Pulling it all together

🏆
Checkpoint page
Your replies on this page can be graded by your teacher

We said at the start that this lesson had one underlying thesis: 

If you focus on contrast in writing a story, everything else will take care of itself.

Now we know that's not entirely true: you also need to pay attention to character, action, emotion, motivation, and so on.

But in this lesson we've done nothing except write feature-contrast pairs, so let's see where that's gotten us.

First, for reference, here are all the snippets you've responded to in this lesson:

Bod could not imagine hugging Silas, so he held out his hand and Silas bent over and gently shook it, engulfing Bod’s small, grubby hand with his huge, pale one. Then, lifting his black leather bag as if it were weightless, he walked down the path and out of the graveyard.

(The Graveyard Book)

 

For a week or so the wind played with the island, patting it, stroking it, humming to itself among the bare branches. Then there was a lull, a few days' strange calm; suddenly, when you least expected it, the wind would be back. But it was a changed wind, a mad, hooting, bellowing wind that leaped down on the island and tried to blow it into the sea.

(My Family and Other Animals)

 

A pretty black lady walked into the room then, and at first, Gerald thought it was Mama. But Mama never, never wore white, and this lady was smiling and Gerald knew that when Mama came to get him, she’d be screamin’ and yellin’ and cussin’.

(Forged by Fire)

 

It was always a strange thing for my siblings and me. As our mum was raised by a white father, there was no cultural knowledge for her – or us – to inherit. Despite being raised by her birth father in a home filled with complete and utter love, unconditional security and protection, the one thing he couldn’t give my mum was the knowledge of who she was as an Aboriginal woman.

(Growing Up Aboriginal in Australia)

 

"Didn't you notice?" she asked. "None of them had a bathroom."

Mr. Beeler stared at Mother with bulging eyes.

"But Madame," he wailed in genuine anguish, "what for you want a bathroom? Have you not got the sea?"

(My Family and Other Animals)

 

"He 'pears to know just how long he can torment me before I get my dander up, and he knows if he can make out to put me off for a minute or make me laugh, it's all down again and I can't hit him a lick. I ain't doing my duty by that boy, and that's the Lord's truth, goodness knows. Spare the rod and spile the child, as the Good Book says. I'm a laying up sin and suffering for us both, I know."

(The Adventures of Tom Sawyer)

 

Around the age of twelve, I entered a growth spurt, and suddenly this blond-haired, pale-skinned, slightly gawky child began looking deformed. My spine bent and curved under the pressure. It pressed outwards and tilted me to the side. Unbeknown to me, my mother had been watching for years, wondering, quietly worried that I might have inherited something that would catapult me towards – what, exactly? A stareable body? Disability? My father? My spine was a kind of question mark.

(Growing Up with Disability in Australia)

 

MODELLING COULD TRANSFORM ME. And I’d no longer be Harriet Manners – hated, ignored, humiliated. I’d be… someone else. Someone different. Someone cool. Because if I don’t do something now, I’m going to be me forever. I’m going to be a geek forever. And people are just going to keep hating me and laughing at me and putting their hands up. Forever. And things will never, ever change.

Unless I do.

(Geek Girl)

 

The boys and the girls live in separate worlds. The boys in their universe and we in ours.

(The House on Mango Street)

 

Every noise she made echoed, in that long room. She turned all of the overhead lights on, even the light on the whiteboard, just to make the place less scary. The room began to feel cold. She wished she could turn up the heat. She walked over to one of the large metal radiators and touched it. It was burning hot. But still, she was shivering. 

The room was empty and unsettling in its emptiness, and Mo felt as if she were not alone, as if she was being watched.

(The Graveyard Book)

 

"Miss Lupescu?"

The great dog-like head lowered towards him, and for one mad, fear-filled moment, he thought she was going to take a bite out of him, but her tongue licked the side of his face, affectionately.

"You hurt your ankle?"

"Yes. I can’t stand on it."

(The Graveyard Book)

 

Someday you will beg for the honor of licking my feet. You will get down on your stupid, worthless knees and beg, "Please, sir! Please! Let me lick the diseased dog dung from between your toes." (I will be standing barefoot in the dung of diseased dogs—just to make it grosser for you.) And if I am in a good mood and am not too disgusted by your stupid, wormy tears or your stupid, scrunched-up face, I will allow you the signal honor of licking my feet clean. Even though you don’t deserve it.

But that’s all in the future. At the moment, I’m in the seventh grade.

(I Am A Genius of Unspeakable Evil and I Want to Be Your Class President)

 

"Four legs good, two legs bad."

(Animal Farm)

 

"Proud and insolent youth," said Hook, "prepare to meet thy doom."

"Dark and sinister man," Peter answered, "have at thee."

(Peter Pan)

 

Both boys were looking very pale and miserable, now. Joe's pipe dropped from his nerveless fingers. Tom's followed. Both fountains were going furiously and both pumps bailing with might and main. Joe said feebly:

"I've lost my knife. I reckon I better go and find it."

Tom said, with quivering lip and halting utterance:

"I'll help you. You go over that way and I'll hunt around by the spring. No, you needn't come Huck—we can find it."

So Huck sat down again, and waited an hour. Then he found it lonesome, and went to find his comrades.

(The Adventures of Tom Sawyer)

Writelike

And here's everything you've written in this lesson.

Read it and see how you feel. (And maybe add some paragraph breaks to separate the snippets.)

Here is everything you've written. See the note below about what to do with it.

Think about what you've written in this lesson.

How interested are you in what you've written? How strongly do you feel about it?

Our guess is that by doing nothing more than focusing on different dimensions of contrast, and using it to create emotional effects and conflict, you have probably built a rich and interesting story world that will stay with you at least for a little while.

This is a checkpoint piece, so you need to decide what you want to do if you're in a class and this is going into Wrotevote or Peer Review.

  • Option 1: Choose your three favourite variations, and delete the rest from the textbox above. This is the only Wrotevote-friendly option. (You're only deleting them on this page, not from the previous pages.)
  • Option 2: Go big and keep it all. Polish anything you want to polish, maybe add some paragraph breaks, and submit everything. This is only viable for Peer Review.

It doesn't matter if the snippets don't join together in a coherent story; what you should be looking for is a sense that you have created a living, breathing, dynamic world.

When you're done, hit the Complete page button and let's wrap up this lesson!