twitter Facebook LinkedIn Pinterest Email RSS

Getting Authentic with Tim Crouch, part I

armsTim Crouch is of middle height, pale, and loud. He looks like the kind of guy you might see at Man Utd. game, or down at the local pub getting laughs for his self-deprecating humor.

Last week, I attended Crouch’s first ever writing workshop, held at the ICA Boston in conjunction with Grub Street. Here’s the blurb from the Grub Street Rag:

FREE PLAYWRITING WORKSHOP: CREATIVE WRITING PERFORMANCE WITH TIM CROUCH

British playwright/performer Tim Crouch will offer a practical introductory workshop on writing for the stage – translating ideas into text and stage action. The workshop will explore the differences between dramatic text and other forms of writing culminating in the creation of short pieces for performance.

For those who haven’t been there before, the ICA can be a bit intimidating – it juts out over the Charles, a melange of glass and beam, its design straddling the line between Boston’s past and Boston’s future.  Already nervous–a bit of Googling revealed Crouch to be a theater experimentalist – the ICA nearly put me over the edge. In fact, if it hadn’t been for the driving wind, I may never have made it in the door!

So what was the workshop like?

Truth is, I’m still not sure. I’m still trying to work through the ideas, the things I liked and didn’t like. The most important thing I learned, though, is this – writing is all about just setting out to tell a story. Sounds simple, right? It is. It’s that annoyingly obvious kind of simple, the kind that needs to be pointed out. And point it out Crouch did – 6 times over the course of 2 hours.

What do I mean by setting out to tell a story?

There are two kinds of writers.

1. Planners & plotters.

2. Scribblers.

I’m a scribbler. I skip the planning, and just write what comes until I hit a wall. Then I start to think through what I’ve written so far, trying to see how it works. Plotters & planners sketch out their work until they know all the necessary ins and outs of the story. Either way, you get a story.

But is the story authentic?

Authenticity in stories is a bit of a hot button topic. The word has been bandied around at every writers’ conference, and class I’ve ever attended, and was a favorite of one of my English Lit. professors. I think a better word for “authentic” work, though, is “genuine” or “sincere”. Whenever my Nana meets someone she likes, she says they’re a “genuine” type of person, or “the salt of the earth”. A genuine story would be one that resonates, or feels true to itself, rather than forced, full of issues, themes, and ideas no one is actually interested in reading.

Except…well, aren’t ideas what set our stories apart? In Laurie Halse Anderson‘s Wintergirls, there are very clear body image issues. In Oscar Hijuelos’ Dark Dude, there’s a lot about personal growth. How do these authors imbue their work with ideas that speak to readers but maintain a sincere voice?

Crouch’s take – I just set out to tell a story – says it all.

“No one can teach anyone to write,” he says. “If you try to [impose structure] something else will be communicated on top of the immediate narrative. Pre-rationalization is like a little death. Structure is deadly. It takes away from the act of generation.”

So how did Crouch write his first (very successful) play, “My Arm”, about a man who can’t lower his arm? He describes it as being “sharp and bitter in my mind… all I did was set out to tell a story. I had no idea except to honor that idea. By the second day, I had a concrete idea of how I worked. [When I got to the end], I didn’t think I’d got to the end. I was very surprised.”

And how does authenticity play into that? According to Crouch, writers need to post-rationalize. “Just sit down and write,” he told our 40-some group. “Whatever’s in your life, up top of your mind, will come through. Later, you can go back and figure it out.”

The big take-away? Mess is good. Crouch’s whole point is that mess is, ultimately, good, because it makes our work authentic, genuine. And it doesn’t matter that it’s messy because that’s what the revision process is all about.

Getting Authentic with Tim Crouch, part II – co-authorship.

Getting Authentic with Tim Crouch, part III – writing outside the box.

Getting Authentic with Tim Crouch, part IV – writing inside the box.

How do you write? Have you ever tried post-rationalization?

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page

Winnie the Pooh and the Seven Stories Hypothesis

piano_smallThis week, Baby and I have been sick again – and Baby had a round of shots on top of it all, so it’s been a difficult few days. As a result, I’ve been letting him listen to his favorite song, the theme from The New Adventures of Winnie the Pooh almost every time he’s upset. He’s loving it. Me, not so much.

Then it occurred to me – Baby responds to this particular song in any format. It doesn’t have to be the original version – I can sing it, and he’s happy. So, after a bit of searching, I tracked down this piano solo:

The piano solo is a much easier format for me. It’s soft and pleasant sounding; I can loop it in the background, and not grind my teeth as it plays and plays and plays. And that started me thinking about the seven stories hypothesis.

The seven stories hypothesis (SSH) is the idea that there are only seven stories in the world. Here’s the basic list:

  1. Man vs. Nature
  2. Man vs Man/Woman
  3. Man vs the Environment
  4. Man vs Technology/Machine
  5. Man vs The Supernatural
  6. Man vs Self
  7. Man vs God/Religion

Some people believe there are only 5 plots (2 & 6, 5 & 7 are grouped together), while others believe there are 20. Others have different names and segments of nature for the plots. These are from Christopher Brooks’ The Seven Basic Plots: Why We Tell Stories (a great read, by the way):

  1. Overcoming the monster
  2. Rags to riches
  3. The quest
  4. Voyage and return
  5. Comedy
  6. Tragedy
  7. Rebirth

Regardless, the idea stands: there are only so many stories to go around. So why do we keep buying books? How do authors keep us hooked?

Treatment.

Arrangement.

A new take on an old idea.

However you slice it, the stories I tell will be different to the stories you tell. Why? Because we’re different people, with different experiences. True, we’re both people. True, we may both have stories that fit into the same basic plot, but the details, and how we handle the situations, will be different. (A great example of this is Cinderella – Cinderella stories, a blend of Woman vs. the Environment and Woman vs. Self, abound in film and literature.)

Does this mean I catalog all my work? No – I don’t need to. I already know where it fits. What I do do is play the SSH game with other books, looking for stories that fit into the same basic plot as mine. This helps me work out the most important parts of the story. Considering these other stories also helps me find my own version – thinking about how I might have handled a certain storyline allows me to tap into my own experience and make my work authentic.

Next time: authenticity and my workshop with playwright Tim Crouch.

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page

Bad Things Happen to Good Characters

stopping_to_thinkConsistency is important. And I thought it was something I had a handle on–after all, I loved chocolate when I was a kid, when I was a teen, before, during, and after my pregnancy. Beyond that, I never really thought about it.

And then my critique partner Amitha pointed out that my main character trucks along nicely for first three chapters, then mellows. Come the third chapter, the writing eases off a bit, and I give him a break.

This is a problem for two reasons.

1. Consistency

Ever read a book where the main character suddenly does something out of, well, character? This is one of my biggest pet peeves. I’m not advocating that characters remain in neat little boxes (the boyfriend, the catty girl, the try-too-hard dad) but rather that, whatever their character, they remain true to it. In my case, my main character, J, went from angry at his mother to defending his mother for no good reason. Perhaps this happened because I was relating more to J’s mother when I wrote the chapter, or because I, personally, would deal with J’s situation differently. Maybe I’d just read something with a calmer voice and it influenced J’s voice. I’m not sure — and it doesn’t matter, anyway because I still have to go back and clean it all up. Why? J is J, and I have to be true to that.

2. Growth.

When Amitha pointed out my lack of consistency, I was shocked. I’d spent ages trying to capture my character, J, working on his voice, mapping out his life story. I’d gotten to know the kid and, despite our occasional differences, come to like him…come to like him so much, in fact, that I didn’t want bad things to happen to him.

In real life, it’s okay to not want bad things to happen. But it’s also important to remember that, despite our best efforts, they do. People die of cancer, or of a stroke. Cars crash into others cars. Jobs are lost. Despite it all, though, we continue–and we grow. In story life, such things don’t have to happen. Bad things occur solely at the discretion of the author. And in some cases, this is fine. I mean, who wants to read a Spot book about the time Spot chased the mailman and was run down by a motorbike?

Novels are different. Novels are about people, about life. And life is about change and growth, which don’t happen unless–wait for it–bad things happen. So, as much as I’d like J to have a happy, carefree existence, I can’t give it to him. I have to give J a chance to grow. Which is why I’m currently revising to make my fourth chapter harder on him. It hurts, but it has to be done.

What are your pet peeves? Do you have trouble letting bad things happen to your characters? Does your voice undulate its way through a book?

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page

The Dialogue Drinking Game

tv_redbackgroundAs you may have noticed, I’ve been away for a while – Baby and I have been down with a cold. Since sick Baby is even cuddlier than usual, he’s been sleeping a lot–though only if I’m holding him in close to my chest and rocking in our glider.

Sounds great, right? It is, except for one thing–my hands have been all tied up, which means no typing, no reading, and very little (lukewarm) tea drinking. Sans hands, there’s very little else I can do except watch television, so I’ve spent the last week taking mental notes on popular shows (more on this later). As with everything, each show I’ve watched has had good points and bad points — and they’ve all been excellent candidates for the dialogue drinking game.

Full disclosure: I don’t actually drink, so I either play with tea, or by slapping five with whoever else is in the room.

The dialogue drinking game is pretty simple–every time I can predict a character’s next line, I get a sip of tea (or a high five). For the most part, my hit rate varies with my exposure to the show. If I’ve seen a lot of the show, I can call at least 10 lines in a 45 minute episode. If I’ve only seen one or two episodes I might manage one or two. If it’s a very good show, I get none.

It may sound silly, but the dialogue drinking game is actually pretty useful. How?

1. New Shows

I’m willing to give almost anything a go, so I often watch shows I’ve never seen before–especially if they’re pitched at teens. When watching these, though, I keep track of how many times I predict the lines. If it’s more than 5 times in a 45 minute show, or 3 in a 30 minute one, I tend to give the series the boot. Why? That number of predictable lines suggests cliched dialogue, something I’m always trying to avoid. It can also be an indication that all the characters sound the same–a big problem in YA writing.

2. Nearly New Shoes

If a new show makes it past round one, I watch at least five episodes. This gives me a chance to find character trends and gauge the strength of the writing. If I’m easily predicting lines throughout episodes one, two, and three, I go with the circular filing cabinet route. But if my hit rate is low to begin with, then jumps around episode three or four, I bump the show up to a regular watch. Which brings us to…

3. Regular Shows

For me, this is the most fun. Unlike 1. and 2., being able to predict lines in a show I know well is actually a good thing. Instead of indicating cliche, it’s a pretty good sign that the writers have been consistent and that the characters are not just relatable, but strong-voiced. What if I have a low hit rate? This could mean a couple of things–

a. There’s a lot of jargon, and I can’t keep up with it.

b. The characters are going through a growth spurt.

c. The plot line is unpredictable.

d. The characters are inconsistent.

In most cases, it’s a. and b. I very rarely call the lines in House (unless Hugh Laurie is making fun of Australians; I almost always call those). I don’t often catch Blair’s lines on Gossip Girl, either (I know, I’m ashamed to admit I watch it–but check out my friend Amitha’s post on what you can learn from Gossip Girl, here). In Blair’s case, though, it’s because I can’t settle into the rhythm of her character.

(Edit: my husband is watching Stargate Atlantis as I write this, and just beat someone to the line!)

What games do you play with the tv? Do you ever beat your favorite character to the line?

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page

4 Ways to Note Down Story Ideas

penLast week, I attended an author talk by Sherman Alexie (more about his talk later in the week). One of his tips (for more author tips, check out this recent post from my friend, Amitha) was to consider the everyday. Look around for ideas, and note everything down. As a short story writer, I love this idea, but I have to admit, Baby curtails my note-taking abilities. Here are four ways I jot down my story ideas.

1. My phone

I have an iPhone (it’s a marvelous way to document Baby’s every day) and use the voice record function every other day.  With the addition of a headset–kept in an easy to reach pocket in my purse–the phone becomes a nifty little mp3 recorder. So, while on my walks with Baby, I tuck the phone into a pocket, open voice recorder, and walk with one headphone looped around my ear. Whenever I see something worth noting, I just tap to record.

No headset? No problem. Just speak into the phone as usual. An iPhone isn’t necessary, either–most phones have a voice record function.

2. Index cards

Here’s a tip I picked up from Anne Lamott–slip a couple of index cards in your pocket. They’re small, thin enough to stop you feel bulky (always a good thing), and perfect for jotting down notes. I carry a small pencil (pinched from Ikea) with mine, though anything will do. (In moments of desperation, I’ve been known to grab restaurant matches and strike a couple to make charcoal. Anything for the idea, right?)

3. Email

I live near Harvard, and my husband’s a grad student, so I’m always scooting through the campus. Whenever I’m out on a walk, sans phone and index cards (16 week old Baby = 4 hours sleep a night = a forgetful Peta), I head for the law school commons to shoot myself an email. Most universities have public access computers around, as do local libraries.

4. Talk it out

It’s hard to remember lists, and single facts. It’s easier to remember conversations. So, when I’m out with Baby and have no other way to keep track of an idea, I tell him about it. This verbal brainstorming helps me get a better grasp of the idea–and the more fleshed out it becomes, the easier it is to recall when I get home. It’s also the most successful–ideas I talk out make it into story form much sooner.

One final tip–organize your ideas for later. Try labeling notes by type of story, and/or genre. I use a story-only gmail account for mine–it’s my backup of works in progress, ideas, and contact information. Using gmail’s labels, I can find the notes I made for a short story, or the revision ideas I had for a piece of flash fiction with just one click.

How do you keep track of your story ideas? Do you revisit old ideas?

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page

The East Somerville Library

deathly_hallowsYesterday, I ran a writing workshop at the East Somerville Library. Most of the kids were 9; a couple were about 12.

Now, I’ve done a couple of writing workshops before, but they were a) a very long time ago and b) with kids in a more classroom like setting with a clear list of needs (grammar, verbs, and the ins and outs of dialogue). This was quite a change–most of the kids loved stories, but thought writing boring, something best left for the classroom.

Unsurprisingly, it took us a while to get started. Even at the best of times, 9 year olds have a pretty limited attention span. 9 year olds with a new person who speaks funny have an even smaller one. We started with me answering the standard questions:

Where are you from?
Australia.
Have you seen a kangaroo?
Yes. I grew up with them in the backyard, and my aunt had a joey for a while. She used to wear him in a pouch around her neck.
Is it hot in Australia? Is it far?
Yes & Yes.
How old you are?
28.
That’s old! I thought you were like 30! How old’s your husband?
30.
That’s ancient!
I know. He’s an old man, but I love him anyway.

We then moved on to stories. This took some time. We talked about favorite books (Harry Potter and the Deathly Hallows, Charlotte’s Web), favorite tv shows (Suite Life of Zack and Cody, Extreme Makeover, Sponge Bob Square Pants, Sonny and Chance), and how a story works. Then we talked about favorite characters, and why we liked them (funny, silly, dumb, fat–the fat and dumb parts really threw me, but that’s another post). I had to ask about some of the newer shows:

What’s Sonny and Chance?
It’s a show on tv.
I don’t have a tv. We watch shows on my computer.
What? No tv? But aren’t you like rich or something?
No-o.
But you have a job and a husband!
Do you know what my husband does? He’s a student, getting his Ph.D. That means he sits in front of a computer doing some boring math stuff all day. People don’t pay well for that.
But you work too!
I’m a freelance writer. So I make some money, but I don’t have a set job. I do a lot of different things for different people. And I have a 14 week old baby, who needs a lot of stuff, so we’re not rich. Do you know how much a baby needs?
YES! I have a sister–and I have a brother–and, and, and…

Of course, we also talked about voice–I had the kids tell me things in different voices, pretending they were older, or younger. I think they actually found older easier. Most of them were embarrassed about acting younger.

Interestingly, though, the part they enjoyed most was the writing. Despite their protests, we did a freewrite about their first day of school, then discussed the bits we liked. Each of the kids had a clear talent for description, and some of them even included very realistic dialogue. Here’s one that really stood out (as I remember it–all the kids took their stories home; some even wanted to type them up):

I was really nervous on my first day of school because I’d heard my teacher was really mean and she spits. She does spit! It’s really gross and she spat on me like twice, and she yelled at me.

p.s. when she comes back from lunch she’s always wearing a lot of lipstick.

I also did the freewrite. Here’s my sample:

“Why do I have to go again? Everybody’s going to hate me and it’s boring and I don’t want to go.”
“Too bad.”
I want to say I hate you and it’s not fair, but I don’t. It’s not like my mom’ll hit me of anything, but she’ll give me her evil I’m so going to punish you and you won’t even see it coming stare. Like no dessert. Or cleaning out the sandbox which is always full of cat poop. Or sorting through the recycling which is the worst because it always smells like fish because my brother’s favorite food is tuna.

I was actually quite nervous about delivering my work. The librarian and my friend, Maura, had been talking me up to the kids, so my palms were sweating when I started. It went really well, though:

OMG, that was like an actual book!
You’re so good! How’d you do that?
Do you always sound like a real book?

(And yes, one did actually say “OMG”.)

We finished up with me reading to them while they colored in. All in all, I count the afternoon as a success, and will be doing a few more workshops–albeit with more distinct age groups–over the next couple of months.

Have you ever done a workshop? How did it go? Any tips or tricks?

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page

The Rule of Three

number3Yesterday, I had a session with my critique group (lovely ladies full of fantastic feedback*).While we were discussing submissions, I realized that a lot of criticisms come down to the rule of three.

So what’s the rule of three? It’s lots of things.

1. Weighing feedback.

Ever had a manuscript where the same issue is flagged by more than on person in a critique session? I have (it’s usually a word choice thing). If it’s just one opinion, I usually leave the manuscript as is (unless the feedback really resonates with me). If it’s two opinions, I flag it as something to think about. Three is the magic number–when I have a three opinion issue, I know it’s a big one, and I have to make a change.

2. Repetition

I have a couple of rules about repetition–I learned them from my 10th grade English teacher. One is that you should never start consecutive paragraphs with the same word. The other is to avoid using the same word too close together (e.g. “Are you going to head over soon?” I begin to shake my head, then think better of it.) And while they work for me most of the time, things change when the repetition comes in threes.

Why? Three is a natural number for emphasis. Many speakers reiterate important points three times during their speeches. Picture books tend to use three repetitions of an event when building to a climax. Fairy tales use three magic objects, or grant the hero three attempts at saving the princess.

When I see I’ve repeated a word three times close together (or started a paragraph with the same word three times), I know I’m trying to say something important. Usually, this means I end up expanding the point. Sometimes, it means I play with the relevant lines, but leave the word in to create a certain tension, or atmosphere.

3. Reacting to an information dump.

Everyone has information dump scenes.  It’s part of storytelling. Of course, the best authors write information dump scenes such that the reader isn’t really aware of them. How? One way is to include a lot of character reaction, to let the reader see inside the protagonist’s head (Ursula K. LeGuin does this really well). But it’s easy to overdo the reactions and frustrate the reader–after all, an information dump is the reader’s chance to gain information, and most of us want to skip the shilly-shallying and just get to the point.

Here, the rule of 3 applies a couple of ways (sadly, not 3 ways; I can’t pull off a meta-rule).  First: I don’t let information dump scenes exceed three pages. If I need more than three pages, I need to tighten up my writing. Second: no more than three character reactions in the section unless the responses drive the discovery (like an interrogation) or direct the scene to the next point.

Don’t think three is enough? Reactions don’t include descriptions, such as the information dump character pausing, getting up, etc. More importantly, though, remember that character reactions can be quite detailed. Use them to give more insight into a character–don’t fall into the yes-no trap. Instead, detail the character’s physical reactions (picking at a hem, chewing on hair, stomach churning, goosebumps) and thoughts/emotional reactions. Try to make them play off each other–if something frightens your character, then it makes sense for her heart to be pounding, or her skin to be covered in gooseflesh. (Watch out for cliches, though).

Do you have any 3x rules of your own?

(*Curious about my group? Check out fellow critiquers Amitha and Livia’s blogs.)

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page

5 Things I Learned From “The New Adventures of Winnie the Pooh”

New_Adventures_of_Winnie_the_Pooh_Games_Wallpaper_2_800I have a 14 week old baby who’s just discovered t.v. When he’s feeling cranky (he’s teething), we snuggle down in the comfy chair and watch The New Adventures of Winnie the Pooh. His face lights up within seconds of hearing the theme song.

Now, since I’m a worrier–I worry that t.v. is bad, stunts growth, etc. etc., I chat to him all the way through. We discuss Tigger‘s bounces (oh, look how high he jumps!) and Rabbit‘s garden (mmm, carrots!), Piglet‘s fears (poor little baby), Pooh’s appetite (aww, Pooh feels a rumbly in his tumbly) and, of course Eeyore‘s gloominess (Eeyore needs a hug, doesn’t he, Baby? Would you like a hug?). Somewhere along the way, I realized that not only was Baby learning–I was too.

1. Focus. Almost every episode of Winnie the Pooh begins with a shot of the story’s focal character.

E.g. In Donkey for a Day, in which the Hundred Acre crew tries to cheer up Eeyore, the opening shot is of Eeyore on a hill. This is a great way–especially in picture books–to help set the scene and tone of the story.

2. Voice. Each character has a very specific voice. Even written, character dialogue is very individual. I don’t need to see a dialogue tag to know who’s speaking. It’s immediately apparent.

E.g. From The Magic Earmuffs: Piglet “The ice seems particularly cold today. Perhaps if I waited ’til it got warmer.” Gopher: Hmmph, touriststh.” Tigger: “Eh-eh, one point for Pigleth’s team! Eh, whichever that is.” Granted, this dialogue does require you to be a little looser with grammar rules, but the point remains the same–each character is uniquely himself. (Has anyone else every noticed the only female in Winnie the Pooh is Kanga?)

3. Characters think within their boundaries. I know this sounds a little counter-intuitive–after all, we grow up learning to push our limits and expand our horizons. But in the context of writing, it’s a very useful technique.

E.g. In Find Her Keep Her, there is a storm–and the first thing Rabbit thinks of is his garden. Similarly, whenever Pooh tries to explain something, he puts it in terms of “hunny”.

4. No-one is ever out of character. Have you ever read a book, been enjoying it, then hit a point where the character suddenly does something that makes no sense? It’s a common pitfall, resorting to uncharacteristic behavior to make a reveal or get some backstory in.

E.g Winnie the Pooh, is always himself–hungry. In The Piglet who would be King, Piglet, Rabbit, and Tigger go in search of the Land of Milk and Honey to bring back a present for Pooh. While they are gone, Pooh goes from house to house looking for them–and their “hunny”. He grows more distraught with each visit–and gets hungrier with each one, too.

5. Continuity. Though the show is comprised of self-contained episodes, there’s a certain continuity to it.

E.g. When Pooh is on guard in The Great Hunny Robbery, he has his pop cap gun and marches about saying “guard, guard, guard”. Later (or earlier, I’m not really sure), in The Piglet who would be King, he thinks Piglet, Tigger, and Rabbit’s hunny has been stolen, and resorts to the same thing–guarding his home with a popcap gun and saying “guard, guard, guard”.

Have you ever seen The New Adventures of Winnie the Pooh? How do you find t.v. affects your writing? Have you ever learned anything from a t.v. show?

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page

Thread

threadI wrote this little sketch a while ago, then forgot about it. It came from listening to my father and uncles reminiscing after an Eid party.

* * *

Karim eyed the spool of thread longingly. His father had said no, not today, when he had asked for some of the pink cotton.

He knew that when Abu said no, that it was for The Greater Good. But the thread, sitting in the old sugar box under the windowsill, was taunting him, tempting him, simply begging to be slipped into a pocket.

“I’d prefer it weren’t so pink,” Lateef whispered.

“You don’t have to whisper, Teef.” Karim poked the younger boy in the ribs. “Ammy’s out in the kitchen.”

“I know, but—well, you’re not supposed to talk loudly when you’re thinking about, you know,” his voice dropped again, “stealing. Besides, it makes me feel as if I’m flying a giant ballet slipper.”

Karim eyed his fraying shirt hem ruefully. “Just be grateful she hadn’t run out of black when your clothes needed mending. And does it even matter what it looks like? The point is to fly the kite, not admire it.”

“I suppose,” yawned Lateef, not bothering to cover his mouth. He was proud of how hugely he could yawn, employing it as a party trick, and, in this case, a succinct I’m bored, amuse me now. It was, Karim reflected, a very clever, if pointed, way to change the subject.

“Take it,” Lateef whispered, nudging him.

“You take it. You’re younger, they won’t yell at you.”

Lateef shrugged. “You’re older. And you’re not clumsy.” He looked at his thick ankles and clunky feet gloomily. “I’ll just get to the window, trip over the sewing box, and smash my head into the table or the windowsill or something, then Ammy will keep us both here and you’ll get roped into helping lay the new floor.”

Karim looked about, taking in the peeling, cracked tile. All their cousins and aunts and uncles would be there soon, stoking the fire and chatting as they worked; Riyaid uncle would be handing out lollipops and chunks of paw paw, trying to bribe the children into helping.

But Karim hated collecting the cowpats, smushing them flat, tossing them into the fire to harden into tile. The smell crept up his nose, lodging itself inside the top of his nostrils, staying with him for days, destroying the good smells of khichiri and pickle, Ammy’s talcum powder, and fresh-snapped mango stems.

Being kept in was okay when she was around to play games and tell stories and let them make messes in the kitchen. But re-doing the floor—not even all Riyaid uncle’s lollipops were worth that.

“Fine,” he said hoisting himself up off the rug. “You beg the flour and can and matches from Ammy, and I’ll meet you by the creek in—” he glanced at the clock over the door “—ten minutes.”

Karim shuffled toward the windowsill.  Behind him, he heard the crackle of old tile, and knew Lateef was gone.

Just three feet, Karim thought to himself. Three feet to the sugar box, then three feet to the door. Just keep thinking in threes.

His heart pounded, battering his chest, stealing his breath. This is silly. It’s just cotton. Ammy lets us have it all the time.

He padded closer. Just two feet to go. Two feet, three feet.

I don’t see how it matters to Abu anyway. His shirts don’t need mending, and Lateef’s getting new ones for school soon. And it’s just thread. Just silly pink thread.

One foot to go.

Klink-klink, tink-tink. Ammy was tipping ice cubes into the big pitcher; the others would be arriving any minute.

Half a foot.

“We don’t need much, anyway,” he muttered to the tiles. “And we’ll bring it back. We won’t even keep it long. Honest.”

The box was right in front of him now. The lid’s hinges glinted menacingly—goosebumps tickled Karim’s skin. He put his hand out—hesitated—then, clasping it tightly around the reel, he whipped the thread out of the box, dropped it into his left pocket, and dashed the remaining three feet.

* * *

News sheets whiffled in his hands as he sped down the hill and toward the back fence. It was already two-thirty; twenty minutes since Lateef had left! Finding the newspaper had been the problem. The sheets had to be the flimsy, double spread sort, the ones people usually kept for wrapping food. Catalogues were too thick and heavy, and the gloss on their pages made them hard to glue. He’d rifled through three garbage tins just to find these ones. They smelled a bit like coriander and bhajia, but Karim didn’t care. This smell—this good, happy, smell–would get lost in the wind, making nostrils everywhere happy.

Lateef waited under a patch of trees, just up from the creek. Twigs and rocks were already gathered into a pile waiting to be lit. Lateef was bending and flexing green twigs.

“Where’re the matches?”

“Couldn’t get any. Ammy already had to borrow some to do the floor, and aunty’s pretty grumpy.” He nodded toward the fire. “There’s a couple of really dry bits of wood over there that’ll probably do.”
Slipping the news sheets under a nearby rock, Karim gathered up the twigs and worked at them, rubbing them together just like Abu had taught him.

Lateef measured flour into the empty can, jammed the tied off left-overs into his pocket, then loped off to fetch a bit of water from the creek.

It was a fiddly business, but worth it, Karim thought, as the twigs came to smoke-stage. He pushed them harder, his hands growing dry and scraped with effort. By the time Lateef returned, the fire crackled like seaweed on a sunny day.

They set the flour-water mixture over the fire and sat back to wait. The sun was dropping now: only a few inches remained between the creek and the horizon. At home, a bigger fire would be burning, and Ammy would be passing out drinks.

The bright pink cotton burned in Karim’s pocket; he touched it, reassuring himself that Ammy wouldn’t mind, that she would have said yes if Abu hadn’t already said no. Across from him, Lateef prattled about the new Tin-Tin at the library.

They would use it all, he decided, keeping it on the reel. Then it would be easy to spool it back up, scrape off the paste, and slip it back into the sugar box, no harm done. The Greater Good would remain intact.

Lateef poked the contents of the can with a twig. “It’s done,” he announced, using his toes to wriggle the tin out of the flames. Burnt rubber smell permeated the air. Karim winced, but said nothing. There wasn’t enough time to worry about Lateef’s shoes now. They lay two news sheets flat; Lateef knelt over them, tacking them to the ground. Together, they flexed and arranged the green sticks, then Lateef held them in place, too. Karim dipped his fingers into the can: gooey warmth slipped over them. Dripping, he lifted them out, then passed his fingers over the twigs, over the paper’s edge, deftly filling corners and cracks.

Lateef wriggled off the kite; they pressed the remaining news sheets down. Another coat of paste; together, they folded the sheet edges over, pulling them tight against the frame.
Now for the thread.

Karim took it from his pocket, holding it between his thumb and forefinger. It wasn’t fine cotton—the grain was coarse, hard, like undercooked rice. He unspooled a little, dipped it into the tin of paste. “What are you waiting for?”

“N-nothing,” Karim stammered, punching a hole in the paper with his finger. He slipped the cotton through, tied it off, glued the ends down, and, finally, rubbed the remaining paste off on to the grass.
Silent, the brothers stared at their handiwork. Only one more inch, and the sun would disappear for the night. Karim lifted his chin at the kite. “Go on, then,” he murmured. “Take it. And be careful with the thread. We have to return it.”

Lateef needed no second invitation. He was off, charging down the slope. The paper fluttered behind him, bobbing over currents and updrafts, steadily lifting higher and higher, thread unravelling with each lift…

* * *

Darkness seeped over the grass. The wind was dying down now; dew prickled Karim’s skin, raising goose bumps and making him shiver. Taking the reel from Lateef, he tugged the kite downward, carefully re-spooling the cotton. There hadn’t been time for both of them to fly it, and he was older, he could wait ‘til next time.

Finally, the kite lay in front of him: he untied the knot, pulled the thread, rubbed the remaining paste on the grass. There, he thought, slipping the reel back in his pocket. No harm done. No fun done, either.

“C’mon, I’ll race you home!” Lateef yelled, kicking dirt over the remains of the fire. “Last one back has to clear the dishes!”

The unmistakable smell of toasting cowpat wafted toward them; Karim sped off, suddenly desperate to win.

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page

Contest: The Binnacle Annual Ultra-Short Competition

readingStarting in December, the University of Maine at Machias is opening its virtual doors to ultra-shorts – i.e. “prose works of 150 words or fewer and poetry of sixteen lines or fewer and fewer than 150 words”.

Writing a story in 150 words or fewer can be a lot of work, so don’t leave it too late to start! Submissions close in February, and there’s up to $300 in prizes. Get the details here.

Like this post? Share it! Or Subscribe via Email or RSS.


tweet this share on facebook share on google+ share on linkedin tumble this email this post print this page