Chicago,+The+Laundry+Bag,+The+Poem

Directions for Chicago, The Laundry Bag, The Poem Short Story:

Pre-Writing Task: Let’s first discuss the second person “you” in the story.

Pre-Writing Task: Come up with some sort of conflict or tension for the story, either by focusing on one single moment that occurred in the new setting, or by describing several minor moments involving tension either in the setting or as one-times/flashbacks (e.g., the trip down the elevator, farewell to monkeyland, the pencil sharpener incident).

Task One: Begin by describing a specific action that you and/or the people with you are doing in this new setting. It could be as simple as walking around, unpacking a suitcase, sitting on a bench, waiting in line to check in, etc., but the point is to introduce your reader to the setting.

Tips: Don’t forget you want to see this through the eyes of a younger person, so try to make the speaker’s “voice” reflect that. Another goal of this section is to introduce your reader to the specific setting, so focus on what makes this setting unique.

Bonus: Is there a way to describe the setting to get across a sense of awe or wonder?

Length: Around two paragraphs

Task Two: Now it’s time to introduce the reader more specifically to the other characters in the setting with you. Refer to the initial list of characters you came up with yesterday, along with the unique concrete details specific to each for inspiration. Then, go back to the actions you were describing in Task One, but this time describing each action more specifically in terms of each character and by including this unique concrete detail.

Tips: Look back at Shihab Nye’s piece at the bottom of page one and model this section accordingly if you’re stuck.

Bonus: Is there a way to show your age in comparison to these people (clutching your grandma’s hand more tightly so the Chicago wind doesn’t sweep you into the street)?

Length: One to two paragraphs.

Task Three: Now it’s time to take on this sense of wonder or awe head on. Do so by redirecting your reader’s attention back to the setting. List unique objects, have the speaker ask questions, describe anonymous people in the setting (with concrete details…jingling car keys, etc.), and animate objects in the setting (trains clanking, taxis honking, faucets dripping, etc.).

Tips: Might you be able to work in a comparison to the setting back home (tall buildings versus small red brick homes, bridges that crack open in the center versus the bridges in St. Louis that just sit there, etc.)?

Bonus: Perhaps two to three shorter paragraphs. (?)

Task Four: Time now to shift ahead to a more specific moment that involves a more specific source of tension or conflict. This could be in the new setting (you ask your dad to help you find a piece of paper in a hotel), or in the form of a one-time/flashback. But if you’re switching scenes/time frames, indicate this with an empty “white space” line.

Tips: Remember, extended details, gestures, actions, one-times, dialogue, and setting description are key elements here.

<span style="background-color: transparent; color: #000000; font-family: Arial; font-size: 15px; text-decoration: none; vertical-align: baseline;">Bonus: Shihab Nye has a unique style of dialogue where she doesn’t use quotation marks, but instead uses italics to maximize the flow of the piece. Feel free to do so, as well, or to use the traditional dialogue format (which is using quotation marks and where a new speaker equals beginning a new paragraph). For example:

Task Five: After you've thoroughly introduced the conflict, DO NOT resolve it. Let's add another layer now to the story by creating a shift in time and space (even if you just did that in step four, that's fine...if you didn't, this will be your first shift) and bring in a mini-conflict unrelated to the main conflict. This could come from the list of mini conflicts you generated in your notes a few days ago. In my model piece, I go back a few days earlier to when a storm hit the resort and a big branch almost fell on my brother's head as we were walking back to our cabana/cabin thingy. Again, stick to eGOADS. This section could be a bit longer (3-4 paragraphs not including dialogue?).

Task Six: Last task and then you're on your own. After revealing the mini-conflict in task five, return to the original scene you began in task one.