It had been gutted by a heron. The fish seemed like it must have been too large to live in the pond. How had it got into the pond? Had the fish evolved in the pond, by itself? It had died, gutted by a heron. The heron hadn't even bothered eating. Maybe the brown pond fish tasted disgusting.
Short Story competition, to hull back
You barely mention the fact that this is when you lost your virginity, an important diner event in anyone's life, even if the actual experience is in some way underwhelming or upsetting. Why don't you take a break from this and come back to it some other time? Try to write something more emotional. Many of our clients enjoy reading confessional fiction. Short Story Fragment: i am Afraid of dying. An apple tree in the garden would drop apples on us each Autumn. The apples would rot away into the ground and as the stinging nettles died in winter the fruit and seeds would also freeze to death. The frost killed everything each year. Birds and fish died. We found a fish out of the pond one year.
I put my clothes on and said nothing and left. Editor's Response, socrates, this isn't working for. Maybe it's just that you aren't playing to your strengths. The writing feels so guarded, as though you really dont want the reader to know how you feel about any of this. It's not emotionally moving. There are a couple of observations which I like (the lava lamp is nice). Your character's reactions to the events lack immediacy; each reaction apple is more of a reflection, informed by seemingly years of experience. Is this what you want? Don't you want the reader to feel close to you, to understand how this experience is affecting you, at the moment of its occurrence?
One of my friends lost his virginity on a database camping holiday to newquay. He'd brought a woman back to our shared caravan and took her into a small bedroom at the back. Embarrassed, i carried on smoking a joint in the living area while they had sex. When he came out, he told me that he'd lasted less than a minute, and that shed said 'really?' and then left. It became clear, as you moved around, that this wasn't going to be my problem. After forty-five minutes, you started to gently cry. 'What's wrong?' i said. You put your hands up under your eyes and continued to make small, sad noises. You got up, told me to leave and walked into the bathroom.
You had wanted the lava lamp on while we had sex for the first time so you'd gone out of your way, in between other small preparations, to turn. I suppose there is something romantic about lapping, molten plastic. You had a condom and put it. It felt strange and tight. When I was inside you it felt so unusually warm. I think that's the main thing I remember, just how warm it felt. We moved about, inexperienced, for a long time.
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I wish that I had. I remember your stomach. Two weeks later, we watched the first. I didnt tell you i'd read all the books, but I didn't necessarily lie about. I don't remember whether we'd talked about possibly having sex for the first time that day.
Halfway through the movie you'd started to rub my thigh a little and i knew that something was going. I moved my hand to your head and pushed my fingers through your hair. I scratched your scalp and it felt good. You led me up the stairs and into your room. I remember your lava lamp was on, and the fluid inside was warm, floating up and drifting down slowly.
If there was something genuinely fresh or innovative about your framing device, i'd keep. However, i think that more people would enjoy this piece if it were descriptive and touching. Also, are you actually trying to say anything about corporate art, or are you just letting your readership know that you are aware that what you've created is a piece of corporate art? It is worthwhile examining intention, always. Short Story Fragment: The first time we had sex (v.2). We were both young.
I'd been in your house four or five times. The world cup had been on at the time and I'd cheered with your father as players kicked a ball into each other and the net. Thirty minutes later, with your father elsewhere, i'd touched your vagina for the first time. You took out my cock and put it in your mouth, groaning a little. I had been amazed by how wet you were. It was my first time seeing that particular part of a woman, and truthfully, by the time we'd finished, i still had no idea what it really looked like. I didn't come, but I think that you did.
Short Story magazines, short
A few years later, i'd write about my experience with you as part of my job. I'd try to write cleanly, and almost without emotion. I wouldn't know why i'd write it in that way. Toward the end of the fragment, i would write in a self-aware way about writing the fragment. Metafiction seems particularly fashionable, always, in the world of corporate art. Editor's Response, socrates, i like this, but you seem more interested in the critical detachment business that you've developed to these events, rather than in the events themselves. Many of the people we produce work for still prefer the straight-forward emotional punch of a well written, carefully crafted piece of fiction, with no "meta dressing" or self-aware tricks.
For example, a brief statement of the nature and scope of the problem they are investigating might prove helpful, as might a survey of the literature on the subject). My divorced Penis, short Story Fragment: The first time we had sex. The first time we had sex, i didnt ejaculate for forty-five minutes. You got off, started crying and ran into the bathroom. I sat at the bus stop and wrote you a text message that said 'i love you and Im sorry about the way.' you sent me a message which said 'i love you too, but we have to sort some things out.'. We spoke a few times and met each other, drinking the strong coffee we both liked, never having sex again. I thought about our sex whenever we met. When you were lifting a cup to your mouth, i was thinking 'i am inadequate, somehow, although not traditionally so, perhaps.' When you spoke to me about the horse that you wanted to buy, i was thinking, 'maybe it's not the length of time, maybe. We broke up, and as we were doing it i asked you to marry.
think in terms of argument, something that they can be encouraged to carry over into their own papers. One page position Papers: Ask students to write a one-page paper justifying a given position on a controversial issue. A series of two or three papers on the same topic might become the basis of a longer paper. You could also provide a thesis for students to support or refute. Definition and Application: Ask students to define an important term or concept and then illustrate the definition by applying it to some situation outside the classroom. Alternatively, you might ask whether a definition applies in a given situation. Focused Responses: give students a question to consider as they read assigned material. A one-page answer might be the starting point for class discussion. Partial Research Paper: Ask students to submit individual sections of a research paper in progress.
The first group to get a hand up gets a chance to answer the question. . If they get the answer correct, they get a point. . If they're wrong, another group can answer. If none of the groups can answer, the question is a "stumper" and the group asking it gets the point. . The instructor is the score keeper and referee. (Source: Anne simon, English outside-of-Class Writing Assignments. From essay Exam to Essay: If you use essay exams in your class, brief answers might become the basis of longer papers written outside of class. You might also consider asking students to write about other sorts of exams; for example, they might be asked to explain their reasoning for incorrect choices on multiple choice exams or explain how and why calculations went awry.
Stories - free, writing
Short Writing-to-learn Assignments, short writing-to-learn assignments, ideas drawn in part from the Wright State guide to dates Writing across the curriculum:. In-Class Assignments, impromptu Writings: Without taking more than five minutes of class time, impromptu in-class writing can be used in a variety of ways: to ask students to summarize the key points covered, to stimulate flagging discussion, to provide an opportunity for reflection on complex. These brief writings need not be graded, though you might use them as an indicator of class participation in determining a course grade. Abstracts : Ask students to write brief summaries of their readings in their textbook or supplementary materials. A one-sentence précis can reveal much about how well a reader has grasped a writer's argument. "quiz bowl" (a question-posing activity each group is responsible for posing questions on a different portion of the day's reading. . The group must come up with five questions about the text that they will pose to the rest of the class. . After all the groups have their questions ready, all books and notes are put away. . One group begins by asking a question. .