Category Archives: Craft

Group Writing Critique: “No Vacancy” by Laurel Leigh

Welcome to the dogfight! Here’s a snippet from a short story by Laurel Leigh, followed by critical comments. If you want some context for this excerpt, you can read another story of hers, “Shoeless,” published in The Sun, in which the character Ralph appears. Dogpatch Writers Collective occasionally posts these excerpts of our group critiques of work in progress, and your comments are welcomed!

From “No Vacancy”

Ralph took a key off his belt ring, meaning to hand it to the guy. He’d been getting more used to them, but the floaters in his eye suddenly turned into lightning streaks and zoomed across the edge of his vision. He dropped the key, fumbled to pick it up. Then he stood blinking, feeling dizzy after the guy took the key and walked away. His eye hurt like hell. He rubbed the spot just below his eyebrow. He lit a Doral and took several long puffs. Back in his office, he swallowed aspirin and squirted eye drops in both eyes. Then he locked the office door, went into his back room and stretched out on the pullout bed. The aspirin started to kick in, but he still felt shaky and sick to his stomach. And tired—of everything. Of the pain in his eyes. Of worrying about it. Of guys like the one just now. Who made him feel even smaller than he felt most of the time. And those types of guy always got women by half trying, whereas Ralph was lucky to cop a feel once in a blue friggin’ moon. And a guy wanted more than that, you know? Someone to spend a night with, or even talk to. And, he was tired of waiting. One day, his uncle would have to retire and the motel operation would belong to Ralph, or so he hoped. But that day was a long ways off.
 
Comments from the Dogpatch:

Laurel, Love, love, love this story! It stands on its own, and fits almost seamlessly with “Shoeless,” the story published in The Sun. In this story, we’re looking at a man who longs to have something more in his life, to feel like part of a community instead of an outsider and to be with a woman he cares about, but he can’t quite figure out how to make these things happen. He can’t even make a doctor’s appointment or manage a small hotel. He’s so lost in his vague dreams, in the tiny aspects of his life that are beyond his management capabilities, that he’s only capable of taking action when desperate. And even then, his action is really inaction. What he ends up asking for (and paying for) lies far below what he truly desires. A heartbreaking story. You noted that you were struggling with the ending, and I’d have to say that I think the first ending is far superior to the alternate. But I would suggest that you cut the first ending slightly at the parts where you provide a little too much internal dialogue, Continue reading

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Reading to Write

Where have you been all my life? I don’t know how I missed you as I was wandering my way through my MFA. I don’t know why no one talked about you, not a teacher, a fellow student, or my next door neighbor. I once was lost, was blind, but now I’m found. Hallelujah! Continue reading

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Comma Comma Comma Comma Comma Chameleon

Everyone should take a look at the NYTimes May 21, 2012, Opinionator column on commas. It never hurts to refresh your knowledge of grammar rules–and then break them.

The Most Comma Mistakes by Ben Yagoda

Happy Splicing!

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Maker Faire Revelation

Now, you wouldn’t think that attending a Maker Faire presentation on the world’s longest paper airplane flight would have anything to do with writing. But, surprisingly, it does. Continue reading

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Verbalicious!

I’m re-posting an article from today’s NYT. It’s always nice to get a little verb refresher lest we get sloppy or lazy in our delivery.

Make-or-Break Verbs by Constance Hale

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Noir Characterization

Although David Brooks is targeting his advice to young do-gooders in his column linked below, he does an excellent job of analyzing “noir literature heroes”  in the second half. Definitely worth a read.

Sam Spade at Starbucks

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Sentence Alert!

I love it when a sentence takes you down unexpected paths past unexpected places:

“…I let myself sink into poverty, in a manner that was deliberate, rigorous and not altogether devoid of elegance.” from Monsieur Pain by Roberto Bolano, translated by Chris Andrews

Why is this sentence effective? When I think of characters falling into poverty, it usually isn’t self-inflicted (at least not with purposeful intent), and it usually isn’t done with rigor or elegance. There’s so much here that’s out of the norm, it makes the character intensely interesting. I want to know more.

Very effective. Now, back to our regularly scheduled program…

 

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Highway to Hell

In his book On Writing, Stephen King famously said, ‘The road to hell is paved with adverbs.’ I happened to hear someone invoke this dictum on a recent occasion due to the use of a single adverb in a sentence someone else had written, the use of which she found objectionable. This person then went on to further invoke Stephen King’s equally famous metaphor comparing adverbs to dandelions overtaking a lawn and turning it into an unsightly mess.

So with all that in mind, let’s have a little pop quiz. Please identify the following three (3) examples:

1) ‘Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.’

2) ‘So we beat on, boats against a current, borne back ceaselessly into the past.’

3) ‘And now, when Danforth and I saw the freshly glistening and reflectively iridescent black slime which clung thickly to those headless bodies and stank obscenely with that new, unknown odor whose cause only a diseased fancy could envisage — clung to those bodies and sparkled less voluminously on a smooth part of the accursedly resculptured wall in a series of grouped dots — we understood the quality of cosmic fear to its uttermost depths.’

O.K. Time’s up. Pencils down, please. The answers are as follows: Continue reading

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Scavenging for Fuel

What fuels my writing process—aside from caffeine and chocolate? Sometimes I’m tempted to turn to books that are far too familiar or similar to what I’m writing. (And sometimes that is just what my process needs.) But I am often better served by books (or other media) that are “foreign” to me in some way. Whether it’s poetry, essays, science writing, or other nonfiction, books written by authors from another culture or country, new music, or art galleries, I think exploration “shakes things up,” allowing the unexpected to percolate through my subconscious and enrich my work.

For example, this past month or two, I’ve read (or have read portions of) the following: Continue reading

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Tracy K. Smith, on Getting to that Untamed, Untrained Place to Write.

All of us need to learn how to step away from the controls when we write first drafts or take on deep revisions.This essay speaks to the need for and importance of letting go.

aboutaword's avatar

My daughter is screaming in the next room because she wants her father to give her something he is not willing to let her have.  Her little voice has swelled and stretched so it now seems to be something she could, if she wanted, ride down the stairs and out the front door of our building.  I want! I hear her say, the a of it opening up into a wide, flat surface, while the anger winds and unwinds itself like the engine of a well-built vehicle. I waaaant!

When I first started writing poems seriously, I remember longing for that kind of unappeasable need, longing to tap into something capable of causing so much internal unrest I’d have to step aside and let it have its way.  I didn’t have my daughter’s sense of purpose, perhaps, or her innocent belief in the veracity of her own need and the…

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