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 noon, Monday, February 9.
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First off I have to say that by reading this poem, I have gained more confidence about changing my original story plan and what I want to write about. I thought at first because the new story I am writing is not really, but somewhat personal, it actually may not be very good, but now I think otherwise.
Starting at the very beginning of the poem, “begin in the middle with the screams,” tells me to start my story at the middle of the problem, or with that great opening scene that will draw my readers and get them to automatically ask themselves, “What’s about to occur?” It also shows me that my story should move along smoothly and interesting enough for my reader to follow the clues I leave along in the story to find or see what happens at the end, or for my readers to get the point of the story at the end. And also, most importantly this poem tells me that I should get my readers to think, and actually use their brains, not make it so easy but not too hard for them to understand.
I have to say that I’m positive that my story will definitely have the recipe it takes to make a really good story.
My interpretation of this poem, with relation to a well-written story, is that the writer should know what the focal point of the story is, start with that, and then lead the reader through the rest of the story but by being stingy with detail – “insert nightfall and a trail of bread crumbs the crows will maliciously eat.” The “crows” of that line would be the readers of the story. The rest of the poem focuses on the climax and the ending. It suggests that there should be a well-written and intense scene that keeps readers interested by not ending it too quickly. Sort of like dubious search dogs looking for lost children. With that line I also think the poem suggests there should be something in the story that leaves readers touched in some sort of way, maybe causing crying from either happiness or sadness – “to stop the bleeding in the region of the brain that controls our tears.”
I just read this poem with Tom Waits playing in the background, so I feel a bit warped/fucked up/drunk off whiskey right now.
If someone were to write a story using this poem as the proverbial road map, the core of the story would have to be the most impactful, the most substance filled, and, overall, the root of all the twists and turns of the plot. The Rome where all the roads lead. However, for interest's sake, you gotta obscure and blur the situations. A straight path story would not be lasting; an obscured one, however, would lead to more thoughts and questions regarding the tale.
I don't believe that my story idea will follow this kind of set-up. Instead of roads leading to and from Rome, I imagine more an atomized scene, where electrons fly around a larger nucleus of meaning, just barely touching the surface.
I forgot to say whether my story would incorporate any of those components.
Ummm... it may. I don't know if I have the writing skills to juice my topic up in a way like the poem suggests but I can try.
Amazing. A 60-word poem encampasses everything that is a writer is taught to include in any piece of writing (things that take semesters/lifetimes to learn):
A piece of writing does not have to be chronological (the poem suggests it is better if it starts out with an action/emotion-filled begining). Attract a number of the senses. Include a time-frame (nightfall). Use adverbs/adjectives (maliciously).Details (breadcrumbs). Emotion (include emotion in the subject as well as target the emotions of the reader...control their tears).
I hope my story will include some of these components, otherwise it would suck. In specific, I work non-chronologically. I actually think I am incapable of writing chronologically. I get bored even thinking of things chronologically. All the stuff written in between the first and the last line are all the ingredients needed to achieve the goal stated at the end "control their tears." Every one is going to achieve that in a different way, choosing to use certain elements at certain times to a certain degree. I cannot predict how they will end up in my story but they will definitely be there in one form or another. They have to be.
What I grabbed mainly from this poem is that a piece should evoke emotion in the reader. The lines
"with no way/to stop the bleeding/in the region of the brain/that controls our tears" reminded me of the things I most love to read. In my opinion, stories that involve and evoke extreme sadness, humor, passion, etc. is what writing is all about. I also believe a good story can alter the way a person thinks, if for only a minute or an entire lifetime. That's what I hope to do with my story. Big, big hopes, I know, but I want to evoke emotion and spark ideas in people. My story will (hopefully) be about a family or an individual struggling, and I want others to sympathize with them and also feel grateful for their own lives.
The first thought that came to mind when I read this poem is how much it relates to Professor Good's love for the beginning of Appaloosa. As he mentioned many times in class last semester, as well as this one, Appaloosa starts off with a man getting shot. A major action, something that automatically sets the tone of the story and grabs the reader. The other thing this poem reminds me of is the idea that you need to have some kind of conflict. The poem suggests, "Begin in the middle with the screams" which to me means, something that draws the readers in Appaloosa style. The idea that, "It's important that there be lost children, but the search dogs should be tired..." describes the conflict I mentioned above. Lastly, as many other people have mentioned, emotion is very essential to writing stories.
When it comes to my story, I really do hope to incorporate all of these aspects. Starting my story off by shooting a character (not literally) is a way to entice the readers to read more. The conflict I hope will find itself, the idea of trying to live off minimal wage/working at a job where people barely recognize you for any other reason other than your food/retail services. To me, I'd love to add in all these suggestions and styles from the poem, but be sure that it doesn't hinder my story, or take away from my voice and style
The middle of our stories are our ideas- the initial ideas that inspire us to write our stories in the first place. They are powerful and meaningful. They are also meant to move. Something burning can be interpreted as the object that requires attention to be drawn to it, while the screams in the previous line actually call attention to the object. Nightfall is the outcome of the scenario and the bread crumbs are the small pieces of evidence left behind. I feel like the bread crumbs tell the story, but are quickly hidden and consumed by the crows, who in this case don’t want there to be any evidence. The crows are like the natural and sometimes unnatural factors that prevent our stories from fully being told. The lost children evoke empathy, as do the dogs. The dogs also represent hope and possibly the good in people who want to acquire the truth. Tears can be tied to emotions, while bleeding is a physical malady that is often paid more attention to.
I don’t feel as my projected idea will evoke as strong a response as this poem did. (I plan to write a story on the college student’s diet.) I hope to be able to inform the audience. I don’t feel as if I’ll be able to move them emotionally. I might be able to if I interview enough people and come by a really good scene. I will, however, get all the facts and write an article that is newsworthy.
For me, this poems main explanation of a well-written story is one that immediately catches the reader’s attention. “Begin in the middle, with the screams of something burning, then insert nightfall.” You need to allow the reader to get fully immersed in the story, set a scene that paints a picture in their minds and give them just enough information to want to continue on. As Tiffany pointed out, you need to evoke some sort of emotion in the reader, and ultimately be able to connect with the reader. The whole intention of writing is to make others feel as compelled over the topic as you are, and open their eyes to the world around them. “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.”
In the case of my story, which I plan to base around time volunteering at a soup kitchen, I feel that it is crucial to evoke some emotion in the reader. I want them to be able to feel the hardships these people are facing, and be able to reflect on their own lives. I hope to be able to reach out and grab the attention of readers just long enough that they are able fully understand the struggles people are going through.
To me, the beginning of this poem says that you should keep in mind the important and emotional underpinnings of your story; and try to reveal them early to draw readers in. Insert key,direct clues and imagery into the insight that your trying to reveal, and have there be some type of cost to the characters or reader if they do not attain what your trying to get accomplished. From the description of the search dogs, I think this means that your characters, or even heroes, need not be perfect or even terribly good people, yet they have to be vulnerable and have the potential to grow, whatever the outcome or subject matter is.
For my story i'm going to try to include some of these points by making sure I don't forget the human element to my story. I think that my last story was missing a lot of this and by making sure I put it in more I think it will make it more engaging to the reader as well as more important to what it is trying to achieve.
It seems as if the poem is saying that one should identify the climax of the story and really try to understand its meaning and its effect on the reader. "Begin in the middle," it says. If we can understand the high point of the story then we can evaluate what has lead to that point and we can also work from there. Another key point in the poem seems to demonstrate that a story should have a powerful effect on the reader and that the writer shouldn't be afraid of having a reader be affected greatly by the words.
When reading this I just saw even more what I've known already. That is, that a truly good story will leave a reader FEELING what it is that I've written down. My message won't be shrouded behind something and my words will be properly chosen in order to invoke reaction and thought from the reader. And sure, this poem has helped me to realize that and keep those important aspects of a story in my mind when I write this semester's story. The idea of starting with the climax is definitely something I'd like to work with.
I think that the poem clearly suggest that writer don't need to start from the beginning, but from the most important point and afterward build the story around it ("Begin in the middle/with the screams").
The words "trail of bread crumbs" mean to me that writer need to keep reader interested and involved with the action.
The last part of the poem ("(...)with no way/ to stop the bleeding/ in the region of the brain/that controls our tears.") tells that the good writing should make reader to be emotional and need to play with his feelings.
I don't know if my story will incorporate any of this advice, but I would definitely try to make my writing as engaging and intense as I can.
According to this poem, the key component to writing a good story is starting from the best part but only giving enough so that you can string your reader along until you reach the end. And that end should be be the entire point of your story. It should ravage your reader emotionally.
I think my story will incorporate these things. It probably will not ravage anyone emotionally though.
What I'm gathering from this poem is my story needs to start off smack in the middle. Instead of waking up, showering, eating breakfast, for example, I'm already in class arguing with my professor. I need a shot-gun beginning. Then I need some sort of mystery, something that lures the readers in. Maybe something unusual about the day? Something unusual about my character? There needs to be something that challenges the reader, that makes them question what they're doing or who they are. Then they need to break apart and piece themselves back together. But there should also be something heroic about my character(s) that they don't themselves realize plus something humble about them. They should be the kind of people that trudge through mud everyday while trying to persevere. Or at the very least, they should be someone the readers can identify with and feel their pain, heartache, happiness, etc.
For my story, which is about body image, that's ideally what I would like to do: focus on one character, write about their struggles and how they deal with it. I'm not sure if my story will take that course as I'm having trouble finding a beginning.
According to the poem, it seems like the key components of a well-written story are to begin right off the bat with conflict of some kind, a dramatic event or scene that captures the reader's attention and unwillingly pulls them in from the start. Then the story should taper off, perhaps take a step back and set up the first scene, explain some things or at least hint at what the main subject will be. The "trail of bread crumbs" might be sentences, phrases, scenes or simple words that act as clues, egging the reader on so that they continue to read--to keep their interest. Throughout this there should still be conflict, problems, drama, something whether in the way the story is told or in the actual story itself, that keeps it moving quickly and efficiently. Most important the story should be something readers care about, therby evoking emotion. "...with no way to stop the bleeding in the region of the brain that controls our tears;" in other words, the story should be told so powerfully or address such a powerful topic that readers will have no choice but to feel something, reflect on something, analyze something, become aware of something.
My story, as of now, seems to have all of these components. I want to explore the layoffs that are happening across the board in our country, zeroing in on some aspect of the communication world, right now I'm trying to pick between a local broadcast station struggling in Albany and a well-known university press based in Albany that suffered big cuts. The opportunity to tell the story of an employee who lost their job and of an employee who is still working but can detail the problems and changes that come from such cutbacks will no doubt make for a story that contains drama, conflict, heartache, personal struggle, everything a good story should have and that readers want to see.
As Kimmy said, this poem encompasses everything that we're taught needs to be in a story.
From the start we're told "Begin in the middle/with the screams." The poem literally tells us that we need to start by grabbing our readers attention so they want to keep reading. It tells us "It's important that there be/lost children, but the search dogs..." so there has to be a conflict, also in order to keep the readers interested. From there it is said "should be tired, or even better,/dubious, and with no way/to stop the bleeding/in the region of the bran/that controls our tears." Here we're told that emotions must be evoked from our readers in order for there to be a connection made from our writing to the readers lives.
What isn't actually said is presented to us in the details that are provided. "A trail of bread crumbs" and "the crows will maliciously eat." A good story needs to have details in it so that the reader knows exactly what is going on.
This poem really does show us as writers what is necessary to complete a well written sory.
My story will have to have all of these components otherwise it will not be a complete story and it will not be enticing to my readers. So yes, it will have the components that I listed.
A well-written story should grab the attention of the readers right away and invoke some sort of emotional response. It does not start at the very beginning, which is only a very good place to start for Julie Andrews. Instead, it saunters in whenever it feels like it, picking up the most interesting and dramatic part and retelling from there. The perfect story has excitement, often has subjects whom we feel empathy for, and an air of uncertainty over the whole thing. The bread crumbs can mean details to lure the reader through the story, which every good story needs, but can also mean an event, a conflict that sets up the story. The lost children are the human experience, the part that could be anyone at any time, and the search dogs are the uncertainty, never knowing if conflict will be resolved.
It should yank at the heartstrings of every person reading the story. It should stick with us, so even if we think we have our emotions under control after reading, it will silently simmer in our subconscious until something evokes the memory of the story we read earlier, and that slowly clotting part that controls the tears will break and gush again.
I can’t say whether my story will do this, though the subject matter certainly could and should make my readers feel as though they too are part of it. I do plan on breaking the laws of time and starting wherever I damn well please, and in a spot that will jumpstart emotional batteries. I try to write in ways that bond the reader to the subject in a deeper way than just some sort of passing pity, or flighty upset, and I think, especially with this story, I will work harder to do that.
I pretty much agree with Aramis' interpretation of the poem, how a well-written story should start with the main focal point, then work around that. You should begin your story with a scene that will grab you and pull you in, even if it's not exactly chronological. It should be, as Melissa said, like the beginning of Apaloosa with a man being shot. If it's grabbing and a main point, that's where you should start. I also feel that the poems stresses that there needs to be some sort of emotion in order to engage the reader. Some of the best stories are ones that force you to feel the emotion they portray. They are stories that make you bawl your eyes out or laugh hysterically along with the language. Emotion brings connection and deeper thought between the reader and your story, which I think is extremely important.
As for my story, I'm really hoping to encompass these aspects in my story. I do plan to construct it through scenes rather than a straight narrative, starting off with what I hope to be a grabbing scene. Also, my story does have a pretty emotional topic that one scene will be based around so I'm hoping I will at least get readers to feel something. That would definitely be ideal.
The obvious advice of the poem is to do the thing that I've been hearing as long as people have been trying to teach me how to write: start in the middle of the action with something gripping and don't let up if you can avoid it. It's exactly what I was intending to do with my story. A long introduction does nothing to help a story. It seems that the poem is advocating continuous interest and occurrence to shock the reader into paying attention. It seems to be saying that you should give clues to meaning in your story but you should make the reader have to work to figure out what they mean. Things shouldn't be obvious. I could be wrong, I'm no good at analyzing poetry.
The style I was intending for my story was to have brief scenes that jump around, bringing the reading into the middle of the action again and again. We'll see if it actually works out that way when I start to put words on the page.
This poem poetically lays out the different basic steps that must be fulfilled to create a goods story.
The first thing that is needed is "screams" found in "the middle." These are representative of the emotional core and motivation of the story. This might be found in a single, defining scene, as the poem suggests (though, of course, the poem simplifies everything) or might simply be the general motivating factor of the piece.
The setting is the second component (nightfall) and, as the placing of it in the poem suggests, is the second most IMPORTANT component.
Next comes the mystery of the story, the plot, the paragon of which, in this story, is represented by a trail of bread crumbs. This is the plot, the thing the moves the story along as one moves down a trail of breadcrumbs.
The "lost children" represent the 'damsel in distress'--that which must be saved to 'solve' the mystery AKA resolve the plot.
The dogs are the investigators into the mystery of the plot. However, they must be beset by various conflicts along the way. The text suggests that the secondary conflict that must be surmounted in a story is a personal one (man vs. self) as man is trying to solve the primary problem (man vs. nature or man vs. man). The secondary conflict is often whether the primary conflict should be solved at all, which is why the dogs are "dubious."
I'm a little less sure about the interpretation of the last line, but I believe it suggests that the solvers of the plot might ultimately be unable to emotionally cauterize the reader, or that the reader feels deep emotions while the plot is being solved.
I believe that my story incorporates all these elements. The motivating force in the story, as well as behind me writing the story, is a single scene. From there, the setting is the second most important thing, and I will go into great detail making sure that it provides structure, grounding and context to the story.
There is a mystery in the story, in a very literal sense, as I try to investigate what caused the emotions and attitudes between the two group to become so vitriolic that it spilled over into violence. As the investigator, I am bound to be dubious about various elements of the story, and whether I can actually paint profiles of dubious characters that the reader can empathize with.
What I interpreted as the key components to a well-written story from this was the first few lines. "Begin in the middle with the screams of something burning." To me, as Jovan also said, this is saying to start with the problem, or the victim of the "problem".
As writers, we can give voices to those that have no other way of speaking out. We can hear those screams of something burning, and make everyone else hear them as well.
I think that my story does incorporate this component, but I can only be certain when I begin to really start the process of writing it.
The key components of a well-written story are: (1) Start off with a conflict that grabs the reader’s attention and drags them into the story. (2) After grabbing their attention only giving them sparing hints to how the conflict will be resolved. (3) You also have to make them care about what you are writing, so that they are concerned with the outcome.
Those three elements seem to be what stands out to me the most in the poem. I think my story will project some of these elements. In my first scene I wanted to capture the conflict and make the reader be able to internalize their feelings of frustration. A big part to my story, in the end, is that I think the conflict might not be solved. It is similar to a movie that has no conclusive ending, because it will be the reader that produces the outcome. I am hoping my care on my subject will at least inspire others to somewhat care about what I am saying.
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