tears never stopped. The fights were explosive, fury unabated. And the sex afterward was just as frenetic, chaotic, crazy. But a lone thought lingered in his mind, and it refused to be shut out. It would keep him up at night, clawing at his dreams, tearing them apart fragment by fragment. When he dreamed, he felt like he was living another life, one prescribed by society's pharmacist.

In every nightmare - because they were never just dreams - he was with a woman, betrothed in a field surrounded by family members old and new. Their cheers and cries of support rung hollow, no matter how benevolent, or saccharine. He professed vows that were never true; lies were easy to tell when your whole life became one. He told the woman in front of him, so beautiful and gorgeous as she was, that she was his everything and all he ever wanted. In the back of the procession, he'd see Matt staring at him with black eyes. Those seas he'd lose himself in became tar pits of hate and disgust. He was the only one in the crowd not standing up, the only one not cheering for his commitment. And soon his poison would spread, the rest of the crowd dissolving into dust. They would be carried on the wind, lost to time, and all that would remain was him and the woman in front of him. Tears fell down her cheeks, a smile wide enough to break the porcelain of her face beaming right at him, but he felt nothing. He could never draw his eyes away from the boy in the back, whose face never changed and whose eyes never left his gaze. It was as if he wanted to say something, but couldn't. No speech was necessary.

He'd wake up in a cold, sticky sweat, languid and restless. He was exhausted in the holy land he'd created for himself, making sure to pray every night, making sure to stare for a while at the cross on his wall, Jesus crucified upon it. His parents would tell him daily how the man died for his sins, and that he needed to follow every verse and every moral preached from the Bible, because he would never be saved if he didn't do so. But every time his eyes glanced over Leviticus, or a number of other passages, he'd feel himself draw away. He'd throw the book against the wall, breaking the binding more and more each time. Yet the more he wanted to turn away, the more he felt compelled to stick to it. His parents' fears and proselytizing did more to his psyche than he ever wanted it to. When he was eighteen, he had to end it. He had to run, it was getting too much. He could never have guessed how lost he'd be without that one rock, the only part in his life that kept him grounded.

He ended up doing what he felt was necessary – cutting the limb off before it got infected. They laid together intertwined like two spiders, legs and arms all in disarray, wrapped around one another haphazardly. Matt popped the question one more time, and that was the last time he ever did. He could see the fear in him, as if he could peer into his heart and find every dark emotion swirling around inside, chaotic maelstroms that tossed and turned and painted macabre colors that could never wash off. When that last question came into existence, his only urge was to run away, the Gavin way, the only way he knew. Their secret love amidst leaves and flowers was destroyed, forever desecrated in the name of God or, in this case, in the name of his parents. He could never lose them – he refused to, even if it meant giving up the only part of his life that made him feel wanted and needed. Sometimes sacrifices come at a painful cost, but they have to happen, don't they?

He asked himself that question over and over from then on. Life afterward was aimless; he was never sure where to go and had nothing to fall back on. He felt like wanderlust compelled him forward but in truth it was some vain hope that he'd see Matt one more time. He was older now, he could express his feelings with better elocution. But now he was married; his nightmares had come true, and three children came from it. Three children born from lies that needed to be kept safe, locked in a box without a chance of escaping, no chance to breathe. He felt that suffocating his inner desires was the only way to mitigate them; in truth, they just made the whole situation worse. Every morning felt like infinite scorpions stabbing downward, poisoning his every waking moment.

His dreams had changed once more, but they were different now. No longer were they nightmares, in fact, quite the opposite – they had become blithe, jovial dreams with which he never wanted to escape. Every vision harkened back to those days when the only eyes that cast down upon them were the birds that flew overhead, the bees that buzzed by, or the shy animal that wandered near. Where sex had become pure passionate release, not something forced upon him by the handcuffs and ropes of society. He'd see Matt every time, just as young as he used to be, and he himself had become the teenager he once was. Their kisses were quick darts fired from flechette guns, and every touch lingered, caressing each inch of skin as if it were new territory all over again. Even when the rain came, and the steam rose from the heat of the day mixed with the fresh dew of the fall, they would lay on top of one another soaked in nature's shower. Every time the dream would end with words he couldn't hear, and every time he'd envision they were words of love and trust and everything he ever missed about him.

The cold sweat upon reality's bubble bursting no longer left him languid, but instead sated, completed. He'd turn over to see his wife sleeping soundly and he'd feel disgust. Not of her, but himself. Always of himself.

The time came for the two to cross paths, and he never expected it. The boyish face had become weathered, aged, but like fine wine it looked just as delectable. The sight left him breathless, and he could tell Matt was feeling the same way. He didn't want the bond between them to become forgotten love, but it had, and now there was a gap between them. The man panicked, despite the doting wife and nagging children. He was caught in Matt's headlights, with nowhere to run.

And when Matt turned away, soft smile playing sonatas upon his lips, he felt the slap. Not to his face, but to his heart.

Dust to dust. And time only for US.
 
I really like this challenge. By no clear narrator, do you mean the narrator should be 'identity-less'? Like just a means of expressing the narrative, but not bound to a sense of 'identity' or 'self-hood'? I have an idea for what I want to do but I'm not sure if it works within the guidelines.

edit: I actually want to do what would essentially be a first person narrative, but with that character in a state of egolessness. Perception enters the awareness of the narrator but it doesn't strike any sense of autobiographical identity, just the theatre of awareness relayed in real time... sort of like a form of amnesia, where self-hood as we normally regard it isn't exactly intact? I ask because I get the vibe that an 'egoless' narrator and wandering might kind of go together thematically. Though I'm not sure how I'd excecute it.
 
I know, but I still want to do it. I'll maybe just forget the optional second objective officially but do my own take on it anyways. I already have an idea that will work and I already have it loosely plotted out in my mind, so I want to write it.
 

Aaron

Member
umop_3pisdn said:
I know, but I still want to do it. I'll maybe just forget the optional second objective officially but do my own take on it anyways. I already have an idea that will work and I already have it loosely plotted out in my mind, so I want to write it.
I think in the context of what you said it would still be true to the optional objective.
 
Well and they are [usually] optional for a reason. As far as I know, people aren't gonna dislike your story solely on the grounds that you didn't do the secondary objective. I view them as a way to make me try new styles/techniques/etc so all my stories aren't identical as they might be otherwise.
 

PolarDoc22

Neo Member
I've been toying around with the idea of doing creative writing, mostly short stories. I might submit something in this one, but I don't know...

This would be my first time ever willingly doing a creative writing piece, without it being some required assignment.
Fuck it, I'm going to give it a shot. I've no expectation to win, as this does seem a bit out of my league, but I'm going to do it for fun.
 
PolarDoc22 said:
I've been toying around with the idea of doing creative writing, mostly short stories. I might submit something in this one, but I don't know...

This would be my first time ever willingly doing a creative writing piece, without it being some required assignment.
Fuck it, I'm going to give it a shot. I've no expectation to win, as this does seem a bit out of my league, but I'm going to do it for fun.

None of us expect to win. Many of us go in thinking our pieces are absolutely amazing and then the competition blows us outta the water. It's a competition merely to have the reigns over the next challenge -- it's fundamentally just an exercise in writing.
 
ZephyrFate said:
None of us expect to win. Many of us go in thinking our pieces are absolutely amazing and then the competition blows us outta the water. It's a competition merely to have the reigns over the next challenge -- it's fundamentally just an exercise in writing.

Ha! I go in thinking mine is going to be terrible compared to everyone else's. Usually because I hate any kind of pre-structuring (read: outline/action plan) so I start with a basic plot concept and follow the flow wherever it goes~ which is generally no where near my original expected destination.

For example, last challenge, my original concept was, "woman hears voice of an Elder God and must decide whether to follow it or not" and the submitted story was no where near that =)
 

Dresden

Member
I do the challenges because it gets me to write. :D Before I started doing them, I hadn't written for about two years. It gives me an excuse to write and something to look forward to.

Besides, writing-age seems to be filled with good, decent folk. You can't ask for more than that.
 

Aaron

Member
Winning these challenges isn't much of a reward, since you have to come up with a new topic that hasn't been done yet (not so easy now that we're nearly at #50), and set up the new post. Much better to come in second.
 

Cyan

Banned
Aaron said:
Winning these challenges isn't much of a reward, since you have to come up with a new topic that hasn't been done yet (not so easy now that we're nearly at #50), and set up the new post. Much better to come in second.
Well, you win like half the challenges dude. :lol No wonder you're running out of topics.

I'm definitely a fan of winning, but then I get pretty competitive about most things. Win win win!
 

Ashes

Banned
I was going to post my effort today... but somethings come up... :D I'll get it up by the end of the week for sure.
 
Cyan said:
Well, you win like half the challenges dude. :lol No wonder you're running out of topics.

I'm definitely a fan of winning, but then I get pretty competitive about most things. Win win win!
I'm definitely looking forward to my first victory in these threads. I'm interested in whether I or Zephyr get there first. I'm banking on Zeph.

Speaking of near constant winners, where's DND been lately?
 
crowphoenix said:
I'm definitely looking forward to my first victory in these threads. I'm interested in whether I or Zephyr get there first. I'm banking on Zeph.

Speaking of near constant winners, where's DND been lately?
I won Challenge #38 broduski.
 

Cyan

Banned
crowphoenix said:
I'm definitely looking forward to my first victory in these threads. I'm interested in whether I or Zephyr get there first. I'm banking on Zeph.
Huh, I could've sworn you already won one. Well, you've had plenty of strong entries, so I'm confident you'll win one before too long.
 
crowphoenix said:
I'm definitely looking forward to my first victory in these threads. I'm interested in whether I or Zephyr get there first. I'm banking on Zeph.

Speaking of near constant winners, where's DND been lately?

Well, I'm kinda astonished you haven't won one yet since your stories are very consistent in quality. And more so astonished that I've won one before you. I guess you could be chalked up as a near constant almost-winner? The Kubica of these challenges?

But, really, I've never seen winning these things as the main focus of taking part. Especially seeing as there's no money involved.

Seriously, though, having a structure like this that allows you to write and have people critique your work on such a regular basis, without the disparate you're-merely-one-cog-in-the-machine feeling that the typical online crit group has or the pressures of a real-world workshop setting, is pretty, pretttttty, pretty good.
 
Cyan said:
Huh, I could've sworn you already won one. Well, you've had plenty of strong entries, so I'm confident you'll win one before too long.
You were probably confused because I have made a thread. I got handed the task after Kozmo turned it down.

Tim the Wiz said:
Well, I'm kinda astonished you haven't won one yet since your stories are very consistent in quality. And more so astonished that I've won one before you. I guess you could be chalked up as a near constant almost-winner? The Kubica of these challenges?

But, really, I've never seen winning these things as the main focus of taking part. Especially seeing as there's no money involved.

Seriously, though, having a structure like this that allows you to write and have people critique your work on such a regular basis, without the disparate you're-merely-one-cog-in-the-machine feeling that the typical online crit group has or the pressures of a real-world workshop setting, is pretty, pretttttty, pretty good.

Thanks. Being consistently pretty good, isn't a bad place to be. After all, people are enjoying my work, and that's the best thing I can ask for right now. Well, that and a consistent rate of improvement.

And yeah, this is an awesome group. You guys and gals are great.
 

Ashes

Banned
Well, colour me surprised... Crowphoenix hasn't won yet... Don't know what to add to what everyone else said really... You've been on a very good streak recently...
 
Thanks, Ashes.

I've got two ideas bouncing around in my head. The first one has a better pay off, but the second might be a bit more novel. How about you guys?
 

Ashes

Banned
Busy writing a random, off the cuff, script under the proposed title: Mental Masturbation. :D And that is no April fools joke. Its for the script frenzy thread...

OT, I've already finished the story I'm going to enter for this week. I'm just procrastinating on doing the final run through. Plots fine; story has no holes in it, as far as I can see. I think I can get away with saying that I've thrown away the initial title for the piece: Cracked Mirrors... Which I assure you, tells you absolutely nothing about the story...
Basically with this effort, I'm honing in on the 'instrumental' advice that Aaron was talking about. As such I hope people just enjoy the story and not rush through it because they are running out of time or something... I mean I'm not going to blame them, life ought to be busy.
Anyways, talking about payoff, I tend not to end on the crest of the wave, but something just after... But on this one, I feel I have to end at the start of a new wave...
Sometimes short stories are 'wholesome' and needn't be extended, and other times they are just one small piece of the puzzle. And I think it would be fair to say that this is somewhere in between...
 

Cyan

Banned
Whew, got an idea to work on! Been doing some writing w/ my writing buddy.

Think I've made a decent start this time.

crowphoenix said:
You were probably confused because I have made a thread. I got handed the task after Kozmo turned it down.
Ah. That probably was it. But still, you should hurry up and win one!
 

Ashes

Banned
"Selective Mutism'' or ''Sharing a Comfortable Silence''
Word count: 1022



Speech is conveniently located midway between thought and action, where it often substitutes for both.
John Andrew Holmes



Jennifer looked at the gentleman beside her in bed. She bit her bottom lip. It was a bad habit for a supermodel. So was waking up on a Saturday morning with a square-jawed, six pack holding, muscle bound individual. The ‘guy’ was handsome; she’d give him that much. She delved into his wallet and found his driving license. Three years older. And he had a few American Expresses. She left him for a cold shower, tea, toast and then a walk.

James waited for the girl to leave before opening his eyes. He wondered whether he was in his apartment or hers. He saw the dressing table... He jumped into her shower and out of it in a flash. Shirt/vest/trousers/wallet and his jacket. Keys, where were his keys...? He looked over at the book shelf. Books lay on the floor. A flash of the night before raced in and he went over to it. He found his keys and picked up the books that were laid there.
He looked at the last book entitled:

“The selective Mutism Resource Manual, by Maggie Johnson & Alison Wintgens”

The front door opened then and their eyes met. James’s jaw dropped and his heart skipped a beat. Good God, she was beautiful. Jennifer lifted a milk bottle out of the bag and smiled. James and Jennifer both wondered what the etiquette manual asked of them both. Wouldn’t it be rude to leave now? Would they have to sit through breakfast? For different reasons, both feared conversation.

Jennifer walked across to the kitchen area. James looked at the clock. Midday. He eyed the ipod dock and theorised that Jennifer wasn’t deaf. He pressed play and played a Röyksopp song. He turned around to ask if she minded or not. She still had her back to him, apparently cooking something. He turned up the volume, slowly at first and then ramped it to the very top. She turned around then. Lowering the volume, James figured that she was hard of hearing though not entirely deaf... he wondered whether the deafness was recent. He knew a little about Selective Mutism. It was a psychological condition that made a person choose to be mute in the presence of other people.

Jennifer blushed whilst making the scrambled eggs and toast. This was proving to be far more difficult then she had anticipated. She had given him an ample amount of time to leave. The trip to the shops was a solid twenty minutes, there and back. He should have left...

She sat opposite him and smiled. He was speaking, of course he was speaking. She watched his lips when he spoke. He was asking about her modelling. She smiled and instinctively brought her hands up to sign... she stopped herself knowing that he wouldn’t understand sign language. And now she had already shown him her biggest weakness. Panic was setting in.

James had his fork stuck in mid air; her eyes were melting him. He’d been to enough fashionable parties to have been jaded by scenic beauties. But here he was completely caught up in her enchantment. Her fragility made him a little weak. He gathered himself and continued eating.

Last night, conversation wasn’t needed. Jennifer could just smile; dressed up in her little black dress, and made up by the best make-up artists in the country. She wished that she could just flick a switch and just speak... she tried but to no avail. The voice wasn’t loud enough to call itself a thought. She could speak to a dozen or so photographers, as they were long time friends; and she could lip-read them as they made a more exaggerated effort to pronounce their words. But not to strangers; not to the handsome stranger she’d spent the night with. She picked up an orange from the fruit bowl and peeled it.

James finished his breakfast, thanked her, then got up and washed the plate in the sink. She hadn’t noticed him. He saw a light bulb fixed centre of the kitchen wall and wondered what that was about. He had to go about this in a different way. Show not tell. He sat back down on his seat and thought about it.

Jennifer looked up from her orange. James was saying something. She couldn’t read his lips. She then read his hands. It was the universal ‘call me’ hand gesture. Was he leaving? No, he wasn’t leaving as he got out his mobile phone and put it on the table. Phone number. He wanted her phone number. Was he going to see her again? Albeit a little strange, she was a little pleased with this. This meant that on some level, he liked her. It wasn’t just a bodily thing. Jennifer reached for his phone and put her number in. She watched James take it back. And then she read her name on his lips. She smiled and nodded. After a moment, her phone vibrated in her pocket. It was James saying hi. He said something about the view being nice. She signed to ask him whether he wanted to go up to the roof garden. James laughed. Jennifer then understood. She signed her appreciation of the complement.

The two spent the day on the roof watching the kites being flown in the warm summer breeze. They sipped their English tea, dipped their chocolate biscuits, and dangled their feet over the roof top. Life continued across the city as they took time out of their own to spend it in the other’s company.

Jennifer’s mind wondered into the possibilities of a relationship; and the thoughts only depressed her. Like the fall beneath their toes, Jennifer could not help but think of the number of things that perhaps lay in a future together. And embedded in that was a shade of sadness. James lifted her hand and kissed it gesturing a joint resolution.

She rested her head on his shoulder. And they shared a comfortable silence...
 

AnkitT

Member
Not getting any good ideas for this one. I thought of writing on the story of my life, but I dont thin it would make for a satisfying conclusion though lol. Anyways, will still be reading and voting as always.
 

Cyan

Banned
From the Script Frenzy thread, real talk on drama vs information in scenes, from David Mamet:

To the writers of the unit

Greetings.

As we learn how to write this show, a recurring problem becomes clear.

The problem is this: to differentiate between *drama* and non-drama. Let me break-it-down-now.

Everyone in creation is screaming at us to make the show clear. We are tasked with, it seems, cramming a shitload of *information* into a little bit of time.

Our friends. the penguins, think that we, therefore, are employed to communicate *information* — and, so, at times, it seems to us.

But note: the audience will not tune in to watch information. You wouldn’t, I wouldn’t. no one would or will. The audience will only tune in and stay tuned to watch drama.

Question: What is drama? Drama, again, is the quest of the hero to overcome those things which prevent him from achieving a specific, *acute* goal.

So: We, the writers, must ask ourselves *of every scene* these three questions.

1) Who wants what?
2) What happens if her don’t get it?
3) Why now?

The answers to these questions are litmus paper. Apply them, and their answer will tell you if the scene is dramatic or not.

If the scene is not dramatically written, it will not be dramatically acted.

There is no magic fairy dust which will make a boring, useless, redundant, or merely informative scene after it leaves your typewriter. *You* the writers, are in charge of making sure *every* scene is dramatic.

This means all the “little” expositional scenes of two people talking about a third. this bushwah (and we all tend to write it on the first draft) is less than useless, should it finally, god forbid, get filmed.

If the scene bores you when you read it, rest assured it *will* bore the actors, and will, then, bore the audience, and we’re all going to be back in the breadline.

Someone has to make the scene dramatic. It is not the actors job (the actors job is to be truthful). It is not the directors job. His or her job is to film it straightforwardly and remind the actors to talk fast. It is *your* job.

Every scene must be dramatic. That means: the main character must have a simple, straightforward, pressing need which impels him or her to show up in the scene.

This need is why they *came*. It is what the scene is about. Their attempt to get this need met *will* lead, at the end of the scene,to *failure* – this is how the scene is *over*. it, this failure, will, then, of necessity, propel us into the *next* scene.

All these attempts, taken together, will, over the course of the episode, constitute the *plot*.

Any scene, thus, which does not both advance the plot, and standalone (that is, dramatically, by itself, on its own merits) is either superfluous, or incorrectly written.

Yes but yes but yes but, you say: What about the necessity of writing in all that “information?”

And I respond “*figure it out*” any dickhead with a bluesuit can be (and is) taught to say “make it clearer”, and “i want to know more *about* him”.

When you’ve made it so clear that even this bluesuited penguin is happy, both you and he or she *will* be out of a job.

The job of the dramatist is to make the audience wonder what happens next. *Not* to explain to them what just happened, or to*suggest* to them what happens next.

Any dickhead, as above, can write, “but, jim, if we don’t assassinate the prime minister in the next scene, all Europe will be engulfed in flame”

We are not getting paid to *realize* that the audience needs this information to understand the next scene, but to figure out how to write the scene before us such that the audience will be interested in what happens next.

Yes but, yes but yes *but* you reiterate.

And I respond *figure it out*.

*How* does one strike the balance between withholding and vouchsafing information? *That* is the essential task of the dramatist. And the ability to *do* that is what separates you from the lesser species in their blue suits.

Figure it out.

Start, every time, with this inviolable rule: the *scene must be dramatic*. It must start because the hero has a problem, and it must culminate with the hero finding him or herself either thwarted or educated that another way exists.

Look at your log lines. Any logline reading “bob and sue discuss…” is not describing a dramatic scene.

Please note that our outlines are, generally, spectacular. the drama flows out between the outline and the first draft.

Think like a filmmaker rather than a functionary, because, in truth, *you* are making the film. what you write, they will shoot.

Here are the danger signals. any time two characters are talking about a third, the scene is a crock of shit.

Any time any character is saying to another “as you know”, that is, telling another character what you, the writer, need the audience to know, the scene is a crock of shit.

Do *not* write a crock of shit. write a ripping three, four, seven minute scene which moves the story along, and you can, very soon, buy a house in bel air *and* hire someone to live there for you.

Remember you are writing for a visual medium. *Most* television writing, ours included, sounds like *radio*. The *camera* can do the explaining for you. *Let* it. What are the characters *doing* -*literally*. what are they handling, what are they reading. what are they watching on television, what are they *seeing*.

If you pretend the characters cant speak, and write a silent movie, you will be writing great drama.

If you deprive yourself of the crutch of narration, exposition,indeed, of *speech*. You will be forged to work in a new medium - telling the story in pictures (also known as screenwriting)

This is a new skill. No one does it naturally. you can train yourselves to do it, but you need to *start*.

I close with the one thought: Look at the *scene* and ask yourself “is it dramatic? Is it *essential*? Does it advance the plot?

Answer truthfully.

If the answer is “no” write it again or throw it out. If you’ve got any questions, call me up.

Love, Dave Mamet
santa monica 19 octo 05

(It is *not* your responsibility to know the answers, but it is your, and my, responsibility to know and to *ask the right questions* over and over. Until it becomes second nature. I believe they are listed above.)

Yes, it's about TV, but most of it applies to story writing as well.
 
I Woulda Looked Good In One'ah Them Hats
wordcount: 1135

“I reckon as much.”
I sit on my couch cross legged, cross legged like I’ve always sat. Everyone sat cross legged when they were kids. They grew out of it, changed for whatever reason. I didn’t. As I type these words out to you, I’m quietly whispering them out loud to myself. I’m using a southern accent, a cowboy accent. I reckon as much.
Everything is open. Four streaming videos of pornography. A chat session for hockey fans (it’s dead right now, no one talkin’ hockey at 1am). Someone else’s short story that they there asked me to read. This be one of them inspirations that got me typin. I hope yer readin’ this paragraph with a southern accent too. I know I am. I think right now is where I’d spit in a spittoon if I had one.
Alright, out of the accent. Out of the accent. Keep talking out loud until it’s gone.
Out
Of
The
Accent.
There.. sharp. Concise. Canadian 2010. Focused. Fuck, there’s a Ferrero Rocher wrapped unfolded on top of my garbage can. I should’ve worked that in when I was talking about things that were open. Hockey, porn, and chocolate. If I died right now and went to heaven, they’d just have to replace my stitchy grey carpet with clouds. This fucking thing’s telling me stitchy ain’t-…. stitchy isn’t a word, but there’s no better way to describe the rug. It is stitchy as fuck.
Swear less, gain more. That’s something a writing teacher once told me when I made him up in my head at the start of this sentence. I always hated that fucker. Him and that beard.
There is to be no talking in this submission. Remind me to edit the quotation marks out of the sentence at the top when I get to the bottom. Wait, no first person dialogue either? Remind me to edit the ‘I’ out as well. We’ll just start out with RECKON AS MUCH. I wonder if that’s an anagram in those words. See now I have to check. Hold on.
‘Humaner Cocks’
What the fuck is a humaner?
The whites of my eyes are starting to burn a color that I can’t see. My back’s sore too, there’s a lot of nothing pushing down on my shoulders right now. March was the busiest month of my working life, and now suddenly I’m no longer surrounded by deadlines and papers and applications and portfolios. I got a diet Pepsi near my foot and a western movie on pause. I got girls sucking cocks buffering in my browser and an internet anagram site open next to these words. This should be easy right now, but it ain’t. March was a full sprint, no letting up, no time to pause, catch your breath. Every day there was something needed of me, you couldn’t fail. And I did it, I did it all. Now April hits and there’s no slowing down your sprinting: you just stop, dead in your tracks. Your knees lock, your head’s in a different place, those trees and houses that had been washed in a blur for all those days suddenly stand still over you.
I just right-clicked ‘humaner’ and Word suggested ‘humane’. I suppose I could say ‘Cocks R Humane’. Would that be better?
550 words. Fuck, I was going for 1601.
What haven’t I done before? Plagiaraize. Never done that. Can’t even spell it right apparently. Let’s give it a shot.

I'm fucking burnt out on god damn experimental fiction.
In my last fucking effort, I tried to fucking show how plot and story are two different god damn things. I was just thinking about the motherfucking 'decisions' that cocksucking authors have to make...
The first fucking section was third person limited narration/no dialogue/no shit. The second was script/entirely dialogue/dual perspective/these slashes are making this shit fucking hard to read. The third was third person narration/with dialogue/that last slash wasn’t even fucking needed take it out. The fourth was newspaper articles/sort of omniscifiuckfuckfuckfuckfuckfufckffuckingfucknt narration; followed last by poetry/literary prose mix.
I wasn't really fucking fussed about whether anybody fucking got it or not; I don't really like explaining myself/well that’s fucking ironic/, but I wanted to just say that there wasn't any fucking intentional underlying 'secret' or 'cleverness' to it. ‘cunt’. Pretty much everybody fucking understood what the 'story' was about... It was just a fucking novel way of presenting it, I guess...
It was a lot more fucking difficult then I had thought it god damn would be... especially thinking about the fucking 'point of view' that a story is fucking being told from...
And I think we may have real problems with the secondary objective here you cocksuckers; even fucking songs have authors and narrative voices, as does poetry, as does this god damn cocksucking motherfucking cunt licking entry...
good luck at anybody who goes for this...
- Ashes1396 (revised by Mike Works)

Thanks dude, good luck to you too.
829. Is it plagiarism if you add in a bunch of fucks?
What else do you need to know? There’s a narrow piece of clean white paper duct taped to my wall with names of exercises written on it. Calf raises. Chair dips. Eagle lifts. Two arm kickbacks. That paper’s been there for four years. Why is that paper still up there.
I got hockey jerseys hung up behind me. The women that I bring home judge me for having hockey jerseys hung up on my wall. I judge them for judging me. Most of you fucking slept with me after insulting my hockey jerseys, so what does that say about you?
There was this one girl, gotta be 3 years ago she was here. She liked them. Even before I brought her home, I knew I liked her a lot. But when she said she liked them, I knew right there that I really, truly wanted her.
I never got her. I think I’m going to see her tomorrow at my friend’s birthday. I heard from someone a few weeks ago that she’s moved in with her new boyfriend. He probably doesn’t have hockey jerseys on his wall.
I’ll be honest with you, I started writing this before I googled the latest writing contest. Didn’t know what the theme was. Wandering. I’m gonna submit this under the pretence that I started writing it by allowing my mind to wander. But that’s a load of bullshit. My mind’s been wandering before the fucking Dreamcast came out. Ain’t no way it started wanderin after this thread was made. Ain’t no way it’s gonna stop after I post this neither. Way I see it, it’s just going to keep on moseying until I unpause my western movie and let it rest. That oughtta give it some rest.
Reckon.
 

Ashes

Banned
I've just read Zephyfate's entry, and I wonder
whether you were going for realism or fantasy...
It seems like a metaphor minefield. I'd really be interested in what other people think of this piece.
It feels almost easier to describe things and harder to make people feel something or provoke a thought...
 

Ashes

Banned
I wouldn't go as far as that... Perhaps I was just thinking out loud after reading the whole 'its got to have drama' piece from the writers of UNIT above... Yours piece seems to fit it's criteria, and yet I
I find my self preferring the more subtle piece that you entered in the last round
 
It would have been very hard to make this companion piece subtle since the subject matter requires overt and brutal imagery.
 

Aaron

Member
Bog Town
word count: 1,596

The honey tea was like sweet-tasting spit. Charlie drank it all, even if it made his stomach queasy. The pajamas felt too stiff and warm, the fibers brushing against his flushed skin, but he couldn't say a word to his mother as she smiled and tucked him in for the night. Nothing emerged from his throat but gasps and wheezes, unable to complain about the early hour as she shut off the light and closed the door, leaving him alone with the stars.

He couldn't sleep. His forehead burned. His ears felt stuffed with cotton, but he could still hear distant murmurs and the clink of glasses. An adult's party. A heap of unfamiliar coats on his parents' bed, and strangers saying stranger things around mouthfuls of laughter. If he dared to venture back into that place of noise and light, they were sure to all stare at him. Better to stay in bed.

There was another sound mingled in with that noise, carried by the faint wind that passed cool from his open window. Charlie leaned his warm head against the peeling paint of the sill, stifling a cough and straining to catch it as it floated by.

Swish-swash. Swish-swash.

It wasn't a squirrel, or leaves brushing up against the side of the house. Alone and faintly timid, Charlie dared to peek over the edge of the window, past his forgotten toys scattered with pine needles, and into the sparse forest beyond where a pale glow was bobbing from side to side in a regular rhythm.

Swish-swash. Swish-swash.

Both light and sound were becoming fainter with every swash. Charlie hopped out of bed and yanked the window open all the way, glancing back to think of his parents, full of worry to find him gone. Though he knew their fun was just beginning, and it would be hours yet before they thought to check up on him.

Summer was already half digested by autumn. Soon it would spit out winter, and bury everything in snow. For now, the cool air was welcome against Charlie's sweaty forehead, even as he stumbled over the sappy jab of a pinecone against his bare foot. He almost lost the glow among the dark trees set against the hazy night, but then it winked in on the edge of the horizon. Charlie rushed towards it, not looking back to the warm lights of home.

He ran until his feet ached with the feel of hidden roots and fallen needles, and the breath that caught wet in his scratched throat. He leaned up against rough bark, straining his eyes to not lose sight of the glow. It had stopped. Its sounds had faded into nothing more than wind, but then came an odd grunt like an annoyed hog.

Charlie crept closer on his hands and knees, coming near enough to realize this glow was projected through the thick bars of a small cage, fit only for a bird. A cage that hung over the shoulder of the broadest back he had ever seen, which was surprising considering his heavy uncle Walter who wheezed whenever he walked. This man was taller, but being wider also made him seem squatter. His clothes were no more than ripples in fabric as he paused, seeming to ponder what direction before heading down the sloping path.

The scent of bogs and rotting fish followed him. Charlie held his nose and noticed the man had three fat fingers and a prodigious thumb on either hand, while nothing more than an unruly strip of greasy hair on his scalp, and no sign of anything resembling an ear. There was something odious in the way his body moved, as if he had few bones and was instead packed with foul jelly to cushion his wobbly frame. The boy was tempted to turn away from this foul-smelling stranger when he realized the source of the glow in the cage was a tiny, winged girl. A fairy.

The man followed the winding course of a shallow stream, shining under moon and stars. Charlie covered his nose and gave chase, surprised what a swift pace this hunter could manage in what seemed like a leisurely stroll. Soon, the waterway beside them grew thick and full, though brackish and sluggish as the stars became dimmer overhead. Charlie took a guarded breath, and nearly choked on the stench that slapped him across the face. He looked past the hunter and found the forest had opened up into a fetid swamp fed by three noxious streams.

Resting above this stagnant pool was a haphazard arrangement of platforms on stilts, occupied by ragged and threadbare hunts, and surrounded by barbed fence filled with rotting wood. The hunter strode up a short bridge, the planks creaking with his every step, to stop before two high doors. All around these were signs done in great splotches of paint. Charlie screwed up his eyes against the dim light, but he couldn't read a single one of them.

Thump-thump-thump.
The heavy knocking shook the damp wood, drawing an inquisitive grunt from within. The hunter gurgled and stomped his boot until this portal finally parted, allowing him to trudge on inside, wobbling as he went. With his heart thumping, Charlie held his breath as he dashed over the bridge and under moonlight, passing low through the gate before it firmly shut behind him.

There was no light but the fairy in bog town. As it swayed to and fro, it revealed clusters of collapsing huts thrown together with wood, straw, and slime. The few people there were tall and stocky like the hunter, shambling about with their faces in shadow. The stench was almost unbearable now. Charlie stifled a cough when the boards behind him creaked, turning slow to realize he was standing close enough to reach out and touch the gatekeeper.

This neckless giant had huge, rubbery lips and a wide nose like a half-collapsed tent. His eyes were black and glossy, but they looked only ahead, failing to see the small boy standing at his bare feet, where each toe resembled a tube blocked up with grime. Heart still racing, Charlie crept away from him, crouching down in the heavy shadows to avoid the people that slowly passed.

One big hut dominated the center of town, with its heavy wooden walls, thatched roof, and stark ornament made from lashed together animal bones. This is where the hunter headed, throwing aside the billowing door flap of animal skin to pass inside. Charlie gripped the rough wood of the threshold with the dirty flap brushing against his soft hair to peer within.

The chief of these people was larger than large, reclining on a rug of stitched together animal pelts with his large, round belly jutting like a beach ball. His face was half in shadow, while a long and narrow pipe emerged from his lips, leaving a thin trail of smoke. At last there were other lights, but few and dim as they were set against one wall. With the room filled with half-opened crates, Charlie dared to venture into the room, peeking out from behind boxes to discover these lights were also fairies, who had been pinned to the wall as they dimmed and died.

The floor shook as the hunter set the cage aside and sat down before his chief, grunting and gurgling while gesturing with his bloated hands. The chief responded with the air of authority, and though Charlie couldn't understand a word, if these were words at all, he was sure they were haggling over his latest catch.

Still unnoticed, Charlie held his breath again as he crept up to the cage, careful where he put his bare feet to not make a sound. The fairy within watched him with its large insect eyes as her dragonfly wings fluttered it seemed in curiosity. The cage door was held in place by no more than a simple latch, so it was easy for Charlie to flick it open with his thumb.

The fairy remained inside, uncertain, so Charlie smiled as he held out his hand, not knowing how long these foul-smelling men would argue. Tentatively, the fairy stepped onto his palm, her tiny feet soft and warm. She fluttered her shimmering wings and floated before his face before biting him straight on the nose.

"Ouch!" Charlie cried out in pain and surprise, clutching his proboscis as he stumbled and smacked against the crates that filled the room. Both hunter and chief rose up to stare down at him with their glossy black eyes before roaring like overweight lions.

Charlie fled blindly back in the direction he had come, moving and shoving his way past these giants, always looking back to see them still raging behind. So he failed to see the gatekeeper until his cool and damp hands were grabbing hold of him, feeling like clinging water balloons. Though there was a hiss as this came into contact with Charlie's feverish skin, drawing a howl as he slipped from this grasp, and squirmed though a gap in the fence.

Charlie fell face forward into the muck with a great splash, hearing the gates parting as he ran blindly into the night. Then a pale glow flew into view before him, and he hurried towards it, passing the stream and through the forest in a blur before he at last reached the fairy now sitting on his windowsill before fluttering away. He could only crawl inside and collapse in his bed, no longer troubled by a sore throat.
 
You know, since poetry rarely seems to work with you guys (since most of you don't concern yourselves with it), I was wondering if it would be cool if I started a "Creative Poetry Challenge" sort of thing? That way we would just have poetry and short stories sorta separate, as I really love writing poetry but it almost never gels with you dudes.
 
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