Begin in the middle
with the screams
of something burning,
then insert nightfall
and a trail of bread crumbs
the crows will maliciously eat.
It’s important that there be
lost children, but the search dogs
should be tired, or even better,
dubious, and with no way
to stop the bleeding
in the region of the brain
that controls our tears.
What, according to this poem, are the key components of a well-written story? Does your projected story incorporate any of the components? Respond by five p.m., Sunday, February 14.
22 comments:
I think what the poem is trying to say is that the most important part of starting a story is dropping your reader in the middle of the action. When you’re beginning the story you don’t need to describe the color of the fire, but let them hear the screams of terror. It makes for a beginning loaded with action, and it also establishes the conflict of the story upfront.
Then you can begin to introduce the other details once you’ve got your reader’s full attention. The “trail of breadcrumbs” are the details that the reader will be more wanting of after you’ve hooked them.
I think one of the main problems I’m having with writing this story is I go back and forth between what I’m trying to write about or focus on. I’m really troubled about subject and theme, specifically, do I write the subject and the theme emerges out of that? Or do I try to focus on the theme of the story and write the subject based on that?
I could do a better job of starting my story right in the middle of the action, where I stop to help this man on the side of the road. I guess when I first wrote the story I was too hung up on the details of leaving work. But the story is about this man, and the other person in his car, where they say they were heading before they ran out of gas, whether or not I should believe him and if I really help at all.
I think by “lost children” the author of this poem means that there needs to be a conflict or a dilemma in the story, and that the resolution, or the “search dogs,” are just as important to the story as the conflict.
kim, just tell the story, and if you tell it well, the theme will tak care of itself. really.
According to this poem I think the key components of a well-written story is choosing the right descriptions. Some are necessary, like the search dogs being tired where the color of the crow is not. I also think it is telling us to get right to the point. Stop jumping around and put us right in the middle of the story. We don't need to know everything that happened before.
I think it is also telling us that something needs to be going on in the story. There needs to be a reason for telling it. Staying focused on that story is important without confusing the reader.
I feel like I am having a hard time keeping my story on track. Initially, I didn't jump right into the middle of it. After your revisions I understand why it is necessary. I haven't begun to finish my story, but in my mind it jumps around all over the place.
My story is about the car ride I had with my mom when I moved back home from my previous college. I need to just stick with it and stop being so indecisive on what I want to say.
What the poem meant to me was that a good story should start right in the action because that is what is going to draw the reader in. I tried to accomplish this in the first scene of my story. I left out why I was in the situation I was in. I only used a little description, and I relied mainly on dialogue and basic statements.I back tracked a little here and there, revealing a "trail of bread crumbs", as the poem described, about how I got to where I was. This will fill in the gaps to my story.
I am having trouble deciding what details to include and what to leave out. I know details should move the narravtive along, but I'm just having trouble deciphering which do.
I think the poem is also saying to not let the reader know more than you knew at the time. If the action is unfolding in front of you, it should unfold in front of the reader as well.
The most important component of a well-written story is expressed right in the first line of the poem. As everyone's been saying, start in the middle. Which, I agree with. It's much more enticing to be brought right into the middle of gory open-heart surgery and wonder why this is happening rather than see the boring rising action that came before it.
In addition to that, I like the "trail of breadcrumbs" metaphor; those breadcrumbs are the little details that will surround the climax and make the story worth reading, I think. It's important also that stories have mystery, that the author doesn't give everything away right at the beginning.
For my story, I can only hope that it has those components. In the past, I've attempted writing stories with craziness dropped right at the beginning, no sugar-coating, and it's seemed to work. And it's not my style to give everything away at the beginning; where's the fun in that?
One of the most important writing techniques, I believe, is creating an active beginning that will capture the attention of the reader. The first stanza of this poem supports this idea. Instead of describing the dead component s of a story, describe what’s alive, what’s worth knowing. Once you’ve captured the reader, you can then include details that will complete the scene. Although choosing these details might be difficult, the author of this poem is saying that we must not create confusion for the reader. Although there should be a conflict and questions, readers must always know where they are in a story.
I think the last few lines of the story is trying describe the importance of keeping the flow and rhythm of a story that will trigger certain emotions. In other words, there should be nothing in the story that will turn the initial sadness, happiness or anger of the reader into confusion.
There are many details that i could include in my story, but I have a hard time trying to decide what isn't necessary.
Sometimes I don't want to confuse my reader so much, that I include too much detail. I am afraid that my readers won't get the point of my story.I am trying to include details worth interpreting without being so straightforward that my story becomes boring.
A well written story captivates the reader in the first few lines and keeps them interested with the right amount of detail and background information. The key, however, is to know how much the right amount is and what information is necessary and relevant. By dropping the reader in the center a conflict has been established giving the reader a reason to stay and read on with out the unnecessary fluff.
I feel like my story is sometimes on its way to becoming a jar of fluff. After our discussion in class I was thinking about how to better develop my story. In need better organization and a stronger sense of what is and isn't necessary description. I also have a little notebook that I write ideas down into: phrases, new words, lines form whatever I'm reading and incomplete sentences that I know where I am going to put in my story. My problem, I feel is trying to manipulate those notes into a way that's not so jammed together and a boring drag on my writing. I think my story and all well written stories need a cleaner, sharper strand of those notes to keep the reader engaged.
I'm going to go on what other people said about starting a story with something interesting and captivating. I think it's great that the author of this poem did just that when writing it. I feel as if this poem is following the same rules that a well written story should. It starts with an extremely enticing beginning and uses the word "screams."Just using that word really make the poem stand out. Since it starts off with such power and force, the reader is curious and therefore will read it, getting to the details in the middle. The end leads to the emotion, the part of the story that's really going to resonate with the readers feelings and experiences and pull everything together.
I think the trouble that I'm having is the middle section of my story. I understand that in the beginning, the reader needs to be dropped directly into the scene, but I'm not sure how to make the rest of it flow. I think I'm having trouble writing the emotions that will lead the reader to feel a connection to my story. I just want to make sure that I organize my story well enough so that my reader will be entertained yet somehow gain something from what I'm trying to say.
The poem is saying that the story should begin with the action, not an explanation of why the action is taking place. There should be clues for the readers to follow so that they aren’t completely lost or clueless. There should be conflict and struggle. And the story should move readers in some emotional way.
My story definitely starts with the action. And I don’t believe there are any parts that could leave readers in the dark without knowing what’s going on.
There’s certainly conflict: I accidently sold beer to a drunk woman, but I can’t undo the mistake I made. So, now I have to make sure that she’s going to be okay. The struggle comes from my having to deal with her sexually harassing me.
I think it can emotionally move people either by making them laugh or by grossing them out.
I believe the poem's message is a rather simple one - dump the sleepy, flowery exposition and dive face first into the action. If a blazing inferno of relentless terror is the scene's centerpiece, don't wander off and describe the bread crumb-craving crows that roam in the happening's shadows. Atmosphere, "malicious" crows and all, is a good thing, but not when it hijacks the story and overwhelms the message.
In terms of my own piece, I think it begins well enough, and I believe it maintains an effective sense of setting and atmosphere throughout. Yet, at the end of it all, I have to ask myself one question - is this thing really a legitimate "story"? Sure, I think it's literary journalism, with most, if not all, of the necessary nuts and bolts which make a piece viable on Left Hand Waving.
Alas, I think my work ultimately almost feels more like a "scene" than a "story." It tells of all of the oddball on-goings and people in one place at one time. Its' message, while probably somewhat muddled in my current draft, is essentially that we often manage to find irresistible charm in the most strange and unexpected of places.
Yet, I'm not sure it has a crystal-clear beginning, middle, and end. It sort of moves along at a very breezy and natural pace, and I suspect some readers would leave my work thinking to themselves, "so what?"
This poem does a great job of outlining techniques that writers should incorporate into their writing to ensure that it is an exciting read. The first two lines of the poem describe using in media res, begin with something exciting to grab the reader’s attention, “something burning,” then calm the story down, “insert nightfall.” From there, the poem describes slowly building the reader back up with details and descriptions, “bread crumbs.” The poem also talks about suspense, keeping the reader guessing after pulling them in. Finally the poem stresses using emotion, enough to cause bleeding in the tear producing, “region of the brain.”
After reading this poem I’ve realized that as planned, my story is a little lacking. However, it has also given me some interesting ideas on how to spice it up. The scene I originally chose for my opening scene, I now feel might be better suited later on in the story. In order to include some sort of in media res, I’m thinking of starting the story from around the time of my race rather then when I woke up for it. I’m also going to try to build the story up and incorporate some suspense on whether or not I won. By including these techniques I believe that my story will be much more enjoyable and exciting to read.
I agree with Kim's response, which is not how I started my story for the LHW assignment, but I have written stories right in the middle of the action. In fact, it's more enjoyable to read a book where an author can craftily displace its reader only to bring them back to the main focus without confusion. But that’s where the breadcrumbs come into play.
Search dogs are the readers, trying to solve the themes of the story. My story already started out with an obvious purpose and nothing needs to be unraveled. After reading this poem, I might want to change that.
“Lost children” involves a conflict, and my story could use more of that. This poem was pretty helpful for going back to my story and fixing it. A well-written story is emotionally-charged, packed realistic drama and at times, some suspense for the reader to keep tracking down those ‘breadcrumbs’.
According to this poem, a good story is one that starts off with a bang, and opens your interest. Then you provide the background and context of the story. In order to occupy the reader, the story must start with "screams", a loud entrance to the text.
With my story, I am struggling a bit with the structure, just because I want to begin with context, and background of the situation. Maybe that's my style, but I am going to rearrange it to start off with details about the game, and get to the end of it. Then surround it with what was at stake, and how I felt afterwords. Which is the theme of my story.
This poem expresses to the reader that when you are starting a story, the writer should immediately drop the reader into the action. Rather than starting off with a description of the fire, write about screams of the victims within an underlying smell of smoke. When your story continues, you should work on writing the “bread crumbs” of the story; it is then that you give them the specific details that allow them to clearly follow each move that your story makes. It is important to drop your reader directly in, and then give them the background after.
I think that I did a good job at dropping my reader directly into the story. A hole in the wall on St.Mark’s place where a Boris who is truly a character hands me a pair of shoes and orders me to sit on a purple plush barney to try them on. I think what I am struggling with is figuring out what I want to focus on within my story. I wanted to focus on Boris more than on my experience with him but as I continue to see how these stories are done I think it will make it more personal and unique if I explain my experiences with him personally and what I got out of my meeting with this crazy man. I also think that when you edited my story and cut out the first sentence you were totally right because it was just fluff that was unnecessary and I only added it in because I was having trouble starting somewhere. If I continue to write what I feel and test it out using a trial and error technique I think it will work out a lot better for me.
This poem is saying that the most important part of writing stories is to "begin in the middle
with the screams." Why? Because it will catch the reader's attention right away. It will keep them wanting to read more (even if they necessarily don't like to read). One way that I tested this out with my story was by having a few friends read it (who I know aren't too fond of reading) and see their reaction. I didn't tell them I wrote it at first so I could see a true reaction. All three of them told me that the story made them want to continue reading. So that made me feel like I was at least on the right track.
The "little bread crumbs" are those details that keep your reader captivated. What I need to work on are certain details that I should either include or leave out.
This poem essentially outlines how to keep readers of a story interested. Of course dropping the reader right in the thick of it, so to speak, would make them more curious and convince them to read on as opposed to flowery "purple" prose. The images conjured by the poet also suggest that it is important to hold the reader's interest without confusing them. Although a phrase like "nightfall" would imply that one is leaving people in the dark, the poet suggests that one leaves a "trail of bread crumbs" or details that make the reader want to devour your story. These little nuggets of information build suspense, empathy, sympathy, any strong emotion strong enough so that "our tears" are out of control (well, not literally, but that is what is implied).
In terms of the brief piece I wrote for last week's assignment, I think I was so focused on trying to avoid ornate language and "purple" prose" that I skipped out on more sensory details and plot developments that would have painted a clearer picture. The nature of the commitment-oriented conflicted the characters are facing also isn't totally clear. I attempted to drop the reader into the action in the beginning, although I don't know how successful I was. I am also not sure that this is the kind of story that leaves one "bleeding in the brain," as this poet suggests. I guess this goes back to our conversation about what kinds of stories are worth telling, and I guess I am still not sure.
This poem says that a good story is one that starts off with excitement or something enticing and with action. It is intriguing and the story after the initial introduction leads the reader by a string through the rest of the story; it has the reader grasping onto every word. Details are important. that reader should be able to fully grasp the scene in their mind and picture the sagging tired eyes of that dog. The story should make you think, make your brain enveloped in the story. The story should be as interesting a the descriptive details. It should be exciting.
My story is descriptive, but could probably be more descriptive in some areas. It starts of well with the screams of the children being heard through the chatter of the people eating at the table. I think it made need some work in how the descriptions are used or how the verbs are worded.
The poem says what you've been telling us for weeks now. We need to start our stories in the middle of action, not with the "David Copperfield crap."
It also says to keep the reader oriented ("trail of breadcrumbs"). The crows should not be confused.
Another key is that there needs to be a conflict, caused by, or failed to be resolved easily by either passive or better yet malicious behavior.
Finally, it should leave an emotional impact.
I hope my story will provide all of these elements. I'll try my best...
(That deleted post was this from before, I realized at 6 that I posted under the wrong account, sorry)
I would have to agree with everyone who says that the poem is saying to drop your readers into the heart of the story instead of taking your time and setting up the background and guideline information. The most important thing to do is hook your reader, and then you can worry about dropping in your details.
The poem says that you should concern yourself with making the story interesting and using good descriptions. It also says that you shouldn't confuse your reader, and make sure they get the necessary background information eventually.
I think my writing uses good descriptions, but I don't drop my readers right into the story. I feel like it's bad habits left over from grade school, of making sure you set the scene before the action comes.
The poem is trying to say that the key components of a story are for you need to have interesting points for your readers to follow along, keep them guessing and on the edge of their seats
This poem, I think, is saying that a story must first fascinate and intrigue the reader, then abruptly leave them wondering. Come back, and give them hope, keep them following, attentively. Then provide a resolution, but not one they might have expected, but one that makes them think.
My story does incorporate some, if not most of the components I interpreted. As I continue to read and change it, I hope it will evolve into a successful story. Sometimes, I think my problem is that I know what I want to say, the whole story plays out in my head. Its just reiterating it into the right words so that everyone can understand what I'm trying to say
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