Acapella's second story


acapella
Registered User
Joined: 12/08/05
Posts: 1,617
acapella
Registered User
Joined: 12/08/05
Posts: 1,617
12/08/2006 8:51 pm
That's right boys and girls, I done anudder one. I actually tried on this one, so try not to be too mean. Wouldn't want to break my fragile waffle. And yes, I know I said waffle.

The Sound Of Silence
By Michael Chikousky

Richard looks like a female rat. So maybe he’s a rodent-like guy, or just another girl. That looks like a boy.
I sat pondering this while I watched him from my side of the dressing room. I’d watched him every day for the past fifteen years, and in all that time I had never spoken to him unless the script called for it. The reason for this was simple and logical: Richard was disgusting. It disgusted me to see him, to watch him go through his filthy habits and observe his grotesque little nuances that he either didn’t know about, didn’t bother to hide, or thought were endearing. To talk to him would have been like talking to a filthy bloated rat, and if that rat replied? I don’t know anyone that could keep any composure then. I can’t think what it would have been like to touch him. Just thinking about it…no, I won’t do that to myself. It doesn’t matter now anyway.
I remember that day very clearly, even now. You could say it was the day that I became a prisoner, but I don’t see it that way. I was already a prisoner. If anything I was set free that day.
The day had started out the same as always, of course. How else would it start? In fifteen years of putting on the same play every day the routine had been the same, and there was certainly no call for variety on that day. It was a Saturday. Everybody was looking forward to the next day because on Sundays we didn’t have to put on the performance until midnight, which meant we could sleep in on Sunday morning. Of course the fools never seemed to care or notice that it only meant less sleep on Sunday night, but I didn’t bother to point this out to them. I’m sure I would have been met only with a cow-like stare, and the dry satisfaction I would get from my own rare ability to think coherently. A lot of good it did me to think in those days. You don’t need much in the way of logic to read what it says on a piece of paper. There were no actors there, only robots. There were only two real actors, myself and that pompous bastard Richard.
The worst thing about him wasn’t that he thought so highly of himself. The worst thing is that everybody did. Somehow I was the only one who could see through him. It wasn’t even a matter of seeing through him, just seeing him. They all saw him as a leader, because he made it very clear that he was superior to them. He definitely stood out. He made sure that everybody knew that he was English, and he only wore suits. Red suits, God knows why. They were always red, and always…puffy. I don’t know where a man could get a puffy red suit, but he was never seen without one. And he looked so goddamn dignified in it, too. You couldn’t say that he looked like he was trying too hard to make an image for himself, because he didn’t look like that. You had to look close to see it, and I was the only one who dared to look close. I’m sure they all knew, deep down, but were afraid to admit it to themselves: Richard was nothing but a phony bastard. On second thought, I’m not so sure that they knew that. As I said, they didn’t exactly have the highest capacity for coherent thought.
That was the thing that set Richard and I apart from the others. We were the smart ones, the thinkers, the deep ones. Everybody knew that, including ourselves, and including the directors. That was why they chose us; they needed thinking men to play the leading roles. They needed learned men, men who understood the theatre, who could carry out the complex instructions that were required without botching them.
The difference between Richard and me was the effect that our knowledge had on us. My studies had left me humbled at the immensity of knowledge in the world, and the small amount most people possessed. I thought of myself as a priest who knows God personally, but feels no pride for it. Instead he feels guilty, and he must go down into the depths of filth and make sinners clean so that he can be rid of his guilt. With it of course I held a contempt for the unlearned, a feeling of superiority, but I took no pleasure in it. That was the difference between us. Richard felt no guilt, nor did he feel there was a debt to be repaid. He felt contempt, and made no effort to hide it. This gave him a sense of loftiness and an air of superiority, which made him a natural selection for the others’ unofficial hero, father, and God.
Everyone envied me because I spent the most time with him. I wonder if they had known what their precious idol was like behind closed doors, what they would have thought. It is possible that they would have denounced him, but it’s more probable that they would have simply called it a bad dream, a test of faith, maybe even indigestion. They would have come up with some excuse, someone to blame. Richard was always right, and to them nothing could change that.
That time I spent with him alone in the dressing room was my own personal hell. He always felt he could be “comfortable” with me, that he could be “himself”. Why anyone who was a filthy bloated rat would want to be themselves at any time I never understood, but he never asked me to understand that. He never asked me much of anything, but he sure told me a lot. I didn’t hear most of it though. Mostly I just thought, and watched. I watched his fat dirty lips move. They sprayed crumbs everywhere when he talked. He was always eating something in that room, and it always was full of crumbs. I watched his fat, hairy stomach move up and down as his weak lungs struggled for another breath. I watched his rodent eyes darting around, always looking for something, something to eat, something to put his filthy hands on and touch and ruin. He never looked at me, never regarded me as another individual. The only individual that Richard knew was Richard. I was just a listening post who at least could understand, my dear man, unlike the rubbish outside. And the whole time I thought about two things. How I felt about him, and what I was going to do to him.
I came up with some very interesting ideas, some very creative ones. How strange it is that on the final day, it was so spontaneous. Frightening and painful as it was at first, it was beautiful as well. It may have been my best performance.
As I sat in the dressing room I watched his fat mouth working, the crumbs spewing, the hands crawling scrambling, the eyes darting, and even though I didn’t hear him speak it seemed that a huge noise was crushing me. I had to get out, had to get out, I couldn’t breath. From what seemed like miles away I could hear Richard saying “are you sure you’re quite all right? You don’t seem to be listening at all.” Everything seemed to be crashing in on me. I don’t know what would have happened if the director hadn’t come in then and told us we were on.
Richard stood up and stretched. “Suppose it’s that time again,” he sighed. We went outside to the stage. I still felt kind of shaky, but otherwise it seemed my spell had passed and I was calm again. The lights seemed too bright though, and the murmurs of the audience a little too loud.
On stage we quickly and efficiently assumed our roles. Every night for fifteen years we’d been taking them, how else were we supposed to do it? We went through the whole thing flawlessly as always. We waited behind the curtain for our final scene. Everything seemed to be…pulsing. I felt scared and sick. The expectant rumbling of the audience was almost too much to bear. By the time we finally stepped outside I could barely stand.
“What did you think?” asked Richard. “That I wouldn’t do anything when I found out? That I would just forget about it?”
“I didn’t care what you thought of it,” I replied. Even in this state I could still dish out my lines automatically.
“She was mine and you took her from me. I thought you were my friend. You’re nothing but a…”
Richard never got to finish that sentence. He was supposed to finish it and then attack me, but that never happened either. I didn’t know that I was going to do it, but I wasn’t really surprised when I did. The wine bottle was only a prop, but it was heavy enough. He turned back to me, and his eyes were shocked and confused. This renewed my anger and dissolved any pity I might have felt. Then he started to speak, and I knew I couldn’t bear the sight of his goddamn fat mouth spewing his filthy blood all over the place. It didn’t occur to me until later that some of that blood might actually have touched me, and if that happened I would probably not have survived it. I hit him, again and again, and he just looked back at me with those eyes. “No…it’s wrong…this isn’t how it goes…”
When I finally stopped, everything was silent. Richard lay on the floor, one hand on his face, the other clutching his doughy chest. No one moved or breathed for a long time. All they did was stare- stare at the blood, the body, and the pathetic rising and falling of that fat, hairy stomach. They stared until those poor, burdened old lungs quit. I can’t say it took them very long. When his wheezing, gurgling whines finally stopped, there was no noise at all. I lied down on the stage and closed my eyes. It was so quiet, and it was so peaceful. It was a sound I’d been waiting to hear for fifteen years.
You go outside and practice screaming. We'll play music while you're gone.
# 1
Tonja_Renee
Official PRSplaya Groupie
Joined: 12/04/05
Posts: 661
Tonja_Renee
Official PRSplaya Groupie
Joined: 12/04/05
Posts: 661
12/09/2006 1:09 am
What a dark creepy place your mind is.... Michael - I think you might have a few issues.. lol

It was definately an interesting read, I definately felt the disgust and contempt. Not really my type of story, but you definately got your points accross and I felt the dark mood.
Great works are performed, not by strength, but by perseverance.
# 2
earthman buck
Registered User
Joined: 10/15/05
Posts: 2,953
earthman buck
Registered User
Joined: 10/15/05
Posts: 2,953
12/09/2006 3:46 am
You based Richard on me, didn't you?! DIDN'T YOU?!

*smashes wine bottle against your head*

Not a bad story, my pet. Not bad at all.
# 3
acapella
Registered User
Joined: 12/08/05
Posts: 1,617
acapella
Registered User
Joined: 12/08/05
Posts: 1,617
12/11/2006 8:19 pm
Feedback or suggestions would be good...so...
^bump^
Jolly, Hunter...I'm looking in your direction...
You go outside and practice screaming. We'll play music while you're gone.
# 4
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
02/05/2007 4:33 pm
My comments are inserted in red.

The Sound Of Silence
By Michael Chikousky

Richard looks like a female rat. So maybe he’s a rodent-like guy, or just another girl who looks like a boy.
I sat pondering this while I watched him from my side of the dressing room. I’d watched him every day for the past fifteen years, and in all that time I had never spoken to him unless the script called for it. DELETE THIS: The reason for this was simple and logical: Richard was disgusting. Redundant: It disgusted me to see him, to watch him go through Start HERE: his filthy habits and delete, unnecessary: observe his grotesque little nuances that he either (either he) didn’t know about, didn’t bother to hide, or thought were endearing (let's keep it patterned: "didn't think so vile." My edit here: To talk to him, a rat! And if that rat replied? I don’t know anyone who could keep his composure then. I can’t think what it would have been like to touch him. Just thinking about it…no, I won’t do that to myself. It doesn’t matter now anyway.

I remember that day very clearly, even now (Even now I remember that day = fewer words). You could say it was the day that I became a prisoner, but I don’t see it that way. (too telling. Say "if you were so inclined," and then start this next sentence with "But.") I was already a prisoner. If anything I was set free that day. (Shouldn't we draw this conclusion as the greater meaning of the story rather than being told so in the beginning?)

The day had started out the same as alwaysDelete: , of course. How else would it start? In fifteen years of putting on the same play every day, the routine had been the same, and there was certainly no call for variety on that day. My edit: It was a Saturday, and everybody was looking forward to the next day because on Sundays we didn’t have to put on the performance until midnight, which meant we could sleep in on Sunday morning. Of course the fools never seemed to care or notice that it only meant less sleep on Sunday night, but I didn’t bother to point this out to them. I’m sure I would have been met only with a cow-like ("bovine" is the word you're looking for.) stare, and the dry satisfaction I would get from my own rare ability to think coherently. A lot of good it did me to think Delete: in those days. You don’t need much in the way of logic to read what it says on a piece of paper. There were no actors there, only robots. There were only two real actors, myself and that pompous bastard Richard.

The worst thing about him wasn’t that he thought so highly of himself. The worst thing is that everybody did. Somehow I was the only one who could see through him. It wasn’t even a matter of seeing through him, just seeing him. They all saw him as a leader, because he made it very clear that he was superior to them. He definitely stood out. He made sure that everybody knew that he was English, and he only wore suits. Red suits, God knows why. They were always red, and always…puffy. I don’t know where a man could get a puffy red suit, but he was never seen without one. And he looked so God damned dignified in it, too. You couldn’t say that he looked like he was trying too hard to make an image for himself, because he didn’t look like that. You had to look close to see it, and I was the only one who dared to look close. I’m sure they all knew, deep down, but were afraid to admit it to themselves: Richard was nothing but a phony bastard. On second thought, I’m not so sure they knew that. As I said, they didn’t exactly have the highest capacity for coherent thought. Change: "Deductive reasoning."

That was the thing that set Richard and I apart from the others. We were the smart ones, the thinkers, the deep ones. Everybody knew that, including ourselves, and including the directors. That was why they chose us; they needed thinking men to play the leading roles. They needed learned men, men who understood the theatre, who could carry out the complex instructions that were required without botching them.
The difference between Richard and me was the effect that our knowledge had on us. My studies had left me humbled at the immensity of knowledge in the world, and the small amount most people possessed. I thought of myself as a priest who knows God personally, but feels no pride for it. Instead he feels guilty, and he must go down into the depths of filth and make sinners clean so that he can be rid of his guilt (Hmm, sort of like the Buddhist Brahmin. Nothing else of import from me here.). With it of course I held a contempt for the unlearned, a feeling of superiority, but I took no pleasure in it. That was the difference between us. Richard felt no guilt, nor did he feel there was a debt to be repaid. He felt contempt, and made no effort to hide it. This gave him a sense Change: an air of loftiness and superiority, which made him a natural selection for the others’ unofficial hero, father, and God.

Everyone envied me because I spent the most time with him. I wonder if they had known what their precious idol was like behind closed doors, what they would have thought. It is possible that they would have denounced him, but it’s more probable that they would have simply called it a bad dream, a test of faith, maybe even indigestion. They would have come up with some excuse, someone to blame. Richard was always right, and to them nothing could change that. Excellent paragraph.

That time I spent with him alone in the dressing room was my own personal hell. He always felt he could be “comfortable” with me, that he could be “himself”. Why anyone who was a filthy, bloated rat would want to be themselves at any time I never understood, but he never asked me to understand that. He never asked me much of anything, but he sure told me a lot. I didn’t hear most of it though. Mostly I just thought, and watched. I watched his fat dirty lips move. They sprayed crumbs everywhere when he talked. He was always eating something in that room, and it always was full of crumbs. I watched his fat, hairy stomach move up and down (please please please replace that with "pulsate" as his weak lungs struggled for another breath. I watched his rodent eyes darting around, always looking for something--something to eat, something to put his filthy hands on and touch and ruin. He never looked at me, never regarded me as another individual. The only individual whom Richard knew was Richard. I was just a listening post who at least could understand, my dear man, unlike the rubbish outside. And the whole time I thought about two things. How I felt about him, and what I was going to do to him.
I came up with some very interesting ideas, some very creative ones. How strange it is that on the final day, it was so spontaneous. Frightening and painful as it was at first, it was beautiful as well. It may have been my best performance. This paragraph rocks, by the way.

As I sat in the dressing room I watched his fat mouth working, the crumbs spewing, the hands crawling and scrambling, the eyes darting, and even though I didn’t hear him speak, it seemed that a huge noise was crushing me. I had to get out, had to get out, I couldn’t breath. From what seemed like ENOUGH ****ING SEEMING! Either you use hyperbole and say you ARE miles away, or you delete this. miles away I could hear Richard saying “are you sure you’re quite all right? You don’t seem to be listening at all.” Everything seemed to be crashing in on me. I don’t know what would have happened if the director hadn’t come in then and told us we were on.

Richard stood up and stretched. “Suppose it’s that time again,” he sighed. We went outside to the stage. I still felt kind of shaky, but otherwise it seemed ("Seeming" is a weak, weak concept. It drains the power of nearly any sentence that hosts the word.) my spell had passed and I was calm again. The lights seemed too bright though, and the murmurs of the audience a little too loud.

On stage we quickly (be efficient and just use "quickly")and efficiently assumed our roles. Every night for fifteen years we’d been taking them, how else were we supposed to do it? We went through the whole thing flawlessly as always. We waited behind the curtain for our final scene. Everything seemed to be…pulsing. I felt scared and sick. The expectant rumbling of the audience was almost too much to bear. By the time we finally stepped outside I could barely stand.

“What did you think?” asked Richard. “That I wouldn’t do anything when I found out? That I would just forget about it?”
“I didn’t care what you thought of it,” I replied. Even in this state I could still dish out my lines automatically.
“She was mine and you took her from me. I thought you were my friend. You’re nothing but a…”
I want the bomb
I want the P-funk!

My band is better than yours...
# 5
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
02/05/2007 4:34 pm
Richard never got to finish that sentence. He was supposed to finish it and then attack me, but that never happened either. I didn’t know that I was going to do it, but I wasn’t really surprised when I did. (I'll light myself on fire if you keep this sentence in the story.) The wine bottle was only a prop, but it was heavy enough. He turned back to me, and his eyes were shocked and confused. This renewed my anger and dissolved any pity I might have felt. Then he started to speak, and I knew I couldn’t bear the sight of his goddamn fat mouth spewing his filthy blood all over the place. It didn’t occur to me until later that some of that blood might actually have touched me, and if that happened I would probably not have survived it. I hit him, again and again, and he just looked back at me with those eyes. “No…it’s wrong…this isn’t how it goes…”
When I finally stopped, everything was silent. Richard lay on the floor, one hand on his face, the other clutching his doughy chest. No one moved or breathed for a long time. All they did was stare- stare at the blood, the body, and the pathetic rising and falling of that fat, hairy stomach. They stared until those poor, burdened old lungs quit. I can’t say it took them very long. When his wheezing, gurgling whines finally stopped, there was no noise at all. I lied down on the stage and closed my eyes. It was so quiet, and it was so peaceful. It was a sound I’d been waiting to hear for fifteen years.

Acapella: this is a great story. This is a fantastic story, in fact. Now be more confident in your metaphors and STOP SAYING "SEEMED!"
I want the bomb
I want the P-funk!

My band is better than yours...
# 6
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
02/06/2007 1:09 am
Oh man, what a nasty, little dark tale you've got here! I like it and agree with Jolly's suggestions. I think what strikes me most (aside from a wine bottle repeatedly playing percussion on the side of my melon!) is that the narrative has that horribly busy 'thrum' that one would imagine in the mind of someone who has been driven to the point of lashing out and committing murder most foul in front of an audience.

There are a lot of things that you can draw from this. Your narrator admits to premeditated murder even if he feels that it was that one night, that one performance, that pushed him over. He talks of thinking of many 'creative' ways of killing poor ol' Richard. What I might like to see in the edit are some of those creative ways. Let's see what your boy considers creative. Perhaps grabbing a huge bratwurst from a silver serving tray and cramming it into his gaping maw and then sitting back and watching him slowly writhe and choke on his obvious oral fixation.Or maybe he thought seriously about choking him with wadded up reviews that declare Richard a genius. Or maybe since Richard is such a pompous a**, he's got to have some huge, heavy tomes lying around open in his dressing room. Maybe your boy grabs one, pretends to flip through it and then clocks Richard on the back of the neck with an Oxford collection of Shakespere. But no, he fights the urge until ... until...

Okay, enough. I was starting to have too much fun figuring out ways to kill Richard. See, that's a good sign. After reading your story, I hate Richard too!

Nice descriptions. Nice emotion. I would recommend just re-writing it a few more times and paring some of it. You might want to spend a little more time on the actual killing. You've spent some time building to the moment, don't rush past it. It's the payoff for your reader. Let them share your narrators mix of freedom, revulsion and wonder at what he's doing.

But still, great story.
[FONT=Tahoma]"All I can do is be me ... whoever that is". Bob Dylan [/FONT]
# 7
acapella
Registered User
Joined: 12/08/05
Posts: 1,617
acapella
Registered User
Joined: 12/08/05
Posts: 1,617
02/06/2007 5:53 am
Awesome guys, thanks so so much for the replies. I'll get to editing sometime soon, but with no more spares, it could be a while before I get done. Seriously thanks a lot.
You go outside and practice screaming. We'll play music while you're gone.
# 8
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
02/06/2007 6:46 am
Originally Posted by: hunter60Oh man, what a nasty, little dark tale you've got here! I like it and agree with Jolly's suggestions. I think what strikes me most (aside from a wine bottle repeatedly playing percussion on the side of my melon!) is that the narrative has that horribly busy 'thrum' that one would imagine in the mind of someone who has been driven to the point of lashing out and committing murder most foul in front of an audience.

There are a lot of things that you can draw from this. Your narrator admits to premeditated murder even if he feels that it was that one night, that one performance, that pushed him over. He talks of thinking of many 'creative' ways of killing poor ol' Richard. What I might like to see in the edit are some of those creative ways. Let's see what your boy considers creative. Perhaps grabbing a huge bratwurst from a silver serving tray and cramming it into his gaping maw and then sitting back and watching him slowly writhe and choke on his obvious oral fixation.Or maybe he thought seriously about choking him with wadded up reviews that declare Richard a genius. Or maybe since Richard is such a pompous a**, he's got to have some huge, heavy tomes lying around open in his dressing room. Maybe your boy grabs one, pretends to flip through it and then clocks Richard on the back of the neck with an Oxford collection of Shakespere. But no, he fights the urge until ... until...

Okay, enough. I was starting to have too much fun figuring out ways to kill Richard. See, that's a good sign. After reading your story, I hate Richard too!

Nice descriptions. Nice emotion. I would recommend just re-writing it a few more times and paring some of it. You might want to spend a little more time on the actual killing. You've spent some time building to the moment, don't rush past it. It's the payoff for your reader. Let them share your narrators mix of freedom, revulsion and wonder at what he's doing.

But still, great story.

I dunno. I disagree with extending the killing. I think it would overwrite the act itself, which might defeat the purpose of the piece as a whole. Since this story isn't about brutality and depravity, but rather monotony, I think the killing should seem just as non-chalant and mechanical as the speaker's own mundane existence. I do think the story should go on to show him sitting in a prison cell, overjoyed by the new monotony running his life, but by his own choice now rather than simply "because."
I want the bomb
I want the P-funk!

My band is better than yours...
# 9
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
02/06/2007 12:13 pm
Originally Posted by: Jolly McJollysonI dunno. I disagree with extending the killing. I think it would overwrite the act itself, which might defeat the purpose of the piece as a whole. Since this story isn't about brutality and depravity, but rather monotony, I think the killing should seem just as non-chalant and mechanical as the speaker's own mundane existence. I do think the story should go on to show him sitting in a prison cell, overjoyed by the new monotony running his life, but by his own choice now rather than simply "because."


Interesting thought. I agree that it's really about monotony but the line that really caught my fancy was his thinking of other creative ways to take out Richard. As far as extending the killing, well, sure. It could stay as a throw away act but it seems to me that the story needs a 'moment' to share with the reader. As written, it builds and builds to the 'moment' and then sort of blows past it. I would think that if it were me taking out that fat blowhard, it wouldn't be a smack or two with a wine bottle. It would start that way and then work into an out and out savaging.

But that's me. I have issues....hehe

Nice thing about a story like this is that it can be written a myriad of ways with a host of details and outcomes.
[FONT=Tahoma]"All I can do is be me ... whoever that is". Bob Dylan [/FONT]
# 10
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
02/06/2007 8:22 pm
Originally Posted by: hunter60Interesting thought. I agree that it's really about monotony but the line that really caught my fancy was his thinking of other creative ways to take out Richard. As far as extending the killing, well, sure. It could stay as a throw away act but it seems to me that the story needs a 'moment' to share with the reader. As written, it builds and builds to the 'moment' and then sort of blows past it. I would think that if it were me taking out that fat blowhard, it wouldn't be a smack or two with a wine bottle. It would start that way and then work into an out and out savaging.

But that's me. I have issues....hehe

Nice thing about a story like this is that it can be written a myriad of ways with a host of details and outcomes.

I'll definitely agree about the fantasy thing. It would be nice to have him fantasizing about the murder when Richard snaps him out of it with one of his monologues.
I want the bomb
I want the P-funk!

My band is better than yours...
# 11
acapella
Registered User
Joined: 12/08/05
Posts: 1,617
acapella
Registered User
Joined: 12/08/05
Posts: 1,617
02/06/2007 8:40 pm
I see your point about rushing past the climax of the story, however I also don't want to make the story about killing. Maybe I should make that part more interesting so you feel less cheated, I'm not sure yet, but I don't want to make it the focus of the story either. So I'll have to think about that for a while.
You go outside and practice screaming. We'll play music while you're gone.
# 12
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
02/06/2007 9:58 pm
Originally Posted by: acapellaI see your point about rushing past the climax of the story, however I also don't want to make the story about killing. Maybe I should make that part more interesting so you feel less cheated, I'm not sure yet, but I don't want to make it the focus of the story either. So I'll have to think about that for a while.

Ok, here's how to do it in a way that incorporates both the idea of extending the act and avoiding making the story end in some "graphic novel," comic-book ending.


With each blow of the wine bottle, have the speaker's thoughts meander through something related to the frustrations of the stage and the joys of leaving. Punctuate it with every strike.

A rushed example:

The wine bottle came down on his snout. Act III, scene V, yet again. God, the insipid denouement. I hated every second of it. Wine bottle again, smack in the temple.

etc etc.
I want the bomb
I want the P-funk!

My band is better than yours...
# 13
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
02/07/2007 1:15 am
Originally Posted by: acapellaI see your point about rushing past the climax of the story, however I also don't want to make the story about killing. Maybe I should make that part more interesting so you feel less cheated, I'm not sure yet, but I don't want to make it the focus of the story either. So I'll have to think about that for a while.



That's a very interesting thought; a murder story that really doesn't focus on the actual murder. I like the idea. I really do. I guess I tend to be a bit more linear than you and Mr. Jolly. I can see what you are both saying. And I don't mean it to sound as if you are 'cheating' the reader. That's not it. It just seems like the murder is so nonchalant, so 'yeah, and then I killed him..." that it just makes your man something less than human. And that can work too since most who kill, even in bright moments of unregulated passion or madness, are less than human.

Or perhaps too human. That's up the writer I suppose.

I don't mean it to sound that the story should be nothing but descriptions of the killing. No. We have Andrew Vachs and Thomas Harris for things like that. No, I am one who just wants to 'feel' the wine bottle in his hand. I want to feel that sick tightening of the chest muscles as he raises it over his head and let every ounce of his revulsion rush from him to the point of impact. I want to know what that feeling of release does for him.

I like Jolly's idea in his last post. That sort of thing seems to tie it together. Something in that vein. The mix of action and thought. The 'whack ...You pompous jackass...whack...not one more night...whack...' sort of thing.

Just more thoughts. It's your story dude. Write the story you want to tell. Your readers will get it.
[FONT=Tahoma]"All I can do is be me ... whoever that is". Bob Dylan [/FONT]
# 14
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
02/07/2007 1:18 am
Originally Posted by: Jolly McJollysonOk, here's how to do it in a way that incorporates both the idea of extending the act and avoiding making the story end in some "graphic novel," comic-book ending.



Ouch...comic-book ending? Wow. That hurt. I must now go and slam my hand in my OED in penitence. :D
[FONT=Tahoma]"All I can do is be me ... whoever that is". Bob Dylan [/FONT]
# 15
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
02/07/2007 2:07 am
Originally Posted by: hunter60Ouch...comic-book ending? Wow. That hurt. I must now go and slam my hand in my OED in penitence. :D

Haha, no no, I didn't mean that your idea was comic-bookish. I just meant if he really over-wrote the ending it could turn out as such.
I want the bomb
I want the P-funk!

My band is better than yours...
# 16
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
hunter60
Humble student
Joined: 06/12/05
Posts: 1,579
02/07/2007 3:28 am
Originally Posted by: Jolly McJollysonHaha, no no, I didn't mean that your idea was comic-bookish. I just meant if he really over-wrote the ending it could turn out as such.



Gotcha! But I'll still smash my hand in the OED. Told you, I've got issues. Besides, it's Tuesday night, isn't it? Gotta stick with tradition. :rolleyes:
[FONT=Tahoma]"All I can do is be me ... whoever that is". Bob Dylan [/FONT]
# 17
earthman buck
Registered User
Joined: 10/15/05
Posts: 2,953
earthman buck
Registered User
Joined: 10/15/05
Posts: 2,953
02/07/2007 5:33 am
Originally Posted by: Jolly McJollysonOk, here's how to do it in a way that incorporates both the idea of extending the act and avoiding making the story end in some "graphic novel," comic-book ending.

Are you knocking graphic novels? If so, leave my internet. At once.
# 18
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
Jolly McJollyson
Chick Magnet
Joined: 09/07/03
Posts: 5,457
02/07/2007 6:07 am
Originally Posted by: earthman buckAre you knocking graphic novels? If so, leave my internet. At once.

I am knocking them. The best writer I've come across in the genre is Frank Miller, and he's no great shakes.
I want the bomb
I want the P-funk!

My band is better than yours...
# 19
earthman buck
Registered User
Joined: 10/15/05
Posts: 2,953
earthman buck
Registered User
Joined: 10/15/05
Posts: 2,953
02/07/2007 6:11 am
Originally Posted by: Jolly McJollysonI am knocking them. The best writer I've come across in the genre is Frank Miller, and he's no great shakes.

What about Chris Ware? The man is only a genius.

God, I love graphic novels. They combine my love of twisted crap with my love of not having to stay particularly focused.
# 20

Please register with a free account to post on the forum.