Friday, March 22, 2013

Good Things Can Make Your Writing Stronger Too

As a writer, I know the importance of receiving a good critique from an honest eye. I appreciate the comments I get, the suggestions on how to make my work better, perhaps too much.  When I'm receiving critiques, I often find myself skipping over the complimentary stuff, almost ignoring it completely and focus on the "may improve" suggestions.  That isn't to say that I don't appreciate the occasional "Good Job" written on the manuscript, but it's a secondary desire to improving my writing.

This, unfortunately, has caused problems for me, mainly when I try to critique someone else's writing. I try to give those I critique what I want most--ideas on improvements. I will, on occasion, put a "Great Job" on the page, but those are extremely rare, mainly because I understand that the best way to improve is to get critiques and work on improving the area of confusion. This has left some people disheartened, even some who I believe to be talented writers.   As an MFA student, I am required to give critiques to classmates--a mixture of good and how to improves.  Although I'm good at identifying what needs improved, I really have problems thinking up the positives in the work to mention.  I'm not sure why, other than I've never really focused my attention on the positives I received during my reviews.

I can absolutely love a story but when I write something up, I'll start listing the negatives, what bothered me about it and what I thought needed changed--even if what I'm reviewing has already been published.  This works out for me as well, since that lets me know what kind of things I need to avoid if I'm going to write a book in a similar genre.  Then, when I'm done, the  few positives I listed  beside the (possible) super-long list of negatives appear miniscule, pitying and/or may be invisible.

Recently I've read a book where the author pointed out that identifying the positives and negatives in a work can be beneficial to ones writing. The negatives I've already mentioned, will let me know what to avoid, what I don't like, etc.  The positives, however, will let me know what I need to do more often.   For example, I nailed a description on page 32.  By knowing that, I can try using the same method used to get that description to create other great ones.  In that way, I'm improving skills that I'm already decent at, not just improving things that I'm poor at.

With that realization, I'm hoping that I can write up a more balanced review/critique every time I write one.  I don't imagine this will be easy.  I'm almost blind to the positives in someone's work, especially if the piece isn't something that makes me go  "BEST BOOK EVER!!!"  But I think that learning to balance the positives and the negatives in a review or critique will serve both the writer and I better.  I may need help reaching this goal. And if my dear readers have time, I would appreciate a nudge whenever I focus too much on the negative. Remind me that I want to try thinking up more positives.  Lately, I feel like the latest books I've reviewed have come across as negative, when in fact I may have enjoyed the book.  And if you have any questions as to whether I liked a book or not, let me know.  I'd be more than happy to clear that up.

So, don't do what I've done for years, ignore the positive and learn from the negative.  The positives in your writing could make you a stronger writer too.

What about you?  Do you focus on the negative?  The positive?  What about when the comments are from someone else and directed at your own work?

Sunday, March 17, 2013

Beautiful Creatures Podcast

A supernatural love story set in the South which tells the tale of two star-crossed lovers: Ethan, a young man longing to escape his small town, and Lena, a mysterious new girl. Together, they uncover dark secrets about their respective families, their history and their town. The film is based on the first novel in the best-selling series by Kami Garcia and Margaret Stohl.



After watching Beautiful Creatures in theatres, Cyna, Ollie, and I, plus Kayla again, got together to discuss the positives and negatives of this movie. We had a lot of fun discussing this movie and I hope you enjoy listening to our discussion on it.  Have you seen Beautiful Creatures? Have you read the book?  What do you think of what we had to say on both?



 

Friday, March 8, 2013

The Things They Carried Critical Review




The Great Descriptions They Carried


Tim O’Brien’s The Things They Carried portrays the Vietnam war through numerous short vignettes. Some stories are fiction others non. In his short story, “Sweetheart of The Song Tra Bong,” a story in which O’Brien admits he’s not sure if the story is real or not, Tim O’Brien reveals through internal and external description how war can rob a child robs of their innocence.
The story starts with Lt. Mark Fossie arranging to have his girlfriend, Mary Anne Bell, brought to Vietnam for a visit.  Medic Rat Kiley, who narrates the story to his companions, describes Mary Anne upon her arrival to the Song Tra Bong outpost as follows:

The cute blonde—just a kid, just barely out of high school—she shows up with a suitcase and one of those plastic cosmetic bags. (…)  She’s got on culottes.  White culottes and this sexy pink sweater. (90)

Kiley provides a pretty picture of Mary Anne Bell with three sentences, and readers see the words Kiley didn’t say: innocence, an innocent girl.  By using the term “kid” to describe Mary Anne, Kiley gets readers to immediately think of the innocence of childhood.  The mention of her being “barely out of high school” has connotations of her still growing up and having little or no experience out in the world.  The plastic cosmetic bag is an interesting detail.  By itself, the detail can attest to her vanity and naiveté.  Here she’s brought a non-essential item into a warzone, a place where people are too busy fighting for their lives to worry about their appearance or how someone else looks.

 According to wisegeek.com, Culottes are “a form of split skirt. They are usually made full or calf length, and consist of a pair of loose, flowing trousers which strongly resemble a skirt until the wearer engages in vigorous physical activity.”  In other words, a fashion accessory that is like the cosmetic bag: useless in a warzone, pretty, but impractical. The fact they are white easily refers to purity, the untarnished innocence that white is often associated with.  The pink sweater returns readers to Kiley’s descriptor of “kid,” which is when the favorite color of girls is most often pink.
Mary Anne Bell’s innocence in reillustrated a few pages later when readers are given the history between Mary Anne and Mark Fossie:

Mary Ann Bell and Mark Fossie had been sweethearts since grammar school.  From the sixth grade on they had known for a fact that someday they would be married, and live in a fine gingerbread house near Lake Erie and have three healthy yellow-haired children and grow old together and no doubt die in each other’s arms and be buried in the same walnut casket. (94)

This description shows the idolized life Mary Anne sees for herself.  O’Brien chose his words carefully to convey that this was a fantasy she had, without actually saying it out right.  He mentions they were “sweethearts since grammar school.”  Grammar school refers to a time of innocence and a lack of expectations.  The fact she would get married “someday” instead of a specific date also indicates she’s thinking of a vague concept of time that can easily slip through her fingers.  There is no basis of reality to the assumption yet, no date set.  The “gingerbread house” is possibly the strongest evidence that this is a fantasy, as it refers to the “Hansel and Gretel” fairytale told to children, which links readers back to the “grammar school” reference.
O’Brien also shows Mary Anne’s loss of innocence with descriptors in the story.  Changes in Mary Anne start to show around the time she starts helping treat injured people and saving lives. She also learns how to use M-16s. Within weeks of arriving:

There was a new imprecision in the way Mary Anne expressed her thoughts on certain subjects.  Not necessarily three kids, she’d say.  Not necessarily a house on Lake Erie.  “Naturally we’ll still get married,” she’d tell him. “But it doesn’t have to be right away.  Maybe travel first.  Maybe live together.  Just test it out, you know?” (99)

The new imprecision shows her dreams and plans have changed.  She’s gone from the childish certainty that she will marry and have three kids, to a more adult attitude about maybe this wasn’t what she wanted; a realization that there is more out there than marriage and motherhood.  She could do other things with her life, like travel.  Mark Fossie noticed other differences about Mary Anne:

He couldn’t pin it down.  Her body seemed foreign somehow—too stiff in places, too firm where the softness used to be.  The bubbliness was gone.  The nervous giggling, too.  When she laughed now, which was rare, it was only when something struck her as truly funny.  Her voice seemed to reorganize itself at a lower pitch.  (99)

The description of Mary Anne being “stiff in places, too firm where the softness used to be,” is a metaphor.  The softness and flexibility of her childhood has faded, and became hard, adult, tarnished. The bubbliness, and the nervous giggling, are often associated with childhood as well, innocence.  The fact her voice reorganized itself at a lower pitch is another indication of her growing up, stripping the childish innocence she arrived with. All these changes occurred as she learned more about war, saw more of the war: learning how to shoot, how to live like a soldier, learning how to treat wounds.
The last time Kiley says he saw Mary Ann Bell was after she’d disappeared for weeks with the greenies, special force members, and Mark Fossie, after waiting a long time for Anne Mary to come out, goes into the special forces building:

It took a few seconds, Rat said, to appreciate the full change. In part it was her eyes: utterly flat and indifferent.  There was no emotion in her stare, no sense of the person behind it. But the grotesque part, he said, was her jewelry.  At the girl’s throat was a necklace of human tongues. Elongated and narrow, like pieces of blackened leather, the tongues were threaded along a length of copper wire, one overlapping the next, the tips curled upward as if caught in a final shrill syllable. (110-111)

The eyes are known as windows to the soul.  Those who are innocent, tend to have a playful spark in their eyes, a sense of life and wonderment. But in this description her eyes are perfectly flat and indifferent, no emotion in her stare, no sense of the person behind it, a sign that any innocence she once had has now been killed. She has been corrupted by the war and the person she once was has been murdered.  The jewelry she wears is also a sign of who she has become.  Instead of the jewelry being sexy, cute or pretty, it’s grotesque.  The tongue necklace shows she has nonchalance about the lives that have been taken, a lack of horror, and is a sort of badge of what she’s done and lost: her innocence.
Tim O’Brien’s The Things They Carried, possess a short story titled Sweetheart of The Song Tra Bong. The story is narrated by Rat Kiley, and through O’Brien’s word choices and descriptions effectively show how Mary Anne Bell and how soldiers lost her innocence by going to Vietnam.



Works Cited

 O'Brien, Tim. "Sweetheart of the Song Tra Bong." The Things They Carried. New York: Broadway, 1990. 89-116. Print.
Smith, S.E., and Bronwyn Harris. "What Are Culottes?" WiseGeek. Conjecture, n.d. Web. 25 Feb. 2013.

Wednesday, March 6, 2013

The Things They Carried

They carried malaria tablets, love letters, 28-pound mine detectors, dope, illustrated bibles, each other. And if they made it home alive, they carried unrelenting images of a nightmarish war that history is only beginning to absorb. Since its first publication, The Things They Carried has become an unparalleled Vietnam testament, a classic work of American literature, and a profound study of men at war that illuminates the capacity, and the limits, of the human heart and soul

I knew right off I wouldn't like this book.  I haven't found a war-centered story that I do like, at least not a historical one. I also remembered hearing book reports about The Things They Carried when I was in high school and not feeling an inkling of interest toward it. However the book was required reading for my second semester of graduate school so I sat down and actually read the book.

The book did not bore me to the point its cousins normally do. The book was focused on war but it seemed to be more than what a war-story is. I'm not sure how to explain it. The story has several short stories in it which allowed the author to address the aftereffects of war, the choices made before one went to war and the horrors that may be seen during the war.  Some of the stories are true, others are admittedly fictitious. The author spoke to the reader in parts, discussing how to write a good war story, his opinions on life and war and what inspired some of the stories he wrote. He has some interesting views and insights, but nothing in the book made me want to go: "I must buy this!"  I can see why it's so popular, why it's seen as powerful, but in the end I was glad I got my copy from the library.

Since I'm not into war stories, the biggest compliment I can give it is that the book didn't bore me to tears.  I managed to read through the book without dreading having to read more.  The chapters were normally pretty short.  But I imagine those interested in true, historical war stories would probably find this book enthralling.

My critical review on this book will be posted on Friday if you want a more...academic view on the book.