EVERY lesson has a reflection in the last 5 minutes. WHAT - SO WHAT - NOW WHAT?
Definition: Creative writing is writing that expresses the writer's thoughts and feelings in an imaginative, often unique, and poetic way. Creative writing is guided more by the writer's need to express feelings and ideas than by restrictive demands of factual and logical progression of expository writing.
1. Clarity: It doesn’t confuse people. (This sounds so obvious, but you’d be surprised at the number of writers who think they have to be clever or coy or literary which just leaves the reader in the dark.)
2. Form: It has a beginning, a middle and an ending. The beginning draws readers in and the ending is satisfying. This holds true for fiction, memoir, personal essays, autobiographies, and stories for kids. Occasionally a writer who’s a genius ignores this, but most of us aren’t geniuses and can’t ignore it.
3. Emotion: It’s emotionally charged and the reader cares what happens to the protagonist. We either cry or laugh or are scared or feel something.
4. Meaning and connection: It’s about people or situations the reader can connect to. Either a story we enter into with the author for entertainment, or a subject or emotion that we too are dealing with or want to learn about, or can find humor in. It is not a story about the author gazing at his or her belly button. In some way the writing connects to the rest of the world.
5. Language: The author cares deeply about words and their power.No overblown adjectives or adverbs (and only those absolutely necessary for information.)No flabby cliches. The author loves language and hones and rewrites every sentence.
* Short stories
* Poems
* Letters to self (future/past)
* Letters to others
* Scripts
* Diary entries
* Interior monolgues
* Prologues/Epilogues
* Speeches
* Autobiography, etc.
o Topic – what you are writing about
o Tone – how your writing sounds (consistent throughout writing)
o Structure and Features– what the form you’ve chosen should look like and contain
o Message – what you want to say
o Purpose – why you want to say it
o Audience – who do you say it
o Language – how you want to say it
* Identify the language you’ve used and how it is appropriate for the audience and form?
* Identify the form and why it supports your purpose?
* Express what your overall message is to your audience (explain contention)?
* Discuss how your piece shows an awareness of purpose and audience?
* Link your piece to the text?
* Link your piece to identity and belonging?
* Show that you’ve thought of different perspectives (or interpretations, positive and negative elements, underlying reasons, etc) of the text, context or your written
piece’s topic?
* Show you have thought about the complexities of the issue/topics in the text and how this is reflected in your piece?
* Discuss how you’ve used ideas/arguments from the context and set text in your writing?
* Show the relation of your piece to the prompt?
* Show that you’ve used a varied but appropriate vocabulary?
Dad threw his cigarette into the fire. He got up, crossed the yard and went through the fence. Me and Kirk and Steve stood on the bottom rung and watched him. We never took our eyes off him, as if he was a movie and we didn’t know what would happen, who would win and who would be killed. We were waiting to see.
Dad bent and picked up a stick and when he came back to us, waiting along the fence, we saw he was holding a slingshot much bigger than Kirk’s. The handle was as long as his arm, and the sides were in a perfect V. It was as if the slingshot had been left there for him. Dad walked out the front to his truck. He came back with a piece of rope that stretched the same way elastic did, and he tied it to the sides. He picked up one of the stones from around Pop’s fire and went to the fence. Magpies bounced from the wire to the ground, looking for worms and beetles. There was one magpie separate to the rest. It pecked at the ground, then looked up at us, head on the side. Dad lifted his slingshot. The bird didn’t move, watching us. Dad aimed his slingshot. My tongue went in and out of the hole. Kirk looked at Steve, then at me. Dad pulled back the elastic until it was tight, then he let go.
We walked to the bird lying on its back. My mouth felt dry. The magpie was opening and closing its claws, as if it were trying to take hold of something. There was blood from its eye. Dad walked back to the fire and sat down in his camp chair. He tossed the slingshot onto the ground. There was nothing left to matter to my dad.
AFTER FIVE YEARS of high school the final November arrives and leaves as suddenly as a spring storm. Exams. Graduation. Huge beach parties. Biggie and me, we're feverish with anticipation; we steel ourselves for a season of pandemonium. But after the initial celebrations, nothing really happens, not even summer itself. Week after week an endless misting drizzle wafts in from the sea. It beads in our hair and hangs from the tips of our noses while we trudge around town in the vain hope of scaring up some action. The southern sky presses down and the beaches and bays turn the colour of dirty tin.
Somehow our crappy Saturday job at the meatworks becomes full-time and then Christmas comes and so do the dreaded exam results. The news is not good. A few of our classmates pack their bags for university and shoot through. Cheryl Dutton gets into Medicine. Vie Lang, the copper's kid, is dux of the school and doesn't even stay for graduation. And suddenly there we are. Biggie and me, heading to work every morning in a frigid wind in the January of our new lives, still jeans and boots and flannel shirts, with beanies on our heads and the horizon around our ears.
The job mostly consists of hosing blood off the floors. Plumes of the stuff go into the harbour and old men sit in dinghies offshore to catch herring in the slick. Some days I can see me and Biggie out there as old codgers, anchored to the friggin place, stuck forever. Our time at the meat-works is supposed to be temporary. We're saving for a car, the V-8 Sandman we've been promising ourselves since we were fourteen. Mag wheels, a lurid spray job like something off a Yes album and a filthy great mattress in the back. A chick magnet, that's what we want. Until now we've had a biscuit tin full of twos and fivers but now we're making real money.
Trouble is, I can't stand it. I just know I won't last long enough to get that car. There's something I've never told Biggie in all our years of being mates. That I dream of escaping, of pissing off north to find some blue sky. Unlike him I'm not really from here. It's not hosing blood that shits me off it's Angelus itself, I'm going nuts here. Until now, out of loyalty, I've kept it to myself, but by the beginning of February I'm chipping away at our old fantasy, talking instead about sitting under a mango tree with a cold beer, walking in a shady banana plantation with a girl in a cheesecloth dress. On our long walks home I bang on about cutting our own pineapples and climbing for coconuts. Mate, I say, can't you see yourself rubbing baby oil into a girl's strapless back on Cable Beach? Up north, mate, think north! I know Biggie loves this town and he's committed to the shared vision of the panel van, but I white-ant him day after day until it starts to pay off.
By the last weeks of February Biggie's starting to come around. He's talking wide open spaces now, trails to adventure, and I'm like this little urger in his ear. Then one grey day he crosses the line. We've been deputised to help pack skins. For eight hours we stand on the line fighting slippery chunks of cow hide into boxes so they can be sold as craybait. Our arms are slick with gore and pasted with orange and black beef-hairs. The smell isn't good but that's nothing compared with the feel of all those severed nostrils and lips and ears between your fingers. I don't make a sound, don't even stop for lunch, can't think about it. I'm just glad all those chunks are fresh because at least my hands are warm. Beside me Biggie's face gets darker and darker, and when the shift horn sounds he lurches away, his last carton half-empty. Fuck it, he says. We're outta here. That afternoon we ditch the Sandman idea and buy a Kombi from a hippy on the wharf. Two hundred bucks each.
We put in two last weeks at the meatworks and collect our pay. We fill the ancient VW with tinned food and all our camping junk and rack off without telling a soul. Monday morning everyone thinks we're off to work as usual, but in ten minutes we're out past the town limits going like hell. Well, going the way a 1967 Kombi will go. Our getaway vehicle is a garden shed on wheels.
It's a mad feeling, sitting up so high like that with the road flashing under your feet. For a couple of hours we're laughing and pointing and shoving and farting and then we settle down a bit. We go quiet and just listen to the Volkswagen's engine threshing away behind us. I can's had let on to anybody these past couple of weeks we'd never have gone through with it; we'd have piked for sure. "We'd be like all the other poor stranded failures who stayed in Angelas. But now we're on the road, it's time for second thoughts. Nothing said, but I can feel it.
The plan is to call from somewhere the other side of Perth when we're out of reach. I want to be safe from the guilts - the old girl will crack a sad on me - but Biggie has bigger things to fear. His old man will beat the shit out of him when he finds out. We can't change our minds.
The longer we drive the more the sky and the bush open up. Now and then Biggie looks at me and leers. He's got a face only a mother could love. One eye's looking at you and the other eye's looking for you. He's kind of pear-shaped, but you'd be a brave bugger calling him a barge-arse. The fists on him. To be honest he's not really my sort of bloke at all, but somehow he's my best mate.
We buzz north through hours of good farm country. The, big, neat paddocks get browner and drier all the while and the air feels thick and warm. Biggie drives. He has the habit of punctuating his sentences with jabs on the accelerator and although the gutless old Volksie doesn't exactly give you whiplash at every flourish, it's enough to give a bloke a headache, "We wind through the remnant jarrah forest, and the sickly-looking regrowth is so rain-parched it almost crackles when you look at it.
When Perth comes into view, its dun plain shimmering with heat and distant towers ablaze with midday sun, we get all nervous and giggly, like a pair of tipsy netballers. The big city. We give each other the full Groucho Marx eyebrow routine but we're not stopping.
Biggie's a coun through. Cities confound him, he can't see the point of them. He honestly wonders how people can live in each other's pockets like that. He's revolted and a little frightened at the thought. Me, I love the city, I'm from there originally. I really thought I'd be moving back this month. But I won't, of course. Not after blowing my exams. I'm glad we're not stopping, it'd be like having your nose rubbed in it. Failure, that is. I can't tell Biggie this but missing out on uni really stings. When the results came I cried my eyes out. I thought about killing myself.
To get past Perth we navigate the blowsy strips of caryards and showrooms and crappy subdivisions on the outskirts. Soon we're out the other side into vineyards and horse paddocks with the sky blue as mouthwash ahead. Then finally, open road. We've reached a world where it time, where nobody knows us and nobody cares. There's just us and the Love Machine. We get the giggles. We go off; we blast the horn and hoot and chuck maps and burger wrappers around the cabin. Two mad southern boys still wearing beanies in March.
I'm laughing. I'm kicking the dash. That ache is still there inside me but this is the best I've felt since the news about the exams. For once I'm not faking it. I look across at Biggie. His huge, unlovely face is creased with merriment. I just know I'll never be able to tell him about the hopes I had for myself and for a little while I don't care about any of it; I'm almost as happy as him. Biggie's results were even worse than mine - he really fried - but he didn't have his heart set on doing well; he couldn't give a rat's ring. For him, our bombing out is a huge joke. In his head he's always seen himself at the meatworks or the cannery until he inherits the salmon-netting licence from his old man. He's content, he belongs. His outlook drives my mother wild with frustration but in a way I envy him. My mother calls us Lenny and George. She teaches English; she thinks that's funny. She's trying to wean me off Biggie Botson. In fact she's got a program all mapped out to get me back on track, to take the year again and re-sit the exams. But I've blown all that off now. Biggie's not the brightest crayon in the box but he's the most loyal person I know. He's the real deal and you can't say that about many people.
My mother won't chase me up; she's kind of preoccupied. She's in love with the deputy principal. He's married. He uses the school office to sell Amway. Both of them believe that Civics should be reintroduced as a compulsory course.
We get out into rolling pasture and granite country and then wheat-lands where the ground is freshly torn up in the hope of rain. The VW shakes like a boiling billy and we've finally woken up to ourselves and sheepishly dragged our beanies off. The windows are down and the hot wind rips through our hair.
Biggie must have secrets. Everyone dreams of things in private. There must be stuff he doesn't tell me. I know about the floggings he and his mum get, but I don't know what he wants deep down. He won't say. But then I don't say either. I never tell him about the Skeleton Coast in Africa where ships come aground on surf beaches and lie there broken- bellied until the dunes bury them. And the picture I have of myself in a cafe on the Piazza San Marco leaving a tip so big that the waiter inhales his moustache. Dreams of the big world beyond. Manila. Monterey. Places in books. In all these years I never let on. But then Biggie's never there in the picture with me. In those daydreams he doesn't figure, and maybe I'm guilty about that.
After a while we pull over for a leak. The sunlight is creamy up here. Standing at the roadside, with it roasting my back and arms through the heavy shirt, I don't care that picking guavas and papaya doesn't pay much more than hosing the floor of an abattoir. If it's outside in the sun, that's fine by me. We'll be growing things, not killing them. We'll move with the seasons.
We'll be free.
Evening of a hot day started the little wind to moving among the leaves. The shade climbed up the hills toward the top. On the sand banks the rabbits sat as quietly as little gray, sculptured stones. And then from the direction of the state highway came the sound of footsteps on crisp sycamore leaves. The rabbits hurried noiselessly for cover. A stilted heron labored up into the air and pounded down river. For a moment the place was lifeless, and then two men emerged from the path and came into the opening by the green pool.
They had walked in single file down the path, and even in the open one stayed behind the other. Both were dressed in denim trousers and in denim coats with brass buttons. Both wore black, shapeless hats and both carried tight blanket rolls slung over their shoulders. The first man was small and quick, dark of face, with restless eyes and sharp, strong features. Every part of him was defined: small, strong hands, slender arms, a thin and bony nose. Behind him walked his opposite, a huge man, :shapeless of face, with large, pale eyes, with wide, :sloping shoulders; and he walked heavily, dragging his feet a little, the way a bear drags his paws. His arms did not swing at his sides, but hung loosely.
The first man stopped short in the clearing, and the follower nearly ran over him. He took off his hat and wiped the sweat-band with his forefinger and snapped the moisture off. His huge companion dropped his blankets and flung himself down and drank from the surface of the green pool; drank with long gulps, snorting into the water like a horse. The small man stepped nervously beside him.
"Lennie!" he said sharply. "Lennie, for God' sakes don't drink so much." Lennie continued to snort into the pool. The small man leaned over and shook him by the shoulder. "Lennie. You gonna be sick like you was last night."
Lennie dipped his whole head under, hat and all, and then he sat up on the bank and his hat dripped down on his blue coat and ran down his back. "Tha's good," he said. "You drink some, George. You take a good big drink." He smiled happily.
George unslung his bindle and dropped it gently on the bank. "I ain't sure it's good water," he said. "Looks kinda scummy."
Lennie dabbled his big paw in the water and wiggled his fingers so the water arose in little splashes; rings widened across the pool to the other side and came back again. Lennie watched them go. "Look, George. Look what I done."
George knelt beside the pool and drank from his hand with quick scoops. "Tastes all right," he admitted. "Don't really seem to be running, though. You never oughta drink water when it ain't running, Lennie," he said hopelessly. "You'd drink out of a gutter if you was thirsty."
He threw a scoop of water into his face and rubbed it about with his hand, under his chin and around the back of his neck. Then he replaced his hat, pushed himself back from the river, drew up his knees, and embraced them. Lennie, who had been watching, imitated George exactly. He pushed himself back, drew up his knees, embraced them, looked over to George to see whether he had it just right. He pulled his hat down a little more over his eyes, the way George's hat was.
Describing Characters
When you are writing a story, you need to breathe life into your characters by describing their appearance and mannerisms for the reader.
Do they have a scar, a shaved head, platinum blonde hair or false teeth? Are they wearing cycling shorts, a baseball cap, an evening gown, an expensive bracelet or an old overcoat? Do they walk quickly, speak in a deep voice or avoid eye contact?
These details help make the characters true to life and interesting for the reader.
The class-room was hot, and outside the sun was hard on the dusty earth and the grass was going brown on the playing fields. The boy looked at his exercise book; at the figures and the red pencil corrections, and they were nothing, related to nothing in his experience. He raised his eyes very slowly and saw the hard light and the bare ground and the dying grass. Over the fence the two old jarrahs with the spread tops framed the piled houses of the suburbs. He had his hands to his head and he looked out of the low window and then back at the figures on the paper, and slowly the tears began to force their way on him. He made no sound and the others working did not know.
Now out beyond him were the wide fiat acres of wheat, heavy in ear, and the cut patches bare to earth dotted with the stocks. The wagon moved slowly out, and when they reached the stooks his father began to pitch hay. The sheaves thumped on the wagon. He helped Ted, who worked for them, to build the load. As the wagon started for the next stook he felt the jolt and looked at the load to see if it would hold. High up he sat when it was built and they drove into the stack. He got on the stack and Ted threw the sheaves to him and he passed to his father. The sun was hard on the paddocks and the dull scrub and the few trees. It made the wagon hot and the hay held the heat, and his clothes were hot. It was hard to say when the shadows first started to come on the ground, but they began to shift out from the stooks and from the stack and about the few shade trees. When they were tired with the mid-afternoon he saw his mother coming out with the tea. They sat in the shade of the wagon and he listened to the talk and he knew the people and the wheat and the town and the bulk bin and when he said something they listened and answered. The colours began to change slowly, to deepen, and shift from the smooth acres of the wheat and the fallow and old stubble, and from the dulling scrub that was making a dark edge about the paddock. The sun went from the hot ground and they left the wagon outside the stack and took the horses out. Ted led them to the yard, while he put out the feeds. In the quiet darkening stables, after Ted and his father had gone, he watched the heads in the boxes and listened to the noises the horses made, together, feeding. When the stables and the shed with the bags of the stored wheat became dark he pushed open the iron door and went across the yard. There was the light in the house and they sat at the meal and there was talk and if he wanted to say something they listened.
He could feel the tears and he was afraid to move lest the others see. He looked at the symbols on the paper and they blurred and made no pattern. His hands sheltered his face, and he looked slowly up and to one side and he saw the blackboard and the desk and shelves and the maps that were pinned to the walls.
Since the arrival of the 2019-2023 NSW Senior English syllabus, the biggest point of contention (or confusion) has perhaps been the introduction of the 'discursive' writing genre for Module C: The Craft of Writing. There's a whole bunch of advice floating around on discursive writing and just about all of it is worth following, such is the flexibility of the term, and this is because the term has been partially invented to fill a 'gap' in the syllabus. I don't want to get too far into defining it but will say that it exists primarily as a useful label to cover a range of creative non-fiction writing styles.
Getting students to understand this flexibility is one of the keys to building their level of comfort with writing in the discursive mode. In the case of my own classes, once we shook off the fear of tackling an unfamiliar term it became a preferred way of writing for quite a few students. It's really quite a freeing genre to write in.
Here's an activity that can be used for Year 11 Reading to Write or Year 12 Craft of Writing.
Step 1: Read an example of discursive writing. There is one below called B is for Bullshit.
Step 2: Students annotate the text after reading and discussing briefly. This involves collecting together examples that reflect specific elements that are common to discursive writing. By doing this students will build up knowledge of the required metalanguage for analysing discursive texts and practise judicious selection of textual evidence. Students should look for the following:
A thesis - what is the singular topic that the piece of writing focuses on?
Conversational tone - give an example that reveals the author's personality.
Use of humour.
Evidence that wide reading or background knowledge has been called upon - find examples of allusions to other texts or historical events.
Personal anecdotes - find an example that illustrates or adds detail to the thesis.
Orientation - examine the opening sentence and explain how it encourages the reader to want to know more.
Conclusion - is the ending reflective, open-ended, posing a question, or circular ('calling back' to an earlier joke, thread, or idea)?
An annotation sheet can be downloaded here.
Step 3: The best way for students to get an inside-out knowledge of discursive writing is to pen their own discursive pieces. After completing the above steps, students can practise writing their own discursive articles with the following thematic engagement activity.
1. Select and highlight a line from 'B is for Bullshit' that stands out to you.
2. Use this line as the prompt for your own discursive piece of writing about dishonesty.
3. After you are finished, annotate your own piece in the same way that you annotated 'B is for Bullshit'.
Mum was a genius when it came to fabrication. If she was speaking there was a very good chance she was lying. The more ludicrous the story, the more sincerity with which it was told, and all the while she looked straight into your eyes.
Some of it was fairly prosaic and predictable if you were part of the family: ‘I’m full. I’m full. I couldn’t eat another thing. I’ve been eating all day,’ actually meant, ‘I’ve had ten laxative, some bark and I’m starving. There is every chance I will get up and eat a two-litre tub of ice-cream in the middle of the night’. ‘I’m exhausted. I’ve been flat out all day,’ meant, ‘I’ve done the crossword and watched The Mike Walsh Show along with The Young and the Restless, Another World and Days of our Lives’. ‘I’ve spent hours cooking,’ meant, ‘I’ve defrosted a Sara Lee apple pie.’
She could be extremely creative. As a child, when I would be sent to bed before the end of the Sunday night movie, I’d ask Mum the next day what had happened. She would often have dozed off and missed the end herself, so she would make it up. I didn’t work this out until I saw Judgment at Nuremberg years later and realised that Mum’s ending was preposterous – Marlene Dietrich’s character wasn’t an Eskimo with a flair for ventriloquism.
Her most blatant and consistent lie was about her age. When my brother Niall was seventeen, she claimed to be twenty-nine, which would have made her twelve when she gave birth to him. She told Niall and me that she was seventeen when she married Dad and we worked out, after they were both dead, that she was twenty-four. At one stage, she even implied that she was pregnant with my brother when she wed, preferring her children to think she was ‘loose’ rather than old.
Ann Lucy continued to lie about her age when her appearance had so degenerated that she barely looked human. Once, during the final years of her life, when she was ill and in hospital, she told people she was six years younger than she was even though she looked like a ninety-year old Muppet. An Irish secretary from hospital administration used to visit her occasionally and one day Mum gripped her hand and said, ‘Whatever you do, don’t ever tell them how old you are.’ WHY? Who are ‘they’ and what were ‘they’ going to do? It wasn’t like she worked for a television network. If Ann Lucy thought she had a short at reading the news, she was really kidding herself.
Mum was always at her most impressive when you saw her lie on her feet. When I was seven, she took me to see a production of Peter Rabbit at a local hall. When we arrived she discovered that not only were we not sitting together, but we were up the back (if memory serves, given the standard of the production, this might have been a blessing), and so my mother turned to the usher and said, ‘This is impossible. We’re going to have to sit together in the front row because my daughter is virtually blind.’ If there had been any trouble I have no doubt she would have added, ‘because of a brain tumour.’ It’s a pity Mum wasn’t into bands because she could have talked her way backstage at any gig in the world (‘But I’m Elton John’s mother, you idiot!’).
Her most fantastic deceit came in a letter. Three years before I found out I was adopted, Mum, who went down several surprising avenues in her search for fulfilment, attended a rebirthing session and dropped me a line, telling me what she had ‘remembered’. Well, the event she remembered most clearly was GIVING BIRTH TO ME. She went into graphic detail that I threw the correspondence out as too disturbing – imagine how disturbed I was later. Had she been tripping? When I think about her letter I wonder if it was the product of a very bored woman with a vivid imagination. Guilt would have been in there somewhere and yes, in her own way, love.
I, by contrast, am a terrible liar. I don’t know how I ever thought I was going to make it as an actor. In auditions, I never fared well when performing Nina’s speech from Chekhov’s The Seagull: the monologue contains the line, ‘You’ve got no idea what it’s like to know that you’re acting badly,’ and, every time, I had to fight the compulsion to add, ‘I sure do.’
This is not something I say with pride. I think lying would be a very hand skill to have. The few times in my life I’ve had to lie have landed me in more trouble than the truth would have because I may as well be wearing a sign that says, ‘You know I’m lying. I know you know that I’m lying but try not to lose all respect for me as a human being.’ There have also been occasions when I have told the truth and a fib would have let everyone off the hook in a much simpler way.
Once I picked up a boy in a club after – a record for me – speaking to him for five minutes. Back at my place, with other friends, we had no alcohol and as we started to sober up, I realised that this guy was a jerk. At that moment he pulled from his ear what I first thought was a small piece of Lego. In fact it was a hearing aid and you could almost hear six people inwardly say to themselves, ‘Oh... he’s deaf,’ before one of our number started talking to him like he was a non-English-speaking imbecile. But this wasn’t the problem. The problem was that he was an arrogant tool. It was way too late to tell him to go home so I said that he was more than welcome to sleep in my bed, but that sleeping was all that would be happening. The next morning it was clear that he was hoping I’d change my mind, so I announced that I needed to go to the toilet and left the room. Minutes later, he joined me in the garden in his red jocks (he walked around in those underpants like he was Superman except even that absurd super hero had the decency to wear tights).
He said, ‘You’ve got a boyfriend haven’t you?’ There it was on a plate, problem solved, but I said, ‘No.’ I got another chance, ‘Are you a lesbian?’ Once again I said that I wasn’t and then went into some convoluted but true-ish story about how I’d been seeing a boy in Perth and wasn’t over it. A deaf man who is confident enough to stride around in snug underwear is equally sure that he’ll eventually be able to score with a chick whose ex is on the other side of the country, so he hung around and around. Finally my house mate told him that I had an audition. I shut the bathroom door, ran the shower and sat on the toilet wondering what my problem was. Even when I was a dishwasher in need of a sickie I struggled with ringing up and giving a convincing excuse. What a pity I couldn’t have had Ann Lucy make the call: ‘I’m sorry Judith can’t come in today, she’s been attacked by a bear... well imagine how I feel. I gave birth to her when I was eight.’