creative writing · web viewyou should choose your words carefully here, giving as much description...

The story you write will contain some element of the supernatural – either using the genre of the GHOST STORY or the genre of the HORROR STORY.

These types of story contain very definite differences.

Copyright © 2004 www.englishteaching.co.uk + www.english-teaching.co.uk

1

http://www.english-teaching.co.uk/

http://www.englishteaching.co.uk/

GHOST STORYA faint tapping on the window woke Ben from his uneasy sleep. As he tried to adjust to the darkness he was aware of an icy chill in the room and the sound of someone else breathing…

o The purpose of a ghost story, as well as to entertain, is to create fear, often only through suggestion.

o There is usually a reason for the ghost’s visit, often because they feel that they have some kind of unfinished business.

o In a ghost story, the protagonist often helps the ghost to complete this business and move on.

Setting: Can be isolated, mysterious, frightening, unusual, threatening, e.g. Castles, old houses, dark woods, etc are all very popular

Characters: The ghost – frightening, mysterious, troubledThe protagonist(s) – frightened, innocent, brave

Plot: Usually builds to a climaxOften an unusual, unexpected twist at the endGhost usually allowed to rest in peace

Word Choice: Deliberately chosen to heighten suspense and fearUse of figurative language (imagery) and sound words (alliteration and onomatopoeia)

HORROR STORY

Ben screamed and screamed. They had left him there to die, entombed in the cave now that they had sealed the entrance. When his screaming subsided and the echo vanished, Ben heard another sound. A low moaning sound which seemed to be coming closer…

o The purpose of a horror story, as well as to entertain, is to create terror, usually through more blatant methods than the ghost story.


2



Often horror stories contain some kind of monster (such as vampires, werewolves, etc) whose only purpose is to prey on the human characters.

o The protagonist often is the one who rids the world of the threat of this monster, or becomes a victim trying.

Setting: Often an isolated or scary locationOne where there is little chance of escapeOr a normal location which has become very menacing and threatening to the occupants

Characters: Often the sense that the main character is an innocent victim threatened by a more powerful forceThe adversary is often supernatural and evilProtagonist often finds bravery and hidden strengths

Plot: The victim struggles against incredible odds to free him/herself from an unpleasant fateSometimes this struggle is successful, sometimes notThere is a build up of tensionThere is a strong climax, and possibly a cliffhanger ending

Word Choice: Words are chosen to intensify fear and horrorWords are chosen to build up the suspenseAlliteration and onomatopoeia, as well as lots of imagery, build up the atmosphere

THE FIVE MAIN ELEMENTS OF

SETTINGo The setting of a short story usually comes at the beginning of a

story, and lets the reader know where and when the story is taking place.

o The setting helps the reader to imagine what the place is like. o It is a picture in words and is the backdrop against which the action

takes place. o It is very important to ensure that you create a believable and

effective setting for your story.

To create a setting for your reader you need to describe:Copyright © 2004 www.englishteaching.co.uk + www.english-teaching.co.uk

3



1. What the place looks like. You should choose your words carefully here, giving as much description as you can.

2. If the place is light, dark, or has certain colours. Often a dark setting at night is used in these type of stories. However a bright, sunlit day could work well since it is an unexpected setting. You could also use colour as a warning to your reader. For example, each time the ghost, monster appears the room takes on a red glow.)

3. What the weather is like. Traditionally, storms and rain work well in ghost stories, as do snow, fog etc.

4. What sounds there are. Depending on the weather, this could be sounds of wind howling, thunder crashing, etc.

5. Any other impression made on the senses. The use of strange aromas works well; the feel of the walls, the dampness of the fog on the skin etc; unusual tastes, such as strong perfume which catches in the throat.

The following extracts are all opening paragraphs from published short stories. They are all take a very different approach to the genre, yet each is effective in its own way. In your own writing you should ensure that you begin in a way which draws the reader in; tell your audience just enough to get them interested and then tell your tale, gradually revealing your story.

He had stalked the demon to her lair. Now, he waited. Waited for dawn, when she would be most vulnerable. The waiting was the worst part. Knowing what was to come. The legends, he’d learned, were not to be trusted. The legends were wrong in so many ways.

The Stake by RICHARD LAYMON

“I see…” said the vampire thoughtfully, and slowly he walked across the room towards the window. For a long time he stood there against the dim light from Divisadero Street and the passing beams of traffic. The boy could see the furnishings of the room more clearly now, the round oak table, the chairs. A wash basin hung on one wall with a mirror. He set his brief case on the table and waited.

Interview with the Vampire by ANNE RICE

During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, Copyright © 2004 www.englishteaching.co.uk + www.english-teaching.co.uk

4



on horseback, through a singularly dreary tract of country; and at length found myself as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was – but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit.

The Fall of the House of Usher by EDGAR ALLEN POE

It all began when Grey was followed home, inexplicably enough, by the strange, famished yellow cat. The cat was thin with large, intense eyes which gleamed amber in the forlorn light of the lamp on the street corner. It was standing there as Grey passed, whistling dejectedly, for he had had a depressing run of luck at Grannie’s tables, and it made a slight piteous noise as it looked up at him. Then it followed at his heels, creeping along as though it expected to be kicked unceremoniously out of the way.

The Yellow Cat by MICHAEL JOSEPH

It was incredible, of course. Bound to happen some day. But why did it have to happen to me? What did I do to deserve the grief? And I was going to be married, too. I sank my last thousand dollars into that trailer, almost. In it Monica and I were going on a honeymoon tour of the United States. We were going to see the country. I was going to write, and we were going to be happy as two turtle-doves.Ha!Ha ha!

The Haunted Trailer by ROBERT ARTHUR

The demon creature was also making plans. With bad temper transforming into energy, Mandy was plotting in three directions: school, for the gang had been terrible that day; the ghost, she was going to deal with him; her family, to prove to them that he existed. To fortify herself, she decided she would need some nourishment from Mum’s latest hiding place. She found it easily. Poor old Mum. She’d no imagination.

The Clock Tower Ghost by GENE KEMP

“I’d not go higher, sir,” said my landlady’s father.I made out his warning through the shrill piping of the wind, and stopped and took in the plunging seascape from where I stood. The boom of the waves came up from a vast distance beneath; sky and the horizon of running water seemed hurrying upon us over the lip of the rearing cliff.

Dark Dignum by BERNARD CAPES

Even before I knew more about that piece of furniture I wouldn’t have


5



wanted it in my house. For a valuable antique, it wasn’t particularly attractive. With that tall stack of dark mahogany drawers, and those long spindly bowed legs, it looked not only heavy but top-heavy. The carved bonnet-top of the highboy was too elaborate for my taste, and the surface had been polished till it glistened a deep blackish brown, exactly the colour of canned prunes.

The Highboy by ALISON LURIE

Richard Kinnell wasn’t frightened when he first saw the picture at the yard sale in Rosewood. He was fascinated by it, and he felt he’d had the good luck to find something which might be very special, but fright? No. It didn’t occur to him until later (‘not until it was too late’ as he might have written in one of his own numbingly successful novels) that he had felt much the same way about certain illegal drugs as a young man.

The Road Virus Heads North by STEPHEN KINGDo you love?I hear her voice saying this – sometimes I still hear it. In my dreams.Do you love?Yes, I answer. Yes – and true love will never die.Then I wake up screaming.

Nona by STEPHEN KING

Read this description of a haunted house in London.

PORTMAN SQUARE, LONDON, 1911.It was an old house which stood on the corner of the street. The corridors were very long and not very well lit. The sun didn’t shine in the windows , and so the house didn’t have a good view.

At night, the house grew very dark. As well as being difficult to light, the house was always very cold.


6



Not very interesting, is it? However, using the elements for settings, we can change it to something much better.

PORTMAN SQUARE, LONDON, 1911.It was a strange and rambling house, full of old oak stairways. Long and narrow corridors seemed to hold dark and evil secrets. Windows gave no warming sunlight, only gloomy views of shadowed courtyards at the back and the blank, blind faces of houses at the front.

After sunset a shroud of darkness seemed to wrap itself around the house before creeping slowly inside. Blazing log fires hardly seemed to warm the rooms and hissing gaslight was strangely dimmed.

BEN’S JOURNEY

The car engine seemed to cough a few times before it finally shuddered to a halt. Ben sighed in frustration. Fifty miles from home, in the middle of nowhere, half past midnight. His choice was simple: stay put in the icy darkness till the morning or leave the car and see if there was any sign of human life nearby.

The moonlight glimmered on the white frost which covered the road like a gossamer sheet and on the tussocks of grass standing stiffly and blackly along the roadside. The bushes cast strange shaped shadows in his path, and a solitary owl hooted from a nearby wood. He felt the skin at the back of his neck prickle with cold sweat. The clouds momentarily cut off the moonlight and the shadows melted into general darkness. The air was thick with darkness, so thick that he could almost touch it. His breath seemed to


7



materialise into something solid in the icy air, and he could hear his heart beat like a drum. Something touched his face, something as cold as the grave and his teeth clacked and chattered uncontrollably.

1. Is this an effective setting?2. What imagery do you find particularly effective?3. Which words help to add to the spooky atmosphere?

Underline which of the words in bold you think is most effective in describing the following setting.

The road up to the castle was littered with/covered in/full of stones that were so big/sharp/uneven that they caught the traveller unawares and cut/tore/sliced through his shoes or threw him off balance so that his ankles were sore/tender/racked with pain.Around the castle there ran a deep river whose surface was covered with green weeds/slime/vegetation. A few wild birds floated hopelessly/uneasily/sadly in it, their feathers dull and drooping.Overhead grey/stormy/cloudy skies cast a dull/dark/dead light over the castle. It seemed that the thick clouds would perpetually stop any sun from reaching/warming/touching the castle with its rays.The walls of the castle were hidden/entwined/covered with tangled creepers which seemed to be trying to choke the life out of it. The creepers had pulled/dragged/wrenched stones from the wall so that the whole building threatened to/was about to/might fall on anyone who entered and kill/crush/hurt him.

READ THE FOLLOWING INTRODUCTION.

I entered the room and closed the door behind me. The room was big with bay windows and there were lots of dark corners. The blinds were drawn as were the curtains but I could hear the wind and rain outside. The bedside lamp was lit and there was a fire in the grate. Two large mirrors were hung high on the walls and on a wooden shelf stood two large brass candlesticks. I could hear the ticking of the grandfather clock

NOT VERY FRIGHTENING, IS IT?

Using the five elements of setting re-write the extract to create a more frightening atmosphere. Try to take away any description Copyright © 2004 www.englishteaching.co.uk + www.english-teaching.co.uk

8



which seems ordinary, and add description which makes the atmosphere more menacing. You can add details of your own if you wish.

READ THE FOLLOWING INTRODUCTION.

I entered the room and closed the door behind me. The room was big with bay windows and there were lots of dark corners. The blinds were drawn as were the curtains but I could hear the wind and rain outside. The bedside lamp was lit and there was a fire in the grate. Two large mirrors were hung high on the walls and on a wooden shelf stood two large brass candlesticks. I could hear the ticking of the grandfather clock

NOT VERY FRIGHTENING, IS IT?

Using the five elements of setting re-write the extract to create a more frightening atmosphere. Try to take away any description which seems ordinary, and add description which makes the atmosphere more menacing. You can add details of your own if you wish.

USING LANGUAGE TO CREATE A CONVINCING

ATMOSPHERETo add to your setting and create a convincing atmosphere, you need to:

Use words or phrases which create a mood Use simile Use personification Use metaphor Use sound techniques – alliteration, onomatopoeia

TASK ONERead the following extract and note how the writer changes the mood/atmosphere from the first paragraph to the second.


9



Overhead the trees arched, and water birds, becoming used to my harmless presence, called out softly. Once or twice a kingfisher flashed. There were trout in the warm water, I could feel them brush gently against my bare legs every now and then as I waded knee-deep along the course of the brook.

And then – suddenly: fear. Where did it come from? I had no means of knowing. Menace. Cold fear was all around me – in the dark arch of the trees, the tunnel they make (into which the stream vanished), the sharp croak of birds, the icy grip of the water on my calves, the gritty scour of mud on my grimed and scraped hands. But most of all, in my own mind, as if down at the back of it, stood something hidden, watchful, waiting.

TASK TWOUnderline the phrases in the second paragraph which match, but alter, the mood of the phrases from the first paragraph.

TASK THREERewrite the following passage in which a safe, comfortable setting / atmosphere becomes one of fear and menace.

The cottage stood hidden from the road, held protectively by the surrounding trees. Ivy climbed the walls, making it difficult to see what colour the stonework underneath had originally been. The windows peered inquisitively out at those who approached, while the door was always opened in a welcoming smile.

The little house was cosy and friendly. It smelt of woodsmoke and apples when you walked in and little squares of sunshine fell through its tiny windows. It offered no sound apart from the crackle of logs on the fire, or sigh of wind in the chimney.

New wooden floorboards had been laid in a couple of rooms over the bricks, for warmth, and these had shrunk as they dried; just sometimes you’d get the feeling as if somebody else had stepped on to the board you stood on, and made it bend a little.


10



SIMILESHighlight any similes you find in the following extracts (there is at least one in each), and explain why you find them effective.Sonny, who is a little troubled about this point, indicates the flat sheet of darkness to the right of the sign and extending to the next, smaller oak tree. As he looks at it, the darkness loses its two-dimensionality and deepens backward like a cave, or a black hole softly punched through the air. The cave, the black hole, melts and widens into the earthen road, about five and a half feet wide; it must have been there all along.

The streets were muddy then, the actual blocks islands above the gutters, and the entire city so dark compared to the cities of today. The lights were as beacons in a black sea. Even with morning rising slowly, only the dormers and high porches of the houses were emerging from the dark…

The waves crashed against the shore like angry stallions, as the wind roared above her head. In the distance, she could see the ship, it’s torn rigging illuminated by the moon like a ghostly skeleton.

PERSONIFICATION

- Do houses have ‘faces’?- What is the writer trying to suggest by saying they are ‘blind’?- What is this technique called?

- Why is ‘shroud’ a good choice of word here?- What is the writer trying to suggest about the darkness in this

extract?


11

Windows gave no warming sunlight, only gloomy views of shadowed courtyards, at the back and the blank, blind faces of houses at the front

After sunset a shroud of darkness seemed to wrap itself around the house before creeping slowly inside.

The clouds cut off the moonlight and the shadows melted into general darkness.



- What does the word ‘melted’ suggest to you about the shadows?

- What is suggested about the protagonist’s mood here?- How is this suggested?

- What does this extract tell you about the way Ben was feeling as he drove home?

- What technique is used to achieve this?

- What mood is suggested by the writer’s use of personification?


12

The moon was smiling down on him and the clouds looked like soft balls of cotton wool

The branches of the bushes waved him onwards to where Beth was waiting for him.

Wind sighed mournfully through the rhododendron bushes.

ALLITERATION and ONOMATOPOEIAcan be used to good effect.

1. The blank blind faces at the front2. The hissing gaslight was strangely dimmed3. The bushes cast strange shaped shadows4. His teeth chattered and clacked uncontrollably5. The sharp croak of birds6. It offered no sound apart from the crackle of logs

on the fire, or sigh of wind in the chimneyIMAGERY

A simile tells you that one thing is like another; it compares two different objects using the words ‘like’ or ‘as’.

His hair was as black as coal. His heart beat like a drum.

A metaphor tells you that one thing is something else. It is not meant literally but is just a way of creating vivid pictures in your mind.

The cold breeze was a slap in the face. She stared with eyes of stone.

Personification describes a thing or object as if it is a person or has human qualities.Eg

The wind whistled through the sails. The sun tread a path through the woods.



Now write at least two opening paragraphs to describe the setting for your own story.

Remember the five elements for setting Remember to choose your words carefully Remember to use figurative language/imagery Remember to use word sounds

Some further suggestions for setting are: a wood a lonely country road a castle an old house a ruined church caves the beach

TECHNIQUES TO USE TO HELP IMPROVE YOUR WRITING

When describing setting and creating atmosphere, use details based on senses – sight, sound, smell, taste and touch.

Base your settings on a place you know and then add invented details. Use real as well as invented names to bring characters and places alive Create atmosphere by writing about what is hidden, what is dangerous,

what looks unusual, what is out of place. Describe the weather, time of day and season, as well as the place. Use a mixture of long and short sentences to vary pace. Short sentences

help to increase tension and a sense of panic in your characters; long


13

WORD CHOICE

Your word choice is very important. It creates meaning. Careered is a stronger word than ran. ‘Shroud of darkness’ has a different meaning than

‘cloak of darkness’. ‘He felt helpless’ is more effective than ‘he didn’t

know what to do’.



sentences with lots of verbs or repeated use of ‘and’ can add to the impression of heightened activity.

Use sentence fragments to build tension. Ask questions to make your reader empathise with your characters.

CHARACTERYou should aim to give the reader an impression of your character’s personality by the way you describe him / her. You should also aim to make your reader respond to your character in the way you want. Do you want your character to be liked, feared, hated, pitied, etc?

Vyvyan’s dress did nothing to render him less scary. A beige burn mask (or a right elastic hood designed to suggest a burn mask) covered his enormous head. His eyes were visible through the mask’s eyeholes; they were too small for his head, as glassy-yellow as an alley cat’s, and so phlegmy that their continuous discharge had left umber-orange tear tracks on either side of his monstrous nose. His lips showed through an oblong cut-out like a pair of helically twisted wisps of liquorice, black and oddly glossy.

Which words or phrases are used here to create revulsion in the reader? Which words suggest that this character is to be feared?

His face was a strong – a very strong – aquiline, with high bridge of the thin nose and peculiarly arched nostrils; with lofty domed forehead, and hair growing scantily round the temples but profusely elsewhere. His eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion. The mouth, so far as I could see it under the heavy moustache, was fixed and rather cruel-looking, with peculiarly sharp white teeth; these protruded over the lips, whose remarkable ruddiness showed


14



astonishing vitality in a man of his years. For the rest, his ears were pale, and at the tops extremely pointed; the chin was broad and strong, and the cheeks firm though thin. The general effect was one of extraordinary pallor.

How does the writer create the impression of potential danger in this description?

THE GHOSTRewrite the following example, giving a clearer description of the ghost, as well as some indication of whether it is to be feared or not.Remember to use the techniques you learned when looking at setting and atmosphere.

Tom tossed and turned before his eyes finally opened. There at the foot of the bed he saw a strange white shape. It was standing quite still. The head nodded slowly, and the white hair moved in the darkness. Black eyes stared at Tom, and the mouth opened as if to speak.

It was a terrible sight!

CHARACTERThis is a description of the character of Tom. He is supposed to be a sympathetic, innocent child. Rewrite this, improving it as much as you can.

Tom was twelve years old. He was small for his age, but strong. He had red hair and very white skin. His eyes were dark blue and small. He had a miserable look on his face because he hadn’t wanted to leave the only place he had ever known as home, and come to live in the old cottage which his father had bought.


15



CHARACTERBoss Vole strode off the elevator as soon as it opened and was halfway down the line of work modules before the young man at the reception desk could alert the staff by pressing the intercom buzzer. The Vole always made a last round trip of the office before these business trips. She claimed it was to pick up last minute papers, but everyone knew she was there to inject a parting dose of her poisonous presence, enough venom to goad them until her return. Lenna Jordan had been the Vole’s assistant too long to be caught by her raiding tactics. She felt the wave of tension slide through the office in the silenced voices, the sudden steady hum of machines, and the piercing “Yes, Ma’am!” as the Vole pounced on an idling clerk. Jordan pushed the bowl of candy closer to the edge of the desk where the Vole usually leaned while harassing her, and went back to her reports.

TASK ONEUnderline all the WORDS which suggest that Boss Vole was a nasty, disliked person.

TASK TWOWhat do her ACTIONS reveal about her character?

TASK THREENow rewrite this passage, making Boss Vole a kind, well-liked person. You may want to change her name!


16



A MONSTERNow read the following passage about a monster and his encounter with a group of people.

The creature opened the door and entered the room, oblivious to

the stares which met him. Knocking a chair out of the way, he

reached the mantelpiece and picked up the photograph of Eva

which sat upon it. A strange noise came from the being, who did

not seem to realise until that moment that he was being watched.

He looked into the eyes of each person there, before dropping the

picture frame, where it smashed on the hearth. As suddenly as he

had entered, he was gone.

DOESN’T REALLY TELL US MUCH THOUGH, DOES IT?

TASK Rewrite the paragraph for each of the following options.

1. The creature is a very dangerous monster. He has been the subject of legends for many years and is known to be cruel and bloodthirsty. You are trying to influence your reader to be afraid of the creature.

2. The creature is a gentle, man-like beast. He has been the subject of legends for many years, but is associated with good luck, and has been said to help humans in trouble. You are trying to influence your reader to like the creature and to sympathise with him.


17



CHARACTERS AND SPEECHCharacters reveal themselves through WHAT THEY SAY, and THE WAY in which they say it.

1. “Don’t you deny it, you miserable little gumboil!” the Trunchbull screamed.

2. “Speak up, boy. Cat got your tongue, eh? Too many lies running around loose in your head? You wouldn’t recognise the truth if it was standing right in front of you!” sneered Mr Taylor.

3. “Heavens and earth, no!” cried Arthur in a storm of passion. “Not for the wide world will I consent to any mutilation of her dead body.”

4. “I d-d-don’t know what to do. I won’t b-b-be able to do it. I just can’t…” whispered Ellen.

5. “Okay,” Ty says. He speaks in a high, whinny voice. He hopes he sounds scared out of his mind. God knows it shouldn’t be hard to sound that way. “Okay, okay, just don’t hurt me, I’m doing it now, see? See?”

6. In a voice which, though low and almost in a whisper, seemed to cut through the air and then ring round the room he said, “How dare you touch him, any of you? How dare you cast eyes on him when I had forbidden it? Back, I tell you all” This man belongs to me! Beware how you meddle with him, or you’ll have to deal with me.”

7. Lestat smiled, as if he’d just thought of a joke. “This is your funeral, dear. You see, you were at a dinner party and you died. We drank your blood.”

8. “You tell Mom and I’ll break your arm,” Roger grinned chillingly.

9. Van Helsing rose up and said with al his sternness, his iron jaw set and his bushy eyebrows meeting, “ No trifling with me! I never jest! There is grim purpose in all I do.”

Match these personalities with the correct characters

A) Sarcastic and menacing, bullyingB) Strong, forceful, determinedC) Dangerous, taunting, uncaringD) Bossy and harsh, insensitive to othersE) Moral, passionate, lovingF) Helpless, weak, lacking in confidenceG) Intelligent, brave, scaredH) Dangerous, angry, powerfulI) Cruel, bullying, taunting

CHARACTERS AND SPEECHWe can often see what kind of person a character is through what he / she says. In a short story, this is an effective way of developing your characters, as well as your plot.Copyright © 2004 www.englishteaching.co.uk + www.english-teaching.co.uk

18



DIALOGUE“What now?” whispered Laura.“I don’t know, but I’m not going to stay here and become lunch for one, that’s for sure,” Dawn muttered determinedly.The vampire arose from his chair at the end of the room. “I can assure you, my dear, I have no intention of turning anyone into lunch, as you so Copyright © 2004 www.englishteaching.co.uk + www.english-teaching.co.uk

19

When writing dialogue, remember:

To make sure that the dialogue reveals something about the CHARACTER’S PERSONALITY;

To make sure that you consider not only WHAT is said, but HOW it is said;

To use dialogue SPARINGLY and only where it is APPROPRIATE.

When writing dialogue, also consider:

When to speed up the dialogue by not adding in the name of the person who spoke it;

When it is appropriate to use the simple word ‘said’;

When you should use more expressive words such as shouted, whispered, muttered, murmured, sighed, snarled, etc;

When you should put the verb before and when after the speaker. (said Robert or Robert retorted)

When you should also use an adverb, such as sadly, angrily, etc.



charmingly put it. I do, however have plans for you both.” As he smiled, the girls saw the glistening points of the demon’s teeth.“And then you’ll let us go?” asked Laura, her voice almost pleading.“Of course he won’t let us go!” scoffed Dawn. “Are you really that stupid?”“Oh, but I will, my dears,” the vampire seemed to glide across the room as he spoke, his voice almost entrancing them, “the last thing I want to do is hurt either of you.”“And if we refuse to go along with your ‘plans’, what then?” demanded Dawn.“Dawn, don’t make things worse…” Laura begged.“Things can’t get much worse, or hadn’t you noticed!” retorted her friend.“If you should become difficult,” the vampire breathed, “then I should have to become less … accommodating.”

TASKWrite a short paragraph about each of the characters in the passage above, describing their personalities. Use evidence from the text to support your ideas.

TASK ONERewrite the following piece of dialogue to reveal the PERSONALITY of the speakers, making the writing more REALISTIC.

PAULA quiet boy, easily frightened and often picked on by others. Desperate to be accepted by his peers.

JOHNA popular boy, but a bit of a bully. Often in trouble, both in and out of school. Laughs at others’ fears and mistakes.

The two boys approached the graveyard cautiously, John pushing Paul ahead of him. Paul stumbled, and caught himself just before he cried out in shock and pain. John tutted and scowled at the other boy in annoyance, as if he wanted Paul there even less than Paul himself wanted to be there.Copyright © 2004 www.englishteaching.co.uk + www.english-teaching.co.uk

20



“Watch what you’re doing, won’t you?” said John.“Sorry, I couldn’t help it,” said Paul.“If you’re too frightened to do this, you know, I’m sure there’s plenty other lads who would rather come with me,” said John.“I’m not frightened,” said Paul.“I’ll bet. Come on then, I’ll give you a leg up over the gate,” said John.“You mean, I have to go in first?” said Paul.

TASK TWOAfter you have rewritten this piece of dialogue, write a short piece of writing about what happens inside the graveyard. The TURNING POINT will be that Paul is the one who behaves bravely, and John becomes frightened. Paul’s behaviour means that John will change his opinion of him and Paul will be accepted.

story(what happens) + cause

(why things happen)

=

PLOTThis is what an author (E. M. Forster) said:

‘"The king died and then the queen died” is a STORY’.

‘"The king died, and then the queen died of grief", is a PLOT.’

In your story, something must happen to which your protagonist will react. Without a MAIN EVENT your story will be, quite simply, not a story, but a piece of writing. Some simple ideas for a turning point are:


21



protagonist sees something What is it? What does she / he do about it? Why?

protagonist hears something What is it? What does she / he do about it? Why?

protagonist finds something What is it? What does it do? What does protagonist do about / with it? Why?

ghostly figure appears Who is it? Why? What do they want? What can protagonist do about it?

protagonist is attacked By whom / what? Why? How can she / he resolve this?

STRUCTURESTRUCTURE refers to how the PLOT is put together. Most stories are structured using a chronological or linear TIME structure.

BEGINNING MIDDLE END


22



Beginning: This INTRODUCES the reader to the SETTING in which you have placed your PROTAGONIST. This also introduces your protagonist and lets your reader see the kind of person he / she is.

Middle: This is the bulk of your story and usually starts with something happening. You need an EVENT or a PROBLEM which pushes the action forward. The middle of your story will continue with your tale of how your protagonist handles this occurrence.

End: This is where your story comes to its CLIMAX. The problem is either resolved or your protagonist is defeated. Finally, if you choose to, tie up any loose ends, explain anything as yet unexplained, and conclude your story. Don’t drag your ending out - it should be no more than two paragraphs long.

TENSIONA good ghost story needs to build up TENSION. Something has to happen to move the action forward towards a CLIMAX.

Read the following extract and then answer the questions at the end.

Margaret’s uneasy sleep was disturbed by a tapping noise which seemed to penetrate her dream. She tossed from side to side before her tired eyes finally opened and adjusted to the darkness of her new room. She sat up in the strange four poster bed, and listened. At first she thought it was part of her dream but just as she turned her pillow round ready to resume her sleep, she heard it again. This time it was louder than before.

A) What happens next?B) Then what happens?C) What is the climax?D) How is the problem resolved?E) How does the story end?


23



GENRERead the following paragraph, then rewrite it twice, adding at least 3 sentences each time1. as part of a ghost story 2. as part of a horror story

Mark walked into the room. He looked around and saw something which surprised him. His brain struggled to understand what his eyes were seeing, but before he had a chance to comprehend the sight before him…

ENDINGSThere are many ways to end a short story but the most popular and effective ways usually:

Tie up all the loose ends in the story Answer all the questions in the reader’s mind Bring a resolution to the problem Often offer a surprise, something the reader did not know about Have a ‘twist in the tale’ May be a line of dialogue Can be a cliff-hanger, whereby the writer gives some hint in the final

line that the danger is not over but will return …

ENDINGSThere are many ways to end a short story but the most popular and effective ways usually:

Tie up all the loose ends in the story Answer all the questions in the reader’s mind Bring a resolution to the problem Often offer a surprise, something the reader did not know about Have a ‘twist in the tale’ May be a line of dialogue


24



Can be a cliff-hanger, whereby the writer gives some hint in the final line that the danger is not over but will return …

ENDINGSThere are many different ways to end a short story. Here are just a few examples.

THE PROTAGONIST IS CAUGHT BY THE GHOST/MONSTER

… the door clicked open and the motorcycle boots crossed the room toward where he lay. Over his bed he could see the picture of the Road Virus’ car idling in front of his house with the driver’s-side door open.The driver’s-side bucket seat, he saw, was full of blood. I’m going outside, I think, Kinnell thought, and closed his eyes.

THE PROTAGONIST’S ARE TRIUMPHANT AND WILL PASS THE TALE ON

We want no proofs; we ask none to believe us! This boy will some day know what a brave and gallant woman his mother is. Already he knows her sweetness and loving care; later on he will understand how some men so loved her, that they did dare much for her sake.

THE PROTAGONIST IS DESTROYED MENTALLY AND THE STORY COMES FULL CIRCLE

But Nona was the only one I ever really loved.It’s so hot in here. And I don’t like the sounds in the walls.Do you love?Yes, I love.And true love will never die.

THE MONSTER LIVES ON AND THE HORROR WILL CONTINUE

The monster stared out the window to where the snow still fell, quietly now, the blizzard having moved on leaving only this calm memory of its storm winds in its wake. He gave no indication that he was listening to the old woman, but she went on talking all the same.

THE HORROR IS OVER AND LIFE CAN GO BACK TO NORMAL FOR THE PROTAGONIST

His ordinary life of school and friends and games and music, a life where there were schools to go to and crisp sheets to slide between at night, the ordinary life


25



of a thirteen-year-old boy (if the life of such a creature can ever, in its colour and riot, be considered ordinary) had been returned to him, he realized.

A MINOR CHARACTER FORCES THE STORY TO CONTINUE, BUT WITHOUT THE READER

And quickly the boy noted:“ Lestat …off St Charles Avenue. Old house crumbling … shabby neighbourhood. Look for rusted railings.”And then, stuffing the notebook quickly in his pocket, he gathered the tapes into his brief case, along with the small recorder, and hurried down the long hallway and down the stairs to the street, where in front of the corner bar his car was parked.

THE PROTAGONIST DOES THE RIGHT THING AND SAVES HIMSELF (AND OTHERS) AT THE LAST MINUTE

The knocking ceased suddenly, although the echoes of it were still in the house. He heard the chain drawn back, and the door opened. A cold wind rushed up the staircase, and a long loud wail of disappointment and misery from his wife gave him the courage to run down to her side, and then to the gate beyond. The street lamp flickering opposite shone on a quiet deserted road.

THE ACTION IS OVER BUT THE PROTAGONIST IS HAUNTED BY THE MEMORY

But that’s not the worst. The worst is that sometimes I’m convinced she’s still out there, and I’ll see her again. Not the little girl in the bunny costume; Marguerite. I can’t get rid of the idea that some Halloween night when I look out past the little witches and clowns and spacemen on our porch, she’ll be there too: standing halfway down the path in her pale raincoat under a bat-black umbrella, waiting for me.

AN IMPORTANT CHARACTER IS DISCOVERED TO HAVE DIED BEFORE THE ACTION IN THE STORY BEGAN

“Why! What!” Through the mud upon his face he went white, up to the roots of his hair. He turned to us with startled eyes. Joyce died in Brixham Hospital nearly an hour ago. The hospital people have telegraphed to say so.”

If you are still struggling with an idea for your story, have a look at the following suggestions. Hopefully, they will help you find some inspiration!


26



TITLE ‘The Calling’PROTAGONIST’S SEX malePROTAGONIST’S AGE late twentiesPROTAGONIST’S JOB a lorry driverADJECTIVES RE PROTAGONIST burly, cynical, sarcasticSETTING an American city, present day.NARRATIVE POINT OF VIEW third person narrative

TITLE ‘Ruth’s Legacy’PROTAGONIST’S SEX femalePROTAGONIST’S AGE 18PROTAGONIST’S JOB servantADJECTIVES RE PROTAGONIST humble, quiet, sensitive, shySETTING a castle inhabited by a titled family, 19th centuryNARRATIVE POINT OF VIEW third person narrative

TITLE ‘The Birthday Party’PROTAGONIST’S SEX femalePROTAGONIST’S AGE 17PROTAGONIST’S JOB school pupilADJECTIVES RE PROTAGONIST arrogant, foolish, sly, prettySETTING protagonist’s house, present day.NARRATIVE POINT OF VIEW First person narrative

TITLE ‘The Return of the Clan’PROTAGONIST’S SEX malePROTAGONIST’S AGE 15PROTAGONIST’S JOB training to be a warriorADJECTIVES RE PROTAGONIST frustrated, brave, loyalSETTING Scottish Highlands, 17th centuryNARRATIVE POINT OF VIEW first person narrative

TITLE ‘Fear the Night’PROTAGONIST’S SEX Two people – a couplePROTAGONIST’S AGE early twentiesPROTAGONIST’S JOB travelling musiciansADJECTIVES RE PROTAGONIST loving, optimistic, brave, psychicSETTING somewhere in Britain, present dayNARRATIVE POINT OF VIEW third person narrative

TITLE ‘Return’PROTAGONIST’S SEX malePROTAGONIST’S AGE centuries oldPROTAGONIST’S JOB a monster, a ruthless killerADJECTIVES RE PROTAGONIST ruthless, determined, cruel, bloodthirsty SETTING graveyard, present dayNARRATIVE POINT OF VIEW third person narrative

TITLE ‘Day of Darkness’PROTAGONIST’S SEX a group of school pupilsPROTAGONIST’S AGE teenagersPROTAGONIST’S JOB school pupils


27



ADJECTIVES RE PROTAGONIST excitable, lively, argumentativeSETTING school bus, present dayNARRATIVE POINT OF VIEW third person narrative

TITLE ‘A Cry for Help’PROTAGONIST’S SEX female PROTAGONIST’S AGE 19 when she diedPROTAGONIST’S JOB a ghost, female murder victim.ADJECTIVES RE PROTAGONIST lonely, afraid, lost, unhappySETTING a city house, present dayNARRATIVE POINT OF VIEW first person narrative

TITLE ‘Silent Voices’PROTAGONIST’S SEX malePROTAGONIST’S AGE 12PROTAGONIST’S JOB school pupilADJECTIVES RE PROTAGONIST frightened, confused, lonely, slightly madSETTING city in the aftermath of a disaster, 2058NARRATIVE POINT OF VIEW first person narrative

TITLE ‘Stephen’PROTAGONIST’S SEX malePROTAGONIST’S AGE 21PROTAGONIST’S JOB apprentice train driverADJECTIVES RE PROTAGONIST quiet, introverted, troubled, hauntedSETTING train station, present dayNARRATIVE POINT OF VIEW third person narrative

TITLE ‘My Granny’s Cat’PROTAGONIST’S SEX femalePROTAGONIST’S AGE 15PROTAGONIST’S JOB school pupilADJECTIVES RE PROTAGONIST cynical, short-tempered, rebellious, aggressiveSETTING grandmother’s house, present dayNARRATIVE POINT OF VIEW first person narrative

TITLE ‘Class of ‘93’PROTAGONIST’S SEX malePROTAGONIST’S AGE mid to late twentiesPROTAGONIST’S JOB teacherADJECTIVES RE PROTAGONIST angry, frustrated, sarcastic, dislikeable SETTING a classroom in a secondary school, 1993NARRATIVE POINT OF VIEW first person narrative

TITLE ‘The Room’PROTAGONIST’S SEX male twinsPROTAGONIST’S AGE 14PROTAGONIST’S JOB school pupils on holiday with parentsADJECTIVES RE PROTAGONIST easily bored, curious, mischievous, likeableSETTING a hotel in Scotland, present dayNARRATIVE POINT OF VIEW third person narrative

TITLE ‘My Husband Came Home’PROTAGONIST’S SEX femalePROTAGONIST’S AGE in her ninetiesPROTAGONIST’S JOB lives in a care homeADJECTIVES RE PROTAGONIST gentle, loving, quiet, sweet, widowSETTING Grandson’s house, Christmas, present dayCopyright © 2004 www.englishteaching.co.uk + www.english-teaching.co.uk

28



NARRATIVE POINT OF VIEW mixture of first and third person narrative

TITLE ‘Trees’PROTAGONIST’S SEX malePROTAGONIST’S AGE sixtiesPROTAGONIST’S JOB a hermitADJECTIVES RE PROTAGONIST reclusive, introverted, lonely, mysticalSETTING deep within a forest, early 19th centuryNARRATIVE POINT OF VIEW first or third person narrative

TITLE ‘The Burnings’PROTAGONIST’S SEX femalePROTAGONIST’S AGE 30PROTAGONIST’S JOB witchADJECTIVES RE PROTAGONIST Powerful, angry, vengeful, ruthlessSETTING Salem, Massachussetts, USA, 17th centuryNARRATIVE POINT OF VIEW first person narrative

TITLE ‘The Cell’PROTAGONIST’S SEX femalePROTAGONIST’S AGE 20PROTAGONIST’S JOB unemployed, single motherADJECTIVES RE PROTAGONIST aggressive, violent, frustrated, poor, lonelySETTING cell at a city police station, present dayNARRATIVE POINT OF VIEW third or first person narrative

TITLE ‘The Door’PROTAGONIST’S SEX malePROTAGONIST’S AGE 30PROTAGONIST’S JOB explorer, mountaineerADJECTIVES RE PROTAGONIST adventurous, stubborn, demanding, authoritativeSETTING Snowdonia, Wales, present dayNARRATIVE POINT OF VIEW third person narrative

TITLE ‘Bugs’PROTAGONIST’S SEX femalePROTAGONIST’S AGE 15PROTAGONIST’S JOB cleaner (Saturday job)ADJECTIVES RE PROTAGONIST feminine, lacks confidence, trustworthySETTING isolated cottage, The Lake District, present dayNARRATIVE POINT OF VIEW first person narrative


29



creative writing · web viewyou should choose your words carefully here, giving as much description...

Documents