Archive for the 'class notes' Category

“folklore” is . . .

A certain Mr. Thoms in the middle of the nineteenth century first used the term “folklore” as a substitute for “popular antiquities.”  Popular antiquities?  Wow.  Seven syllables swapped down for two.  Works for me.  The definition of “folklore” according to the Folklore Society of London about 1890 is:  The comparison and identification of the survivals of archaic beliefs, customs, and traditions in modern ages.”  Again - Wow.  That’s a mouthful and then some. 

Another guy, A. H. Krappe, in The Science of Folklore (1930) wrote: “folklore limits itself to a study of the unrecorded traditions of the people as they appear in popular fiction, custom and belief, magic and ritual,” and went on to talk about how folklore reconstructs spiritual histories for people.

In my Handbook to Literature edited by Holman and Holman, folklore includes myths, legends, stories, riddles, proverbs, nursery rhymes, charms, spells, omens, beliefs of all sorts, popular ballads, cowboy songs, plant lore, animal lore, and customs dealing with birth, initiation, courtship, marriage, medicine, work, amusements, and death. 

Wikipedia goes further, stating that “Folklore is the body of expressive culture, including tales, music, dance, legends, oral history, proverbs, jokes, popular beliefs, customs, and so forth within a particular population comprising the traditions (including oral traditions) of that culture, subculture, or group.” 

Now.  Wasn’t that fun?

Crime Story How To Link

No sooner do I put out a request for information on Crime Stories and How To Write Them, but I find a source!  The BBC has any number of wonderful links for writers.  The “source” link provided here connects with Crime fiction and information offered may be found in Beginner, Intermediate, and Advanced writing skills areas. 

Reading, Writing, and Sparking Imagination

Benjamin Rosenbaum wrote “The Orange” and the editors of Flash Fiction Forward put it on page 135 when W. W. Norton Company were clever enough to publish the 80 stories Jim and Bob (Thomas and Shapard, respectively) had brought together.  And I, after reading a review by Charles Lennox on Gather.com, and being less dim than on other days, I ordered a copy of Jim and Bob’s anthology from Amazon.  Wonderful short-shorts.  Wonderful small reads of big stories.  Sometimes larger than life.  As in the case of “The Orange.” 

Here’s the thing: right or wrong, I often imitate stories most enjoyed and/or respected.  In B. Rosenbaum’s short-short “The Orange,” the opening line reads: “An orange ruled the world.”   

My world is ruled by whim, not an orange, and the short-short I want to write will not be about oranges, regal or treeless, but about . . . about . . . birds.  Yes.  And a particular bird that . . . hmmm . . . doesn’t rule the world, doesn’t even rule his own roost, but, instead, is, is . . . is (hold on, hold on, I’m thinking here!) is THE bird with the longest beak in the world!   In fact, too long a beak to allow that this bird could or should thrive.  The sort of beak that once a morsel, for instance a seed, is tweezered between top and bottom, the energy required to bobble that seed the whole length of his beak to enter his mouth burns slightly more calories than the morsel provides.  A dim future, indeed.  To be always in decline, generation to generation, until the decline is such that even if there were male birds capable of fertilization, their female counterparts could no longer squeeze out an egg.  And it wasn’t just the one bird (well, at first perhaps, but not for long) or even confined to feathered types for more than half a season.  In the same way that particularly viral influenzas spread between species, this counter-evolutionary process spread.  Laterally, at first, until no eagle could maintain a wingspan as he soared; eagles of all varieties collapsing into fields, trees, granite mountain faces.  Hawks, of course, too.  Plain sparrows.  Yellow canaries.  Bees.  Gnats.  Mosquitoes and flies.  By the time people felt the effects, they cared next to none.  Science forgot how to make anti-depressants and those people that didn’t hang themselves (mostly because they were completely inept with nooses), ran over high cliffs like lemmings.  They could have been mammoth or buffalo herded to fall in just such a way by primitive tribes on Paleo continents.  They could’ve been, but in fact they were modern people gone retro beyond any brain capabilities at all!  The sorriest part, the very most sorriest part of all this Rise and Fall of species is that by the time the “fall” gets underway, we are all too dumb to put the skids on—and, by the time we RE-evolution ourselves into homes and gizmos again, we can’t remember we’ve wrecked it all at least once before or that a species of birds grew beaks too long to be useful just from drinking the water used to cool the gizmo factory uptown. 

The orange in B. Rosenbaum’s story got bought by the narrative voice on page 136 of Flash Forward Fiction.  The n.v. paid 39 cents and after three days ate the orange, the same orange that was, until his departure, ruler of the world.  How do I compare my rare bird of long beak? Never a ruler, certainly never eaten (not by this narrative voice!), is he, was he, in the end, the sum of all of our best intentions?  Or . . . shh . . . . I’m thinking.  

“Scenes” notes from SBWC

From one of the Santa Barbara Writers Conference mystery genre workshops, a couple notes regarding “Scenes.”  I think, in a wider sense, the five points listed below apply to poetry as well as prose.  

A scene is narrative segments that have a shape and every scene must earn its place on the page.   Consider these five points when determining whether to keep or cut:  Purpose.  Direction.  Conflict.  Development.  Closure.

If any of the above are difficult to find in the written scene created, then rethink the work.  If the purpose hasn’t been met, figure out how to meet it.  If the direction meanders to such a degree that it can’t be nailed down, by you, the writer–consider how frustrated your reader will be.   If some conflict, whether internal decision making or external action, whatever, isn’t recognizable, then the prose, while possibly gorgeous and a particular “darling” will lack energy and tension.   Before leaving the scene, check out how well every element has been developed, or over-developed.   Close the scene while the reader is still with you, but bait the hook for what’s to come.