Monday, October 10, 2016

Week 8 Growth Mindset


For me, one of the most pleasantly surprising things about this class is the way that it's made up of layers—just like stories. On the surface, it's a lesson on retelling myths; on a deeper level, it's a lesson in rewriting your life into any story you want it to be. 

I wasn't expecting that when I enrolled, but I think it's a really important aspect of the course's molten core, and I appreciate it.

In terms of Growth Mindset, I think just having been exposed to the concept has helped me improve in that area quite a bit. I learned about it at a really receptive point in my life, too, when I had just thinking about expanding my horizons and what I actually want my life to look like, so that's also been a big help.

There are still some areas on the list that I definitely need to work on, though, and a lot of them seem to stem from my perfectionist mindset—I'm ridiculously Type-A sometimes, and it tends to show. But instead of trying to stamp that out of myself, I'd rather find ways to use it to my advantage. I think that could work for me both in class and in life, though like with most things in life that matter, the jury's still out on that one.




Image Credit: Stephen King Quote by BK. Source: Flickr.

Week 8 Reflections


So. Now that we're halfway through the semester—which is kind of freaky to think about, so let's not, thanks—it's time to look back at The Road So Far. (Cue the Kansas music.)

Reading

Overall, I think my process for taking reading notes has been working well for me so far. I try to spin each myth or scrap of lore off into its own story and give myself at least a general idea of what that story would look like, though sometimes a myth just doesn't do it for me, and I don't have anything to say about it. Moving forward, I think I'd like to start trying to do my reading notes during the weekend before they're due, just because it takes me a little time for a story to germinate once I decide on something. That way, instead of having to wait till Thursday morning to do the storytelling assignment, I can take my time on Tuesday or Wednesday rather than scrambling.

During the Native American units, I think I'll at least like to do the Blackfoot Stories unit.


Writing

As a whole, I'm content with the stories I've done so far: there are a couple I wasn't crazy about and a couple I was actually pleased with, so I figure it all balances out. Writing short has always been a huge struggle for me—I'm definitely a long-form writer at soul—but I've enjoyed stretching new writing muscles in that regard.

I think I'm learning that these thousand-word pieces work better if they're structured around a character's core issue or emotional crux that everything can hinge on and relate back to: when there can be so few scenes, that helps me make sure that each scene is the most motivated and necessary, and it also gives the whole piece more resonance. That way the story can serve as a sort of snapshot of an issue, a contained nutshell kernel of a story, instead of just an action gear-up that ends on a cliffhanger and the promise of more to come (which is my natural tendency, but also just doesn't resonate as much).

Initially, I completely regretted all the life decisions that led to me deciding to do a storybook instead of a portfolio, because I couldn't find the right spot in the story to start with for my introduction. Now that that's worked out and I've got a clearer idea of what I'm actually going to do with this, I'm feeling better about the project. Hopefully that doesn't change anytime soon.

Connecting

Going into this class, I knew I'd love the reading and retelling aspects of the assignments, but I'm surprised at how much I actually enjoy the blog commenting. Looking at how different people have such different readings and interpretations of the same stories is endlessly fascinating, and I love seeing the same story spun out in several wildly opposite directions. I generally opt for compliments instead of constructive criticism with the stories, just because of the nature of what they are; I feel like they should be fun and maybe not have to live up to as much expectation and scrutiny as the portfolios and storybooks. Sometimes I wonder if it would be more helpful of me to give constructive feedback instead, but for now, I think I'll keep the informal feedback to go with the informal blog comments.





Image Credit: Hand Writing. Source: Pexels.

Thursday, October 6, 2016

Story: Sins of the Father


By the time I made it back to Rocafort, I’d missed Dad’s funeral by three weeks, and Osric was waiting outside the sandwich shop by the train station.

“Seth,” he said, raising his eyebrows, waving me over. “I wasn’t sure you’d show.”

“I said I would, didn’t I?”

I took the chair across from him and lit a cigarette, trying not to look uneasy. During the day, the umbrella over this patio table probably would’ve been nice—but it was night now, and it just blocked out the streetlights, massing all the different shadows together. Mason would be good in this situation, but I hadn’t talked to either of my brothers for almost a year.

“It’s weird, man,” Osric said. “In this light, smoking your dad’s brand—you even smell like him. You could be him.”

I stiffened. Dropped the cigarette to the pavement—a total waste—and ground it out. “Shut up.”

Osric shrugged, taking something from the messenger bag at his feet. In this dimness, his blond hair and ginger scruff seemed less mismatched.

“Here’s what I got for you,” he said, sliding a manila envelope across the table. “As far as anyone official’s concerned, your old man’s death is a mystery. He did have a pretty long list of enemies, Seth.”

“And as far as all the unofficial people are concerned?”

“Well, Christian says...” He considered me for a minute, then shrugged, looking back down at the table. “Christian says it might’ve been the Wolves.”

I shook my head. Christian was the big brother, but he didn’t always know best. “Dad finished the Wolves off years ago. Christian knows that.” I frowned down at the folder, then gave it a little wave, tucked it into the outside pocket of my overnight bag. “Thanks for this, man. I owe you one.”

After I’d slung my duffel over my shoulder and taken a few steps, he said, “I thought you were done with the family business, anyway.”

“Not the family business,” I said, walking away. “Just the family.”

***

I didn’t realize I’d picked up a tail till I was already halfway into the city, at a grungy all-night diner. The guy was bald—shorter than me, but bigger, too, in the kind of way that suggested he wasn’t just here to see where I went.

I waited till I’d put in my order for eggs and bacon, then headed to the bathroom, waited at one of the sinks. Under the fluorescents, my coloring looked all wrong—skin too pale, hair too dark, circles under my eyes like bruises.

The bald guy followed me in a minute later, one hand already reaching to his side.

I swung my duffel off my shoulder, nailed him in the gut. The equipment inside made it heavy enough to double him over, and he dropped the gun he’d just drawn. He moved to catch it—but before he could, I squared a kick at his knee.

He jerked away instinctively. Then he used that momentum to rear back, throw a punch at my nose. I dodged; it caught my cheek instead, breaking the skin over the bone in one white-hot split.

In the time it took me to blink, the man had already knocked me down to the grimy tile. He aimed a kick at my ribs. Another. Another. Something cracked; judging by the way my ribcage screamed, it’d been me.

And then someone knocked on the bathroom door. The man glanced up—and that’s when I kicked out, knocking his feet out from under him.

He plummeted to the floor beside me. I reached over and bashed his head against the tile once. Twice—

“Seth?” someone said.

I froze.

My younger brother, Mason, stood framed in the doorway.

***

“Christian could've gotten you real ice,” Mason said, passing me the bag of frozen broccoli he’d just bought at the gas station behind us.

I shook my head, easing the bag up under my shirt, against my chest. The cold was almost as bad as the cracked ribs. “Thanks.”

He raised his eyebrows. All three of us looked a lot alike, half-brothers or not, but we’d all inherited different parts of Dad. We all had the same dark hair and light eyes, but I had his strong jaw, and Mason had his sharp cheekbones.

Christian was the only one who’d ended up with his easy grin.

“Lucky thing Christian had me tailing that guy,” he said. “You’re out of practice.”

I winced. “Osric said you guys think it’s the Wolves.”

“Might be. All Dad’s old pals have come creeping back, now that he’s gone.” He frowned, leaning against the rough brick of the gas station. “Why’d you come back?”

Because I hadn’t liked the guy, not for a long time, but somebody had to avenge Dad’s death? Because I hadn’t heard from my brothers in a year? Because I missed my family was the truth, partially, but it would never sound like it.

After a minute, I said, “Because when Dad was alive, he owned us. And if we don’t put these guys down now, they’ll think they own us.”

He looked up at me. “That why you left?”

And the truth was, right then, I wasn’t sure. There had been all sorts of reasons at the time—to get away from Dad, away from myself. To somehow avoid turning out just like him, like everyone knew I would.

“Doesn’t matter,” I said. “I’m back now.”

He was quiet for a minute, then pushed off the wall, pulling out his phone. “I’ll call Christian. Tell him about that Wolf we left in the bathroom.” He paused. “It’s good you’re back, Seth.”

I gave a painful little laugh. “Jury’s still out on that one, Mase.”

But standing there beside him, clutching frozen vegetables to my cracked ribs, I couldn’t argue with him.

While he talked to Christian, I took out a cigarette, closed my eyes.

In the darkness, wreathed in smoke, either one of us could’ve been Dad.





Author's Note: This time around, my story was based on "The Ogre of Rashomon." It's a tale about a group of highly accomplished knights, who have started hearing rumors that ogres are responsible for a series of mysterious disappearances. One of the knights wonders if it's true, but his friend insists it can't be: after all, they took out the ogre threat themselves. Ultimately, that's the kernel of the story that I kept for my version—the idea that some shadowy group the protagonist thought he took care of a long time ago is back, which also means fending off the revenge plot that's bound to be coming.

Bibliography: Japanese Fairy Tales by Yei Theodora Ozaki. Source: Mythology and Folklore UN-Textbook.

Image Credit: "Smoking Cigarette" by Lindsay Fox. Source: Wikimedia Commons.



Wednesday, October 5, 2016

Reading Notes: Japanese Fairy Tales (Ozaki), Part B



The Goblin of Adachigahara

Urban legends are always fun to play around with, and more than anything else, that's what the old woman and her cottage on the haunted plain remind me of. The whispery way the community won't go near the place, stories of people disappearing there after being lured in, even travelers being warned away from the spot—it's all there. I'd love to take the idea of an urban legend and put it in a modern-day, small-town setting, then see what happens.



This one felt a lot like a Halloween slasher movie with a bit of a Beauty and the Beast flair ("Whatever you do, don't go in that room"), which was kind of delightful. It makes me wonder what other fairy tales would mix well with horror tropes, and how they could strengthen each other and freshen each other up. Not sure if I could make something like this work with the word limit, but I do think it could be loads of fun to try another time.



In this story, one of the knights wonders if ogres have returned to the land and are responsible for rumored disappearances—but his friend insists they wiped out all the ogres ages ago. This situation is prime for an ogre revenge plot, so if I were to do a story based on this one, that's probably the element I would keep: the idea that someone/something/some group the protagonist thought he took care of a long time ago has come back, and that can only mean trouble.



When the protagonist of this story finally meets an ogre, the monster is described as having "eyes [that flash] like mirrors in the sunlight." It's a small detail, but that's what sparked my imagination, and I'd like to do a story involving the protagonist being the latest in a series of people to try to take on a monster with eyes like mirrors. Literally and metaphorically—and that's its greatest weapon.



I like the main idea of this story, which involves the protagonist mistaking a cleverly disguised monster for an old family friend. If I were to use that for my story, the protagonist would realize much sooner what's going on, but that would raise all kinds of questions of its own: namely, what happened to the original/real family member or friend, whether they've been transformed or just replaced, and what to do about this monster.



My favorite element in this story was the close bond between Hase and her brother, so that dynamic is probably what I would hone in on if I were to base my assignment this week off of this one.



I like the idea of someone being called in to save an emperor by unconventional means, the way Hase was brought in to write poetry to make him well again. Poetry isn't quite the direction I would take it in, but I think magic or something to do with an old legend could stand in for it just fine.





Bibliography: Japanese Fairy Tales by Yei Theodora Ozaki. Source: Mythology and Folklore UN-Textbook.

Image Credit: "Percy Cottage in Rugby, Tennessee, USA." Source: Wikimedia Commons.

Tuesday, October 4, 2016

Reading Notes: Japanese Fairy Tales (Ozaki), Part A



My Lord Bag of Rice

The first element of this story that caught my attention was the Dragon King of the Lake himself, a character that can shift between the shapes of a man and a serpent-dragon. While dragons and shape-shifting are always fun, I think the thing that really interests me about him is the fact that even when he's in his human shape, the Dragon King still has a few qualities that should belong to a dragon, not to a man, and it might be interesting to see how the two different sides of him cross over and interact.

Of course, it was also interesting when he asked the protagonist to take on his mortal enemy for him. Probably because mortal enemies are usually a very personal thing, and I tend to think of both sides of that relationship kind of needing one to define and give meaning to the other—Batman versus the Joker, for example, or Superman versus Lex Luthor. So I find it interesting that the Dragon King is sort of pawning out his villain to this random, brave passerby he's just met. I might end up using that idea in a more modern interpretation, about the shady guy you go to when you need somebody to take care of your nemesis but you don't want to do the dirty work yourself, and you don't want word getting out about it, either.


My Lord Bag of Rice (Part II)

The most interesting aspect of this one was definitely the fact the horrifying, seemingly indestructible monster was actually vulnerable to human saliva. I wouldn't quite go that route if I were to do a story inspired by this one, but I do like the idea of something entirely human and natural to us being something that can take monsters out easily. If anything, I would probably use human blood, because I like the idea of a character drawing her own blood at the beginning of a fight in order to win, instead of losing blood at the end of a fight to signal defeat.


The Adventures of Kintaro, The Golden Boy

I usually don't enjoy the stories about the animals as much, so in this story, the one thing that grabbed my attention was the way Kintaro and his mother had to leave behind their cushy life and go live in the mountains. The whole thing happened because Kintaro's father was killed by some enemies who used to be friends, and his mother feared that those enemies would come for them, too, so they ran. I think something like that would fit perfectly in a crime story, so that's probably the direction I would take my assignment in: the remains of a family on the run from the dad's old crime ring buddies, who ended up offing him when he double-crossed the group. Or maybe it's the protagonist who did the double-crossing, and now he's got to evade the group and take care of the business he undertook when he crossed the group in the first place.



I'm not quite sure what I would do with it yet, but based on the way Kintaro's friends took turns at wrestling matches, my story for this one would definitely have to involve some sort of underground fighting ring.



In this last section of the story, Kintaro's mom explains that part of the reason she's hidden him away in the mountains all these years is because of his unnatural strength—when he was young, he hurt everyone around him without realizing it. If I were to write a piece inspired by that, either the protagonist would have a deadly power set and have to keep away from others, or her younger sibling would, and she would be the one taking care of both of them, bearing that burden. If it's been that way for years and the sibling is old enough, I'm sure some resentment would boil to the surface.



With this one, my first instinct would be to tell a story about two or three kids trying to find a cure for death in order to save a dying friend or family member—maybe one of them reveals, towards the end, that she's dying, too.

Realistically, though, the idea of a notorious robber leading a band of two hundred followers is much more my style, and I think it could be loads of fun to do something with that.



In this section, the protagonist is told how to find the country of Perpetual Life, and it initially seems like that's going to be a good thing. But I can't help but wonder if a place like that would be so great after all. I think I'd like to use this concept, but look at it as more of a grungy, run-down dystopian story than a utopia. 







Bibliography: Japanese Fairy Tales by Yei Theodora Ozaki. Source: Mythology and Folklore UN-Textbook.

Image Credit: "Black and White Sport Boxer." Source: Pexels.



Sunday, October 2, 2016

Tech Tip: Google Site Page

Using the tutorial to add a page to my Google site, I've added the page for the introduction to my storybook project, which can be found here.

[Extra] Reading Notes: Welsh Fairy Notes (Thomas), Part B



Owen Goes a-Wooing

In this story, the protagonist gets lost and falls into a lake—but instead of drowning, he discovers a whole city down there. If I were to base a story off of this one, I'd take that concept of a civilization under a lake, then twist the genre with it, so it's something a little darker, so the fantasy's tinged a little more with a quiet, eerie horror element.



In this one, the protagonist goes through and gets things ready for the fairy folk to come through and visit: sets out bread, removes all the iron from a place so it's safe, and so on. I like the idea of a character freelancing for various unpleasant supernatural entities, making preparations for them to cross through or sweep past an area, helping them carry out their business on the mortal end. Another aspect of the story that caught my attention was when the wife confronted her husband about where he got his money from, saying, "I don't believe you get it honestly." A similar confrontation, possibly between best friends who're also business partners ("business partners" interpreted pretty loosely), is probably what I'd go with for this one.


Why Deunant has the Front Door in the Back

Though I also liked the idea of another family, another house, another world nestled just underneath the one the protagonist sees, for me, the most interesting part of this story was the idea of the old woman with a shift reputation, who "was thought to earn her living by stealing babies for the fairies." The idea of fairies needing a human accomplice—somebody who knows the town and its people and how their houses are guarded—to help swap their changelings is something that's never occurred to me before, but it's quite striking, and I'd like to explore that. It'd be interesting to see what kind of personality it would take to steal the babies for a living, plus that person's relationship with the fairies and how exactly they pay the character.



In this story, like so many others, the protagonist wins himself a mythological creature for a wife (in this case, the nymph of a lake), then loses her due to some seemingly trivial case of carelessness. It did make me start thinking, though—in all of the myths like this, the bride always becomes human and comes to live with the husband in his world. What if the husband was the one transformed, just enough to survive, and came to live in the wife's world? Better yet, what if he wins her as his wife, but she's still stuck in the lake, and he's still stuck on land, and they can only meet in brief, wistful little snatches of time at the shore? It seems more interesting than the husband being given an easy deal, so that's probably what I'd explore here.


John Gethin and the Candle

I loved this story from the outset, because I loved the the idea of a wizard needing to find some "plucky fellow" to camp out in a dangerous place and perform dangerous magic with him in order to secure some treasure. The wizard approaches everyone he knows about it, but can't find anyone—until he's approached by a "reckless youth" named John Gethin, who says that he "care[s] for nothing in heaven above, or in the earth beneath or in the water under the earth," and offers to come along for half the treasure. I love the idea of this dynamic, and that's what I would use in my story: the protagonist would put out an ad in a paper or something, which would lead to the team-up and a sort of Tango & Cash- or Fight Club-inspired dynamic between the two.



As far as this story is concerned, I thought the idea of a sanctuary, protected against royalty or the law or anyone, has the most potential for a retelling. I'd probably write a story about a ring of criminals using it as protection, or a petty criminal protagonist who quickly realizes he's not the only one of his kind there. I'd like to bring some kind of fantasy or sci-fi bent to this one, too, but I haven't decided yet what that would look like.


The Men of Ardudwy

This time, it wasn't so much anything in the story itself, but the abstract concept behind it that caught my interest. If I were to use this one as the inspiration for my own retelling, I'd stick to that idea of a haunted lake, then see what new, modern-day direction I could spin it in.



Two things caught my eye when I read this one; the first was the idea of a creature that can't be killed, and so gets locked away for the foreseeable future instead. It could be an interesting concept to play around with, especially if somebody were to decide to spring the monster at the end—possibly because all the townspeople who locked him up were worse monsters than the one in the glorified cage. The other element that interested me was the image of this horrible monster being captured because he let his guard down, caught "while it slept with its head on [some girl's] knees." That's a monster I want to read about, and I'd be curious to find out more about the girl who helped capture him, too, and how she ends up feeling about what happens after he's chained and locked away.



I'm not usually a title person, but that's actually the thing about this story that inspired me the most. Rather than focusing on the old lady or the monk, I would probably write about the Devil's Bridge mentioned in the story, which also gets called the Bad Man's Bridge. I'd put it in a modern-day setting—probably some small town, where town histories get muddled with old superstitions and rumors and half-baked legends—and change the backstory behind the bridge (thanks to all the old rumors, there's probably more mystery than facts about my bridge, and that probably works better for me anyways). I'd either be going for a The Lost Boys meets Stand By Me flair, or looking at an old suicide bridge inspired a little by the feel of the legends about Robert Johnson.





Bibliography: The Welsh Fairy Book by W. Jenkyn Thomas. Source: Mythology and Folklore UN-Textbook.

Image Credit: Illustration for "Why Dunant has the Front Door in the Back," by Willy Pogány. Source: The Welsh Fairy Book.




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