Our planet is dying. And America isn’t doing anything to help it. In June 2017, American president, Donald Trump, announced his plans to withdraw from the Paris Agreement. This agreement was one President Barack Obama signed during the latter half of his term. That this is a mistake. I believe that America should not leave the Paris Agreement, now or later. This is because of the health risks, America’s history of emissions, and the insignificance of the ‘apparent’ job risk.
As the Earth is growing hotter and hotter, American citizens are growing ill. The harms of creating ‘dirty energy’ not only affect the Earth’s health, but the health of those around it. Creating fossil fuels have a major effect on those who have been exposed to the industry, as in the local communities and workers themselves. Climate Nexus, an organisation focused on changing the climate conversation, put together an article exploring the localised health risks within the fossil fuel industry. In this article, I found a study recorded at MIT that found that, annually, about 52 000 premature deaths have been linked to power generation. To find this number, a group within the MIT Laboratory for Aviation and Environment had tracked emissions from different places. For example industrial smokestacks, vehicle tailpipes, marine and rail operations and commercial and residential heating. Overall, 200 000 premature deaths leave air pollution at fault. That’s a lot. Of this, that 52 000 is linked directly to the air pollution caused by power generation.
Back with Climate Nexus, they state that those who work in surface mines, such as strip mines, open-pit mines, and mountain top removals, are constantly exposed to chemical toxins and other dangerous particles. These particles can leave workers at high risk of life complications. For example, they had linked exposure to coal dust and other particles to a higher risk of cancers—like lung cancer—and strokes, heart disease, and respiratory illnesses. When around coal mining regions, respiratory, circulatory, gastrointestinal, musculoskeletal, and central nervous system issues, and birth defects, are all elevated. There are currently little to no federal regulations stopping or at least reducing these emissions. For America to introduce regulations that work alongside the Paris Agreement, they would not only be helping reduce global emissions, they would also keep their workers a lot safer. If those who are working in the fossil fuel industry are at risk of possible respiratory diseases and cancers, are ‘job-killing’ regulations all that big of a deal?
The primary reason Donald Trump planned to withdraw from the agreement was being unfairly forced to set regulations to reduce fossil fuels. This introduces risks to the economic side of their country, and it has previously been stated that the rules suggested are ‘job killers.’ This is a valid point. Taking down the fossil fuel industry would destroy the jobs dependent on it. However, here is a major upside on the opposite end. As jobs are ‘killed’ in fossil fuel-related businesses, as a country becomes more dependent on clean energy, it creates more jobs in said ‘clean energy’ industry. If these end up cancelling themselves out, the regulations end up neither a job killer nor creator.
Richard D. Morgenstern 1, William A. Pizer, and Jhih-Shyang Shih did their own investigation on the matter. They found out that across pulp and paper mills, plastic manufacturers, petroleum refiners, and iron and steel mills—some of the highest pollution producing industries—when environmental policies were implemented, the average net gain is around 1.5 jobs per million, with a standard error of 2.2. I’m not sure about you, but statistics aren’t my strong suit. For me, that was hard to understand at first. In reality, it’s simple. Their article later explains that the effect is both statistically and economically insignificant. The most apparent downside to the agreement is barely a problem at all. So, is an inconsequential effect worth killing the earth for?
While the risk to their economy is practically non-existent, their contributions to global emissions are quite existent. The USA, on their own, produces a large sum of the total global emissions. About the second-most in the world, right after China. According to Our World In Data, in 2017, America produced 5.27 billion tons of carbon dioxide. As previously mentioned, that was the same year Donald Trump announced his plan to withdraw from the Paris Agreement. In comparison, in the same year, the entirety of Europe produced 5.63 billion tons, Asia produced 7.17 billion tons without India and China, and the rest of North America produced a mere 1.24 billion. India, which has around 4 times the population of America, produced 2.46 billion tons in 2017. That’s around half the amount America produced that year. If they’re the ones producing so much of our problem, why do they plan to stop doing anything about it? It’s insane. Withdrawal from the agreement may mean that America will not hold themselves responsible for their current carbon dioxide emissions. At least not for the next four years.
The Paris (Climate) Agreement states that the countries who sign will combat climate change the best that they can. It requires those involved to use their strongest efforts to limit the rise in global temperature to 1.5 degrees Celsius a year. Withdrawing from this agreement will only show how little America’s government cares about their environment. Having no drastic economic effect, staying within the Paris Agreement will not only help the environment but the health of those who inhabit it. One step in the right direction may not be all that it takes, but nobody ever got anywhere by standing still.
Showing posts with label English2020. Show all posts
Showing posts with label English2020. Show all posts
Wednesday, 2 September 2020
Tuesday, 4 August 2020
Level One Connections
Anything is harmful when abused. Especially when it is designed to create a physiological effect. Drugs and alcohol may be two of the most infamous abused substances, usually to the point of addiction. My theme, the harmful effects of alcohol and drugs, is prominent in media such as ‘Walk The Line’ from James Mangold, ‘Parents’ from The Meth Project, ‘Your Brain On Jingle Jangle,’ from Netflix, and ‘The Umbrella Academy’ from Steve Blackman and Jeremy Slater.
The film ‘Walk The Line’ by James Mangold shows us the harmful effects of prescribed drugs. We watch as Johnny Cash develops an unhealthy relationship with the prescribed medications ‘amphetamine’ and ‘barbiturates.’ He uses the excuse that the doctor prescribed them to ignore the fact that he is truly addicted. Throughout the movie, Cash struggles with this addiction. It becomes clearly harmful when Johnny crumbles on stage as an effect of the drugs we see him take. For example, for his Las Vegas show, he appears late and quite out of it. His suit is messy, his shirt is untucked, and he looks a mess. He’s sweating profusely and is struggling with the harsh light. As the first song goes on, he slurs his words and is mumbling. June Carter, who knows John well at this point in the film, sees that something is wrong. We see this in her expression as she watches her friend forget the words, yell at his drummer, and get angry at his mic stand after he almost drops it. He quickly becomes dizzy, as the camera, handheld, becomes shakier and a lot less smooth. Eventually, he falls. After a shot of Johnny laying crumpled on the ground of the stage, we’re shown a shot of his face. The dialogue comes and goes as he fades in and out of consciousness and there is a blur around the edges of the image. Without explicitly telling us that his addiction is harmful, Mangold shows us how Johnny relying on these prescription drugs caused him to overdose and how it is affecting his career. Not only is his job affected, but he ends up harming his relationships with both his family and his friends. His children become scared of how angry he gets when facing withdrawal symptoms and his wife leaves him.
Riverdale’s PSA, ‘Your Brain on Jingle Jangle,’ tells us, more so than showing us, the harmful effects of their made-up drug ‘Jingle Jangle,’ which can just be substituted for most class ‘A’ drugs. The fifty second PSA shows one of the main characters, ‘Veronica Lodge,’ in her diner, holding a plate of food. She tells us “this is your brain,” picks up a frying pan and says, “and this is Jingle Jangle.” She places the food on the counter as she tells us that this is your brain on Jingle Jangle, before smashing the food to mush with the frying pan. This tells us that taking this drug destroys your brain in a similar way to how she destroyed that burger. Veronica destroying things continues for most of the ad. She says, “this is what your body goes through,” while she hits a basket of fries off the counter. Then she goes on to smash plates, cups, etc. to represent what your family, ‘frenemies,’ and friends go through when you take ‘Jingle Jangle.’ Finally, a single milkshake sits on top of a counter, before Veronica takes a sharp swing at it. This all is a clear depiction of the overall harmful effects of drugs on anyone who may take them. Becoming addicted to drugs destroys your brain and damages your body from the inside out. It’s depicted as almost guaranteed your relationships, with family and friends, will at least be strained if not completely ruined.
The same ideas of the harmful physical effects are shown similarly in both ‘Walk The Line,’ and ‘Your Brain on Jingle Jangle.’ Both texts explain that drugs can take a toll on your health, in similar yet different ways. In the PSA, Veronica uses a more metaphorical way of showing us this as she takes a frying pan to a bowl of fries. Thus, she destroys them the same way drugs do inside of your body. Walk the Line shows us exactly what happens by putting us in a scene with someone who has overdosed by blurring the screen and muddling the audio around Cash.
The Meth Project makes all sorts of PSA’s based on the harmful effects of meth. In the specific 30 second PSA, ‘Parents,’ we see how the boy who is addicted to meth is isolated from his family. He has seemingly been kicked out of his home and is trying to repair this relationship. For example, we’re first shown the boy running through a gate. The shot pans to the mother in the window to the living room, letting herself collapse onto the sofa as she sobs. Their son runs to the front door, screaming that he’s sorry. When the father enters the living, his body language and facial expression tell us he is pissed. As the kid screams for his parents, the father goes to confront him, only to be pulled back by his distraught wife. When he’s ignored, his feigned remorse turns to anger. His screaming only gets louder, his cries now threats. He is literally screaming ‘let me in, I’m going to kill you,’ and trying to kick down the door. In a wide shot of the entire scene, the father pulls away from his wife and turns off the light. We’re left with only the porch light illuminating the son. This is done to show us the disconnect between him and his family. The kid’s left outside during Christmas. The mother is upset, the father is angry. We very clearly see the tension caused by this kid’s addiction to meth. There’s barely any relationship left between them and the parents have resorted to ignoring and shutting out their own son.
Numerous scene’s throughout Steve Blackman and Jeremy Slater’s Netflix series, ‘The Umbrella Academy,’ show how using drugs to cope with life takes a toll on you and your relationship with those around you. For instance, Klaus Harvgreeves is the ‘druggie’ of his family. He started doing drugs at a mere thirteen to cope with his ability to see the dead. This is because these drugs repress this ability due to developing a harsh relationship with it after being locked in a mausoleum for days on end. Our introduction to Klaus in the first episode, ‘We Only See Each Other At Weddings And Funerals,’ is him leaving rehab before immediately buying drugs. His interaction with the other people in rehab leads us to believe this is not the first time he has done this and that he is constantly in and out of the centre. Later on in the same episode, he rummages through his late father’s office, one that he was not allowed in during his childhood. In this scene, he is looking for something of value, as he knew his father was quite well off. When he is caught by two of his adoptive siblings, we’re shown what their relationship is like. While Allison doesn’t tell him to put anything back, Luther does. We’re given a view of the tension between the two. At his father’s funeral, Klaus is clearly high. He’s smoking during the very, very small ceremony. He both doesn’t care enough to be sober and holds an obvious grudge against his father, as he was the reason Klaus became reliant on drugs. In the episode titled, ‘Man on The Moon,’ we see how harmful his reliance on these drugs really is. In this episode, Klaus has been kidnapped. During this time, Klaus is unable to get high and is sent through horrible withdrawal symptoms. All while unable to help himself, as he is tied down. He screams in anguish, obviously struggling to come down from his high. This scene is one of the first times he’s been properly sober in years and he is in clear pain. Despite this, the only way for Klaus to help himself in this scene is to get sober and face what he’s always feared. Throughout the series, Blackman and Slater show us exactly how Klaus’ reliance on drugs holds him back, puts tension on his relationships with his family, and damages his health all at the same time.
This lack of family trust and relationship seen in ‘Parents’ is also seen in ‘The Umbrella Academy’ between Klaus Hargreeves, his father, Reginald, and his adoptive brother, Luther. The two are actually very similar in how they represent this familial stress. Both Klaus and the boy are outsiders within their own family. They’re both looked down upon by their parents and neither of them are helping themselves with their drug use. From what we know about the boy in ‘Parents,’ he doesn’t have any siblings. However, his parents treat him like a headache, a distraction. Luther treats Klaus this way too, thinking he’s no more than annoying.
Taking and becoming addicted to drugs and alcohol does not only affect you but those around you too. ‘Walk The Line,’ ‘Parents,’ ‘The Umbrella Academy,’ and ‘Your Brain On Jingle Jangle,’ all showed us as an audience, despite being very different texts, exactly how addiction can affect you physically, mentally, and socially. They each explained that no matter who you are, not a lot of long-term good comes out of substance abuse.
Wednesday, 29 July 2020
Aristotle's Modes of Persuasion
Pathos, Logos and Ethos are Aristotle's three main forms of appealing work to an audience, also known as Aristotle's Modes of Persuasion. Ethos relates to ethics. It is used when a persuader uses someone's (usually a celebrity) credibility to enforce or convince someone of an idea. For example, when toothpaste companies say "9/10 dentists say this product is the best of it's kind," they're applying the logic of ethos. Pathos is an appeal to one's emotions. It usually entails an ad or any other work creating, or finding, a convincing story that makes the viewer feel guilty or show empathy. For example, a lot of companies like UNICEF advertise young children in poverty in hopes that when you see it, you'll donate to their cause. Logos is using logic to form your argument. Most prominently used are statistics, even if they're made up. For example, if I wanted to convince you to buy my specific mattress, I'd tell you that 75% of other companies sell mattresses that cause back problems. However, the facts used in most arguments using logos are true.
Thursday, 4 June 2020
Smexy Paragraphs About Meth (Sexxxy Paragraphs About The Harmful Effects of Drugs)
The harmful effects of drugs are shown within the Meth Project's PSA 'Jessica.' This is seen in the way the visual production has been set up. For instance, while the narrator is talking about Jessica being raped by her meth dealer, the scene is dark, reflecting the negative emotions and events shown and talked about. It slowly transitions to a scene where we're shown a dark, empty hallway. There's are bright light at the end of the hallway, almost representing the 'light at the end of the tunnel' or, more realistically, the hope she can fight her addiction. The hallway is very tight, it makes the viewer feel small. This was done to reflect the idea of being trapped both through her drug dealer and her addiction. The director did this to visually tell us what it's like to have an addiction like this. It makes us feel trapped and numerous other saturated shots, such as an unclean bathroom with a broken mirror, make us feel the discomfort and pain of addiction. This is very similar to how the director uses lighting in the first scene to show us that Jessica is quickly submerging her self in darkness. This is shown through the clip of who we can assume is Jessica cheerleading before we are shown a clip of an empty stadium shutting its light's down in staggered clusters.
Monday, 11 May 2020
Even More English Stuff!
I previously shared the work leading up to my creative writing assessment but I never shared to final work. So... Here it is! There are two stories, both containing the same characters. They're set in a fantasy world, hence the constant mention of magic. Sorry about the awkward formatting. I hope you enjoy!
I want to scream.
⋙Story One⋘
I want to let out the most guttural scream the world has ever heard.
“Get off of me! Let go!” That’s all I can manage. I can hear my heartbeat in my ears. Over the ringing. It’s so fast. It’s too fast. The thud of her body hitting the ground echoes in my head and the rest of the world goes silent.
And silence is far scarier than sound.
⋙⌽⋘
“What are you thinking about?” Footsteps approach my chair from behind. I look up to see a familiar face hanging above me, a smile pulled from ear to ear. Sweet perfume sweeps my senses as the figure moves into view.
“Nothing...” I say. An eyebrow raises. The seat in front of me is no longer vacant. “Everything?”
“I’ll drink to that!”
“Ellie, you’re drinking orange juice out of a coffee mug.” Her hand waves over the mug, the liquid fading into a new brown colour. A pink glow emits from a pendant sitting on her ring finger. “Even if you use illusion magic, it’s still orange juice.”
Her cheeks flush red, now hidden by her comically large cup. Three cacti stare at me as I try to see her face, ‘don’t be a prick’ screaming at me.
“You’re adorable.”
⋙⌽⋘
“What are you thinking about?” Footsteps approach my chair from behind. I look up to see a familiar face hanging above me, a smile pulled from ear to ear. Sweet perfume sweeps my senses as the figure moves into view.
“Nothing...” I say. An eyebrow raises. The seat in front of me is no longer vacant. “Everything?”
“I’ll drink to that!”
“Ellie, you’re drinking orange juice out of a coffee mug.” Her hand waves over the mug, the liquid fading into a new brown colour. A pink glow emits from a pendant sitting on her ring finger. “Even if you use illusion magic, it’s still orange juice.”
Her cheeks flush red, now hidden by her comically large cup. Three cacti stare at me as I try to see her face, ‘don’t be a prick’ screaming at me.
“You’re adorable.”
“And you’re an over-thinker, Avery.” She places the cup down, leaning her elbows against the dark wood. Her head rests in her hand, her eyes filled with an admiration I haven’t seen from her since high school. “You think too much.”
“Thank you, Ms Rivera. An over-thinker overthinks. How are you vice-princip-” I’m interrupted by the door slamming open. Ellie’s head snaps over her shoulder, eyes wide in fear and curiosity. “Madelyn?”
She hurls the door shut, falling into it as her chest heaves up and down. “Your students are psychotic! They’re running in circles out there!”
“Says you, you almost burnt down the school in year eleven,” Ellie says, spinning her whole body around. Maddie rolls her eyes, adjusting the lopsided tiara sat amongst golden strands of hair. She’s careful about the way she handles the green and silver embellishments. “You ripped someone in half with a vine in the basement, like, two months later.”
“Yeah, but I didn’t have you two as my principal and vice-principal.” She pulls herself away from the door. Green heels tap against the floorboards, muffling as they reach the carpet. “That’s not why I’m here.”
“So why are you here?” I raise an eyebrow at her. “Why did you barge into my office for the first time in 6 months? Without a phone call first.”
“This.” With nothing else to say, she whacks a piece of paper onto the desk, falling into the empty seat. “It appeared in my office last night. I couldn’t sleep, like I was being watched.”
Ellie picks up the paper, studying it carefully. “No wonder, ‘We see you’? That’s terrifying.”
“Let me see?” My heart sinks. As Ellie said, clear as rain, ‘We see you,’ written in some deep crimson substance. “Is this blood?”
“Looks like it. I-” Maddie’s cut off, everything suddenly happening at once. I’m not sure if it’s the flash of light or the cracking sound that pierces through the air, but we know for certain that this is not going to end well. In unison, we’re drawn to the window.
I’ve seen it all at this point. Murder, magic, much worse. But nothing like this. The once smooth ground, covered in grass, was now uneven. A deep rumbling shakes the floor beneath us. Ellie loses her balance. Luckily, I’m there to catch her.
“What do we do?”
“Come with me. Ellie, get everyone safe. Meet us outside when you’re done.” The three of us race out of the room, each on our own separate missions. I can’t help but feel weighed down. Jeans are not the best armour. Maddie seems to have the same problem. No ballgown is bulletproof.
I’m suddenly aware of everything. My feet hitting the concrete, green fabric swaying around Maddie’s legs as she runs, the wind whistling in my ears. Everything is happening. And then I’m happening.
“What’s the situation?” Ellie runs up behind us in a flash of pink. Anxious, she pulls at her sleeves, allowing them to sit in her palms.
“Whoever they are, they can only control the elements,” Maddie says, scanning the perimeter. Before our eyes, a row of men phase into existence, paired with a spectrum of glowing colours. “...And illusions... Avery, can you still do the thing?”
“I- It’s been a while. Hold on…” It’s almost impossible to tell if time has slowed down or sped up. I raise my hand, palm facing the sky. One deep breath and small sparks appear from the tips of my calloused fingers. The pale green glow from Maddie’s crown is weak, but it’s there.
Concentrate, Avery. Concentrate. And then the flames come, unexpected. All at once rather than sparked into life. I stumble back, but I regain my balance soon after. We know what we need to do. As a collective. A shared nod sends us into battle.
I can’t say I know what happens.
I know it happens all at once.
Fire fights the earth. The land is soon destroyed. I’m in pain, but I have to stand my ground. The world blurs, but I have to keep focused. I’m so far gone, but her voice brings me back.
“Avery! Look, I did it!” Ellie stands over a group of men, a pink glow fading. They’re not moving. Not moving… The sparkle in her eye scares me. The smile on her face fills me with pride.
This is when time slows down. Everything goes quiet. All movement ceases. A scared expression washes over Ellie’s face. I only now hear the gunshot. The ringing. She goes to speak, her bottom lip shaking. Her eyes well with tears. I want to move, but I’m paralysed. I can’t get to her. I can’t help her.
But now, she’s gone.
“I’m not the villain of this story, Madelyn. I never will be.” My heart pounds inside my chest. My stomach flips, and my voice rings in my ears. Words are spat like sharp knives, cold, unrelenting. It’s not like what I’m saying isn’t true, but this isn’t who I am. “If you can name one thing that I’ve ever done to wrong you in this life, I’ll retreat. But until then, don’t even try to convince me otherwise.”
“What about when you refused to help us-”
“-kill someone? You’re really trying to tell me that refusing to commit murder is a bad thing?” Her face scrunches, knowing that I’m right. I clench my fists, sharp nails digging into the palms of my hands.
“No! Ellie, you’re not listening to me,” she states plainly. It’s funny how matter-of-fact she is when it helps her. She stops becoming defensive. She stops deflecting. It’s all about her.
“Because you never listened! You never listened to any of us. Ever.” I swallow my pride, my tongue sitting alien in my mouth. “I’m done being your moral compass. I’m done being that secondary character. I’m done being your only voice of reason. This is my story now. And I’m the hero.”
“Ellie-”
I look her up and down, my eyebrows furrowing with contempt. The setting sun gleams through the classroom windows, setting her silhouette in black. She’s always held herself above others, her morals are so horribly grey. I never know what to think of her. “So far, it seems as though you are my antagonist.”
“You want a villain? I’ll show you a damn villain.” Something burns in her eyes, her face red. A green glow emits from the crown atop her head. Sparks dance around her fingertips, crawling up her arm in synchronized spirals. Avid eyes follow the flames as a smirk painted in the corner of her lips. Unable to think clearly, I stutter and stumble over my words. I’m forced to slink back as she grazes past my shoulder, navigating the desks. It’s impossible not to know that her flames burn at a thousand degrees.
“Maddie-!” As the door slams in my face, I rethink my words. Was I too harsh? No. I don’t think so. Over the nine years I’ve known her, I’m surprised I’ve survived this long. She throws her friends away after she’s finished using them. She’s impulsive, never thinking things through. She’s literally murdered two people out of spite and anger, for Heaven’s sake. After I, of all people, tried to convince her otherwise. Did she listen? No. Of course not. It’s Madelyn Ross.
She doesn’t need to listen.
⋙⌽⋘
“Ellie, what’s wrong with Madelyn this time?” I haven’t moved in what feels like hours. I can’t stop staring at the crescent cuts in my skin. Avery’s voice feels distant, on another plane of existence. “She’s covered in fire and I really don’t want to fill out any more paperwork today.”
“We got into another fight.” She picks up my hands, taking my line of sight with them. Her eyes are soft as she grazes her thumbs over my palms.
“We need to get you a stress ball.” She sighs, giving me a gentle smile. “But, if we don’t stop Madelyn, she’ll burn down the school. You managed to stop her the first time, so get out there and please don’t let her murder anyone else.”
She practically pushes me out of the door. Sorry, literally. She literally pushes me out the door. I stumble into the hall, left to fend for myself. The halls suddenly feel small, unfamiliar. It’s hard to tell if my feet are moving or if it’s just the walls around me.
I somehow find my way to the courtyard, cautious of tripping myself up on the uneven cobble. My heel almost gets caught in the small cracks as I notice Maddie standing upon a small hill. She stares at the cherry blossom tree a few feet in front of her. Her figure is illuminated by coils of fire, wrapped around her skin from her legs to her throat. They hide under the minimal cloth she dons. I’ve never seen her like this.
Green suede boots reach her thighs, burnt at the top. Her once floor-length dress is now scorched almost inappropriately high on her legs. The ends are brown and charred, creating a new harsh edge. Did she burn the edges? On purpose?
“Maddie, what are you doing?” She turns, a hollow darkness in her eyes. A sinister smirk pulls at her lips. Even after the horrors we’ve seen, I’ve never seen her so… cold. I mean, she’s been distant, but never resentful.
“I told you. You wanted a villain. So here I am.”
“No, I called you an antagonist. Something or someone that opposes a protagonist’s goals. Though I could never be a protagonist, I’ve always just wanted harmony. Associating with you is the exact opposite of that.” The fire circling her body begins to slow. “But we still love you, Mads. Even if you are a little mad…”
We both laugh, the soft glow of flame fading before my eyes. Something warms behind her eyes as she approaches me, stumbling over herself. It reminds me of high school. Together, we’d laugh over the stupidest stuff.
“We met here.” I stare at the tree. Pale petals that fall around us line the base of the hill. It’s very serene. “Can’t believe you even thought of burning it down.”
“Hey, that’s not true. I was imagining what it would look like if I did happen to burn it to the ground.” With a blink of an eye and a small pink glow, the tree goes up in flames. You could almost hear the cracking. Embers fly. Smoke rises in columns, clouding the blue sky. We bask in the amber hues. All at once, it disappears. Maddie turns to me, craze colouring her eyes. She looks hopeful. “Magic?”
“You’ve always underestimated me, Madelyn Ross.”
“Thank you, Ms Rivera. An over-thinker overthinks. How are you vice-princip-” I’m interrupted by the door slamming open. Ellie’s head snaps over her shoulder, eyes wide in fear and curiosity. “Madelyn?”
She hurls the door shut, falling into it as her chest heaves up and down. “Your students are psychotic! They’re running in circles out there!”
“Says you, you almost burnt down the school in year eleven,” Ellie says, spinning her whole body around. Maddie rolls her eyes, adjusting the lopsided tiara sat amongst golden strands of hair. She’s careful about the way she handles the green and silver embellishments. “You ripped someone in half with a vine in the basement, like, two months later.”
“Yeah, but I didn’t have you two as my principal and vice-principal.” She pulls herself away from the door. Green heels tap against the floorboards, muffling as they reach the carpet. “That’s not why I’m here.”
“So why are you here?” I raise an eyebrow at her. “Why did you barge into my office for the first time in 6 months? Without a phone call first.”
“This.” With nothing else to say, she whacks a piece of paper onto the desk, falling into the empty seat. “It appeared in my office last night. I couldn’t sleep, like I was being watched.”
Ellie picks up the paper, studying it carefully. “No wonder, ‘We see you’? That’s terrifying.”
“Let me see?” My heart sinks. As Ellie said, clear as rain, ‘We see you,’ written in some deep crimson substance. “Is this blood?”
“Looks like it. I-” Maddie’s cut off, everything suddenly happening at once. I’m not sure if it’s the flash of light or the cracking sound that pierces through the air, but we know for certain that this is not going to end well. In unison, we’re drawn to the window.
I’ve seen it all at this point. Murder, magic, much worse. But nothing like this. The once smooth ground, covered in grass, was now uneven. A deep rumbling shakes the floor beneath us. Ellie loses her balance. Luckily, I’m there to catch her.
“What do we do?”
“Come with me. Ellie, get everyone safe. Meet us outside when you’re done.” The three of us race out of the room, each on our own separate missions. I can’t help but feel weighed down. Jeans are not the best armour. Maddie seems to have the same problem. No ballgown is bulletproof.
I’m suddenly aware of everything. My feet hitting the concrete, green fabric swaying around Maddie’s legs as she runs, the wind whistling in my ears. Everything is happening. And then I’m happening.
“What’s the situation?” Ellie runs up behind us in a flash of pink. Anxious, she pulls at her sleeves, allowing them to sit in her palms.
“Whoever they are, they can only control the elements,” Maddie says, scanning the perimeter. Before our eyes, a row of men phase into existence, paired with a spectrum of glowing colours. “...And illusions... Avery, can you still do the thing?”
“I- It’s been a while. Hold on…” It’s almost impossible to tell if time has slowed down or sped up. I raise my hand, palm facing the sky. One deep breath and small sparks appear from the tips of my calloused fingers. The pale green glow from Maddie’s crown is weak, but it’s there.
Concentrate, Avery. Concentrate. And then the flames come, unexpected. All at once rather than sparked into life. I stumble back, but I regain my balance soon after. We know what we need to do. As a collective. A shared nod sends us into battle.
I can’t say I know what happens.
I know it happens all at once.
Fire fights the earth. The land is soon destroyed. I’m in pain, but I have to stand my ground. The world blurs, but I have to keep focused. I’m so far gone, but her voice brings me back.
“Avery! Look, I did it!” Ellie stands over a group of men, a pink glow fading. They’re not moving. Not moving… The sparkle in her eye scares me. The smile on her face fills me with pride.
This is when time slows down. Everything goes quiet. All movement ceases. A scared expression washes over Ellie’s face. I only now hear the gunshot. The ringing. She goes to speak, her bottom lip shaking. Her eyes well with tears. I want to move, but I’m paralysed. I can’t get to her. I can’t help her.
But now, she’s gone.
⋙Story Two⋘
“What about when you refused to help us-”
“-kill someone? You’re really trying to tell me that refusing to commit murder is a bad thing?” Her face scrunches, knowing that I’m right. I clench my fists, sharp nails digging into the palms of my hands.
“No! Ellie, you’re not listening to me,” she states plainly. It’s funny how matter-of-fact she is when it helps her. She stops becoming defensive. She stops deflecting. It’s all about her.
“Because you never listened! You never listened to any of us. Ever.” I swallow my pride, my tongue sitting alien in my mouth. “I’m done being your moral compass. I’m done being that secondary character. I’m done being your only voice of reason. This is my story now. And I’m the hero.”
“Ellie-”
I look her up and down, my eyebrows furrowing with contempt. The setting sun gleams through the classroom windows, setting her silhouette in black. She’s always held herself above others, her morals are so horribly grey. I never know what to think of her. “So far, it seems as though you are my antagonist.”
“You want a villain? I’ll show you a damn villain.” Something burns in her eyes, her face red. A green glow emits from the crown atop her head. Sparks dance around her fingertips, crawling up her arm in synchronized spirals. Avid eyes follow the flames as a smirk painted in the corner of her lips. Unable to think clearly, I stutter and stumble over my words. I’m forced to slink back as she grazes past my shoulder, navigating the desks. It’s impossible not to know that her flames burn at a thousand degrees.
“Maddie-!” As the door slams in my face, I rethink my words. Was I too harsh? No. I don’t think so. Over the nine years I’ve known her, I’m surprised I’ve survived this long. She throws her friends away after she’s finished using them. She’s impulsive, never thinking things through. She’s literally murdered two people out of spite and anger, for Heaven’s sake. After I, of all people, tried to convince her otherwise. Did she listen? No. Of course not. It’s Madelyn Ross.
She doesn’t need to listen.
⋙⌽⋘
“Ellie, what’s wrong with Madelyn this time?” I haven’t moved in what feels like hours. I can’t stop staring at the crescent cuts in my skin. Avery’s voice feels distant, on another plane of existence. “She’s covered in fire and I really don’t want to fill out any more paperwork today.”
“We got into another fight.” She picks up my hands, taking my line of sight with them. Her eyes are soft as she grazes her thumbs over my palms.
“We need to get you a stress ball.” She sighs, giving me a gentle smile. “But, if we don’t stop Madelyn, she’ll burn down the school. You managed to stop her the first time, so get out there and please don’t let her murder anyone else.”
She practically pushes me out of the door. Sorry, literally. She literally pushes me out the door. I stumble into the hall, left to fend for myself. The halls suddenly feel small, unfamiliar. It’s hard to tell if my feet are moving or if it’s just the walls around me.
I somehow find my way to the courtyard, cautious of tripping myself up on the uneven cobble. My heel almost gets caught in the small cracks as I notice Maddie standing upon a small hill. She stares at the cherry blossom tree a few feet in front of her. Her figure is illuminated by coils of fire, wrapped around her skin from her legs to her throat. They hide under the minimal cloth she dons. I’ve never seen her like this.
Green suede boots reach her thighs, burnt at the top. Her once floor-length dress is now scorched almost inappropriately high on her legs. The ends are brown and charred, creating a new harsh edge. Did she burn the edges? On purpose?
“Maddie, what are you doing?” She turns, a hollow darkness in her eyes. A sinister smirk pulls at her lips. Even after the horrors we’ve seen, I’ve never seen her so… cold. I mean, she’s been distant, but never resentful.
“I told you. You wanted a villain. So here I am.”
“No, I called you an antagonist. Something or someone that opposes a protagonist’s goals. Though I could never be a protagonist, I’ve always just wanted harmony. Associating with you is the exact opposite of that.” The fire circling her body begins to slow. “But we still love you, Mads. Even if you are a little mad…”
We both laugh, the soft glow of flame fading before my eyes. Something warms behind her eyes as she approaches me, stumbling over herself. It reminds me of high school. Together, we’d laugh over the stupidest stuff.
“We met here.” I stare at the tree. Pale petals that fall around us line the base of the hill. It’s very serene. “Can’t believe you even thought of burning it down.”
“Hey, that’s not true. I was imagining what it would look like if I did happen to burn it to the ground.” With a blink of an eye and a small pink glow, the tree goes up in flames. You could almost hear the cracking. Embers fly. Smoke rises in columns, clouding the blue sky. We bask in the amber hues. All at once, it disappears. Maddie turns to me, craze colouring her eyes. She looks hopeful. “Magic?”
“You’ve always underestimated me, Madelyn Ross.”
Thursday, 16 April 2020
Hey! More English Stuff!
Hello from week two(?) of self-isolation! It's come to my attention that I've missed some work on my blog, especially from my English class. So... Yeah, here's some more stuff I've been doing!
The Beatles are brought up religiously throughout the film, each mention having its own form of symbolism. So much so, it becomes a verbal motif. And on that note, motifs used in ‘Let It Be’ help create a deeper meaning within the short film. As previously mentioned, The Beatles are a very specific motif used a lot. For example, Ringo is the reason Martha isn’t killed in the beginning. Death doesn’t want to take Martha’s life and instead tries to take Ringo’s. And Ringo shows up at the end again, he’s there for Martha when she’s talking about accepting that death is a part of life. Right before we find out Ringo is there, Carl implies he wishes for Ringo to die first. It’s not as obvious, but this is a double meaning. He could mean he wants Ringo Starr, drummer for the Beatles, to die first out of the two remaining ex-members or that he’s rather Ringo, the dog, to die before Martha does. In a later scene, Martha mentions she likes to think they, The Beatles, never really broke up. In the scene beforehand, we find out Martha and Carl broke up. We, and Carl, don’t know why this is. Because of this line, it seems like Martha didn’t actually want to break up with Carl. Despite this hesitance, when asked to give him clarity, she says, “I just don’t feel that way about you anymore.” The last example is when Carl talks about liking their later stuff. This is because it’s more complex, more complete. We also find out Martha prefers their older stuff. Martha later explains to Death, who is in a bathtub, it’s because she likes the young, fun, unrestricted feel of their earlier stuff. It’s free from jade and politics, unlike their later songs. This tells us a lot about each of their personalities. Carl is more uptight, strict, he’s logical. Martha goes with the flow, she’s simple and has fun. The director has to have done this on purpose. It’s a simple yet effective way of showing a character through their likes. Their outfits in these scenes only help solidify the ideas we’re given about them. When paired with the way they dress, it gives the viewers a good idea of what characters we are watching. Martha wears dungarees, 80s-esque clothing. Her closet is full of bright blues, reds, and yellows. Carl’s clothing consists of band tees and jeans. He wears beige, black, white, and grey. He was even Steve Jobs for Halloween. This reminds me of the motifs used in Shakespeare’s ‘Romeo and Juliet’, with Romeo constantly comparing Juliet to light. ‘Romeo and Juliet’ has a lot of themes of the light vs the dark, so this gives us insight within the characters. It deepens the relationship in the audience’s eyes.
The blocking throughout the film is constantly—and excellently—used to play to our emotions. For example, while Carl and Martha are talking before the Halloween party, Death is playing operation. This alone is foreshadowing for Martha’s death, but it tells us something about Death, without actually saying it. Both scenes use blocking purposefully. Either to make us feel trapped and too big for a conversation, or alone and small in an almost empty room. We first see Carl and Martha together. They are both in a small, dark hallway. It’s back-lit and confined, and the audience feels trapped in the square-like scene we’re watching. It traps us in the conversation the same way the characters feel as though they are. We then see blocking used again in a similar way but for a different effect, Death is on the couch playing operation. We get a few insert shots of her playing, but then she gives up. The camera pulls out, and she’s framed to look small. There is a lot of space around her. Space that isn’t that important when we compare it to Death, one of the main characters. Death feels small in this, she’s frustrated and it’s possible she feels like a failure because it’s impossible for her to play Operation. She doesn’t say this, but we can see how the room looks big in comparison. The director wants us to know that in this scene, Death feels, or just plain is, inferior. When these two scenes are connected and combined with eerie sound effects, it really amplifies the sense of isolation we see. We’re feeling alongside these people. Not only that, but it also strengthens and deepens the relationship between the three characters. They all feel alone in one way or another. This is a lot like an earlier scene. Death is on the same couch, but it’s the first time she’s been in this house. The scene starts with a mid-close-up shot and cuts to a full shot seconds after. The camera isn’t as drawn-out though, it’s possible she feels less isolated at this point, that something about Carl and Martha’s arguing, or the fact she sucks at operation, is threatening to her.
I previously spoke of costumes and contrast, Gilbert uses different aspects, such as colour and art direction, to show a visual contrast. For example, the main characters’ costumes. Costumes are a part of the art direction of a movie. Before, I said how we see Carl and Martha’s appearance. Martha wears overalls and bright colours. In the film itself, we see her wearing a green shirt under brown dungarees with a very colourful jacket, designed like the seat covers on public buses. On the other hand, we see Carl wearing a beige, brown jacket over a dark blue ‘bite me’ shirt. They have two completely different styles, one bright and the other monochrome. At the Halloween party, Martha is a dog, something we can see at face value. Carl goes as Steve Jobs, something that requires a little more thought. We clearly notice the huge difference here. This shows that while, yes, opposites attracted, it’s clear that something about the two doesn’t click right, at least as partners. They seem to do all right as friends, but they disagree a lot throughout the story. Their thought processes and their personalities seem to clash so much, but they obviously love each other despite it. Further than this, Carl almost resents Death. Death is this whole other thing. She wears huge eyeliner, black on black, and faux fur. She is very different when compared to Carl and Martha, both in the way they dress and how they act. The director wanted these costumes and the way they conflict with each other to show a visual way of how their personalities both clash and work together. When combined with a visual contrast between scenes, that of which brightness is used to set a mood of a scene (light when something good or happy is happening, darker when the feel of the scene is more mellow), it makes the film work well. This can be contrasted to later in the film when the costumes work together to have the opposite effect. Jack Howard’s character, ‘Mitch’, is dressed in a very similar way to Death, with his skeleton face paint and black trench coat. We see Death connect with him in their conversation early in the party scenes.
‘Let It Be’ uses a multitude of film aspects to create a fuller sense of depth to its short duration. We can see excellent uses of visual contrast, motifs and symbolism, camera shots, and blocking. I believe the strongest film aspect is the camera shots because we can tell so much about relationships and what’s important out of so little. He did this by combining camera shots with blocking, dialogue, and music. This film watches Bertie Gilbert beautifully challenge the stigma of Death.
First up, group work. I worked with Jess because she's cool. We haven't finished everything yet, so sorry :)
And now some individual work. This is a step towards what creates my final essay.
And finally, this is my essay so far. You can find the film that it's on--Let It Be--in the slide show above.
Death and losing someone close to you is something many people struggle to come to terms with. Everyone deals with grief in different ways, and those who stand beside someone with a terminal illness tend to grieve before their loss. Bertie Gilbert’s ‘Let It Be’—cleverly named after the 1968 song by The Beatles—follows these ideas in a less than obvious way. Though up to interpretation, Gilbert uses motifs, camera shots, blocking, and visual contrast to show his ideas.
Camera shots are important in all films, but ‘Let It Be’ uses its shots to delve deeper into the characters and their relationships between each other. For instance, in our opening scene, we get an insert shot of Savannah Brown’s character, ‘Death.’ It’s a closeup shot, right after a shot of the ground where only dialogue and music is heard, framed so we can only see the look of focused hesitation in her expression and the blurred blob that is in the background. The shot doesn’t linger for too long, cutting to a closeup insert shot of the gun held in her hand. We do not get to see what the gun is pointed at until after these shots, almost making the first shot a point of shot too. When we are given a long shot of Death, we see the gun is pointed towards a black dog that stares up at her in blissful ignorance. She maintains the hesitance on her face throughout the shots. This helps us understand Death doesn’t like what she does, it’s given to us an introduction to her character as the manifestation of the Grim Reaper. In the same scene, we’re given another example of this. Throughout our introduction of Death, we can hear Dodie Clark’s character, ‘Martha,’ before we see her. While we’re shown the shots of the ground and Death’s face, Martha and Bertie Gilbert’s character, ‘Carl,’ are talking about something like “everyone prefers their later stuff.” When we’re shown Death’s reaction to the two’s arrival in a medium shot, we hear Martha say “excuse me” before she moves closer, resulting in an over the shoulder shot. This OTS immediately connects the two characters. Gilbert did this to show us as an audience that there is some kind of relationship or correlation between Martha and Death. This working with a visual contrast between the two characters, little visual connection between Carl and Death, and that it’s later revealed Martha herself is dying due to cancer, solidifies the idea that in the film Death is Martha’s idea of death. Death appeared to kill Martha but couldn’t bring herself to do it. She instead goes to kill their dog, ‘Ringo,’ in Martha’s position. In the beginning, Martha is almost in denial surrounding the idea of Death yet is more willing to go along with it than Carl is. Martha dresses Death up as a skeleton and seems to have more of a connection with her than anyone else; running to her when uncomfortable at the Halloween party. Over-the-shoulder shots are used similarly in the HBO series ‘Westworld’. They use the OTS shot alongside single shots to connect and disconnect Theresa and Dr Robert Ford during their meeting over lunch. This shows that their relationship is important to the story.
Camera shots are important in all films, but ‘Let It Be’ uses its shots to delve deeper into the characters and their relationships between each other. For instance, in our opening scene, we get an insert shot of Savannah Brown’s character, ‘Death.’ It’s a closeup shot, right after a shot of the ground where only dialogue and music is heard, framed so we can only see the look of focused hesitation in her expression and the blurred blob that is in the background. The shot doesn’t linger for too long, cutting to a closeup insert shot of the gun held in her hand. We do not get to see what the gun is pointed at until after these shots, almost making the first shot a point of shot too. When we are given a long shot of Death, we see the gun is pointed towards a black dog that stares up at her in blissful ignorance. She maintains the hesitance on her face throughout the shots. This helps us understand Death doesn’t like what she does, it’s given to us an introduction to her character as the manifestation of the Grim Reaper. In the same scene, we’re given another example of this. Throughout our introduction of Death, we can hear Dodie Clark’s character, ‘Martha,’ before we see her. While we’re shown the shots of the ground and Death’s face, Martha and Bertie Gilbert’s character, ‘Carl,’ are talking about something like “everyone prefers their later stuff.” When we’re shown Death’s reaction to the two’s arrival in a medium shot, we hear Martha say “excuse me” before she moves closer, resulting in an over the shoulder shot. This OTS immediately connects the two characters. Gilbert did this to show us as an audience that there is some kind of relationship or correlation between Martha and Death. This working with a visual contrast between the two characters, little visual connection between Carl and Death, and that it’s later revealed Martha herself is dying due to cancer, solidifies the idea that in the film Death is Martha’s idea of death. Death appeared to kill Martha but couldn’t bring herself to do it. She instead goes to kill their dog, ‘Ringo,’ in Martha’s position. In the beginning, Martha is almost in denial surrounding the idea of Death yet is more willing to go along with it than Carl is. Martha dresses Death up as a skeleton and seems to have more of a connection with her than anyone else; running to her when uncomfortable at the Halloween party. Over-the-shoulder shots are used similarly in the HBO series ‘Westworld’. They use the OTS shot alongside single shots to connect and disconnect Theresa and Dr Robert Ford during their meeting over lunch. This shows that their relationship is important to the story.
The Beatles are brought up religiously throughout the film, each mention having its own form of symbolism. So much so, it becomes a verbal motif. And on that note, motifs used in ‘Let It Be’ help create a deeper meaning within the short film. As previously mentioned, The Beatles are a very specific motif used a lot. For example, Ringo is the reason Martha isn’t killed in the beginning. Death doesn’t want to take Martha’s life and instead tries to take Ringo’s. And Ringo shows up at the end again, he’s there for Martha when she’s talking about accepting that death is a part of life. Right before we find out Ringo is there, Carl implies he wishes for Ringo to die first. It’s not as obvious, but this is a double meaning. He could mean he wants Ringo Starr, drummer for the Beatles, to die first out of the two remaining ex-members or that he’s rather Ringo, the dog, to die before Martha does. In a later scene, Martha mentions she likes to think they, The Beatles, never really broke up. In the scene beforehand, we find out Martha and Carl broke up. We, and Carl, don’t know why this is. Because of this line, it seems like Martha didn’t actually want to break up with Carl. Despite this hesitance, when asked to give him clarity, she says, “I just don’t feel that way about you anymore.” The last example is when Carl talks about liking their later stuff. This is because it’s more complex, more complete. We also find out Martha prefers their older stuff. Martha later explains to Death, who is in a bathtub, it’s because she likes the young, fun, unrestricted feel of their earlier stuff. It’s free from jade and politics, unlike their later songs. This tells us a lot about each of their personalities. Carl is more uptight, strict, he’s logical. Martha goes with the flow, she’s simple and has fun. The director has to have done this on purpose. It’s a simple yet effective way of showing a character through their likes. Their outfits in these scenes only help solidify the ideas we’re given about them. When paired with the way they dress, it gives the viewers a good idea of what characters we are watching. Martha wears dungarees, 80s-esque clothing. Her closet is full of bright blues, reds, and yellows. Carl’s clothing consists of band tees and jeans. He wears beige, black, white, and grey. He was even Steve Jobs for Halloween. This reminds me of the motifs used in Shakespeare’s ‘Romeo and Juliet’, with Romeo constantly comparing Juliet to light. ‘Romeo and Juliet’ has a lot of themes of the light vs the dark, so this gives us insight within the characters. It deepens the relationship in the audience’s eyes.
The blocking throughout the film is constantly—and excellently—used to play to our emotions. For example, while Carl and Martha are talking before the Halloween party, Death is playing operation. This alone is foreshadowing for Martha’s death, but it tells us something about Death, without actually saying it. Both scenes use blocking purposefully. Either to make us feel trapped and too big for a conversation, or alone and small in an almost empty room. We first see Carl and Martha together. They are both in a small, dark hallway. It’s back-lit and confined, and the audience feels trapped in the square-like scene we’re watching. It traps us in the conversation the same way the characters feel as though they are. We then see blocking used again in a similar way but for a different effect, Death is on the couch playing operation. We get a few insert shots of her playing, but then she gives up. The camera pulls out, and she’s framed to look small. There is a lot of space around her. Space that isn’t that important when we compare it to Death, one of the main characters. Death feels small in this, she’s frustrated and it’s possible she feels like a failure because it’s impossible for her to play Operation. She doesn’t say this, but we can see how the room looks big in comparison. The director wants us to know that in this scene, Death feels, or just plain is, inferior. When these two scenes are connected and combined with eerie sound effects, it really amplifies the sense of isolation we see. We’re feeling alongside these people. Not only that, but it also strengthens and deepens the relationship between the three characters. They all feel alone in one way or another. This is a lot like an earlier scene. Death is on the same couch, but it’s the first time she’s been in this house. The scene starts with a mid-close-up shot and cuts to a full shot seconds after. The camera isn’t as drawn-out though, it’s possible she feels less isolated at this point, that something about Carl and Martha’s arguing, or the fact she sucks at operation, is threatening to her.
I previously spoke of costumes and contrast, Gilbert uses different aspects, such as colour and art direction, to show a visual contrast. For example, the main characters’ costumes. Costumes are a part of the art direction of a movie. Before, I said how we see Carl and Martha’s appearance. Martha wears overalls and bright colours. In the film itself, we see her wearing a green shirt under brown dungarees with a very colourful jacket, designed like the seat covers on public buses. On the other hand, we see Carl wearing a beige, brown jacket over a dark blue ‘bite me’ shirt. They have two completely different styles, one bright and the other monochrome. At the Halloween party, Martha is a dog, something we can see at face value. Carl goes as Steve Jobs, something that requires a little more thought. We clearly notice the huge difference here. This shows that while, yes, opposites attracted, it’s clear that something about the two doesn’t click right, at least as partners. They seem to do all right as friends, but they disagree a lot throughout the story. Their thought processes and their personalities seem to clash so much, but they obviously love each other despite it. Further than this, Carl almost resents Death. Death is this whole other thing. She wears huge eyeliner, black on black, and faux fur. She is very different when compared to Carl and Martha, both in the way they dress and how they act. The director wanted these costumes and the way they conflict with each other to show a visual way of how their personalities both clash and work together. When combined with a visual contrast between scenes, that of which brightness is used to set a mood of a scene (light when something good or happy is happening, darker when the feel of the scene is more mellow), it makes the film work well. This can be contrasted to later in the film when the costumes work together to have the opposite effect. Jack Howard’s character, ‘Mitch’, is dressed in a very similar way to Death, with his skeleton face paint and black trench coat. We see Death connect with him in their conversation early in the party scenes.
‘Let It Be’ uses a multitude of film aspects to create a fuller sense of depth to its short duration. We can see excellent uses of visual contrast, motifs and symbolism, camera shots, and blocking. I believe the strongest film aspect is the camera shots because we can tell so much about relationships and what’s important out of so little. He did this by combining camera shots with blocking, dialogue, and music. This film watches Bertie Gilbert beautifully challenge the stigma of Death.
Tuesday, 31 March 2020
Lit Crit Lit (I haven't been outside in days, help me)
This is the trailer for the text I am talking about :)
Who is real in the text?
I believe everyone but Death is real. Death is symbolism for everyone's idea of death itself because, yeah, she is the 'person' who goes around killing people. Obviously, everyone else is probably real because there's nothing to suggest otherwise. It's strange though, while it seems like she'd be real because she interacts with other characters. But the thing is, everyone has their own experiences with death. Real death, not Death. Everyone experiences something with death. Death is there, she stays around, to allow Martha and Carl to accept what life is and what it is when it's not.
What genre does this text belong to?
Let It Be is a drama and obviously a short film. The definition of a short film is a film that isn't long enough to create a feature-length film. This is usually under 40 minutes of screen time. Our film today is 17 minutes. As for the drama thing, a drama is a serious telling of a story that sees the characters face a conflict. The conflict on the surface is dealing with Death, the character, while underneath it's Martha's struggle confronting the fact she is dying.
Why has the author constructed the characters this way?
I think they have been created the way they were to suggest a major contrast between the characters in a way that subtlely answer some important underlying questions. I see this contrast mostly in the costuming between Death, Carl, and Martha. Martha's closet is very colourful. She wears dungarees and 80s-esque jackets. This is very different from Carl, who wears turtlenecks, band shirts, and beige. And Death only seems to wear black, black hair, black clothes, black makeup. Three very different people. It makes their relationships that much more important. It explains why Carl and Martha broke up, why they constantly disagree, why Martha didn't tell Carl that she was dying. She doesn't like to live in the past and takes what comes, she didn't know how he'd feel so she just ended the relationship.
What does the author of this text want us to know?
What does the author of this text want us to know?
That it's okay to accept death as what it is. At the end of the film, Martha and Carl find themselves accepting Death and accepting death. They do this in two different ways. Carl, who previously mocked Death for saying she kills everyone, comes to realise she wasn't being ironic. Or at least comes across this way when he freaks out about the fact she's gotta kill the next Beatle soon. He really wants Ringo to die. Martha's acceptance is a little more... black and white. She has a whole monologue at the end talking about death being something we should expect. She mentions that life would be very different if we didn't have an end. What's the point of doing something today when you know, you are absolutely certain, you can do it tomorrow? Martha knows and is alright with this.
Wednesday, 18 March 2020
We're Nothing But Tone Deaf - And More Film Aspects
Tone -
Tone in film, which can also be known as brightness, is made up of lighting, exposure and art direction. For example, in The Godfather, Coppola uses exposure to define the contrast of our characters. While a bright, highly exposed wedding happens outside, a dark, underexposed Mafia meeting happens inside. This shows us, as the audience, the surrounding mood of each situation.
Production Design -
Production design in a film is the design of the set between the actors and the background - the over visual design of a film. This is made up of the props, middle ground set etc. It can dictate the mood and the themes and it can reflect the state of a character.
Visual Contrast -
Ways directors can use contrast in their films are as follows; tone, blocking, camera movement, colour and art direction/production design. In a specific "Homepod" ad, Spike Jonze uses contrast in many ways. At the beginning, we're shown a set of dark, desaturated scenes in which Jonze uses things like rain and the visual feeling of claustrophobia to show a more melancholy feel. As soon as our protagonist starts to interact with the Homepod, things start to brighten up, literally, to give the bright feeling from visuals. She is soon in a more spacious set, the tone changes entirely. It's obvious Jonze does this to show us, the viewers how the Homepod can lighten up our lives.
Film Blocking -
Directors use space, lines and shapes when deciding how to block a scene to make it... well, interesting. When blocking in film, directors tend to use three shapes. Circles. Squares. And Triangles. Simple as that. Each is used to portray different emotions or feeling. Like, circles make you feel more included, safe. While squares create a boundary, setting up a scene to make you feel trapped. Triangles are sharp, ergo; more aggressive. blocking helps contrast and subtext really come through in any given scene.
Camera Movement -
When you see a whip pan in a film, it's not going to give you the same feeling or reaction as a slow pan. And that's exactly what a director intends when they use either of the above. A whip pan, where the camera moves from one shot to another very quickly gives a jolt of energy, a feeling similar to quickly turning your head when you hear a door open behind you. A slow pan, on the other hand, gives the audience time to take in a scene. A tilt shot is a very common way to open a film. It's often used to direct our attention to something in a scene. A zoom shot is usually used in a more comedic sense, due to its sudden nature. A dolly shot is a smooth tracking shot, giving a different experience than a pan or a tilt. Directors often combine a dolly shot with a zoom shot to create a reverse dolly zoom. This is then used to show an intense internal moment in a character. A Steadicam, while similar too, is not the same as a dolly shot. A Steadicam is stabilized on a camera operator and is moved by the operator. On the other hand, a dolly shot is moved along a set track on the floor of a set. Throwing out the idea of a stable Steadicam shot is the handheld shot. While it also allows the viewer to move through space, it builds more anxiety due to how rough or shaky it usually is. Before using any of these shots, a director should be aware of how they can combine different shots to really hook a viewer. Like if you used a bunch of dolly shots and Steadicam shots but suddenly use a handheld shot, people are already going to be on the edge of their seats. But something directors should always ask themselves 'how does this support the story?' because the cinematography isn't just there to be fancy, it's there to hold a story. Camera movements should be directing the viewer to where you want them.
Colour -
Colour in film is probably more important than you'd think. Colours are psychological, they emit emotions, even if it's subtle. Three factors go into deciding colour: Hue, Saturation, and Brightness. You can see a purposeful use of colour in the movie, the Matrix. The film can find itself being quite monochromatic with the colour green. This has an effect on the way we watch. For example, when we see green, we associate, whether consciously or not, it with coding. Or the fact that in scenes it's a very desaturated green, emitting an almost sickly feeling to the world. This reflects the overall state of the world throughout the film. Some films desaturate their image to give us a vintage photograph feel, or sometimes even a raw, gritty presence. High brightness and low brightness in specific colours is used to contrast particular scenes, similar to when it's used in tone. Bright images are more exciting or fun while darker images are more sombre and serious.
Motif -
A motif is any visual element with a significant meaning that is also a reoccurring image in a film. They are used in films to create a bigger depth than what's at face value. This ties into the idea that a great piece of art is one you can go back and watch and find even more depth.
The Dutch Angle -
The dutch angle, a significant tilt on the camera's x-axis, is used to create a sense of fear or visually represent that something is wrong. It was originally used by German-expressionists in the early 1900s. Before using it, directors must identify the right moment to use a dutch angle - one that identifies that something wrong or unsettled, consider the scene when storyboarding and writing shot lists, and then enhance the scene and the use of the dutch angle when filming. To enhance a dutch angle you should consider: how much you are tilting (the more you tilt, the more unsettled the scene is), where you place your camera on the y-axis (a downward angle opposed to eye level), the lens focal length (a wide-angle opposed to a regular shot), and the depth of field.
The Over The Shoulder -
An over the shoulder shot will simply connect your characters. To contrast that, a single shot will disconnect your characters. In a scene given to us, we can see the characters connect when they are framed in an OTS, mid close-up shot, and we watch them suddenly disconnect when the focus is pulled in, isolating the characters in a single shot. After being connected again by a third party waiter, Theresa, one of our two characters, is framed in a single close-up shot. This completely isolates her.
Point of Thought -
A point of view shot is a camera shot used to see through the eyes of a single character. However, a point of thought shot is a shot that, at first, you may think is a point of view shot but when you really look into it, it doesn't always seem to line up with the characters vision. Instead, it aligns us, the audience, with a thought. For example, in a lot of films, directors build suspense by showing us a character's reaction without showing us what the character is looking at. This is a point of thought shot. Usually, the thing that we're not able to see is somewhat mysterious or unknown to our character, which is exactly why we do not get to see what they are looking at. We get to share that emotional experience with the character and are therefore hooked further into the story.
Insert Shot -
An insert shot is a shot that isolates a specific object within a scene. This is usually shot by some variation of a closeup or even a pov shot. They are primarily used to convey important information. Three things to pay attention to when planning an insert shot are: Composition, colour, and timing. Composition, made up of camera movement, angle and size, plays a part in how your audience feels about a scene. A close up of an empty scorecard at the beginning of a scene represents the plot of a film - it has not begun to build up just yet. Colour is important in insert scenes. Specific colours can draw the audience to certain points in the shot. You can also use contrast and other colour theory matters to aid in the telling of your story. Using timing to your advantage is quite important too. The less time you linger on an insert shot of something shocking happening, the more urgency the audience will feel alongside a character. Longer shots will allow the viewer to process what's happening.
Establishing Shot -
An establishing shot is a wide shot that shows the landscape of a scene. It's usually used to declare the place, and sometimes time, a scene is taking place in. It establishes the scene, its location and its tone, showing a relationship between the character and the location. It's usually the most expensive shot in a film due to the fact you see everything.
What is Film Theory?
No, not the multipart show from The Film Theorists over on Youtube. Despite the fact I love MatPat and the theorist crew, I'm actually just talking about film theory. The act of pulling apart a film at the seams. To theorize a film, theorists (wow how many times am I going to have to say theory) break down the aspects in a film to analyze their depth and meaning. One would do this by breaking down the film's: editing, sound, colour, mise-en-scene, the type of film it is, lighting, shots, and angles.
What is Film Criticism?
Believe it or not, film criticism is actually different from film theory. Though I said before that film theory is the act of pulling a film apart at the seams, that statement is more accurate to film criticism. While film theory (word count - 7) is breaking down a film and it's key aspects to see how and why it works together, film criticism is literally picking the entire thing apart to find it's worth or just for the general population. Think Cinema Sins but like, with scholars.
What is the Auteur Theory?
Don't worry, I've never heard of it either. Auteur Theory is the idea that a director is the main author of their film. That each 'auteur' has their own voice that comes through within their film. This very directly stems from the fact Auteur is quite literally a French translation of the word, you guessed it, author. It falls into the idea that a director holds their camera like an author holds their pen. The main ideas of Auteur theory come from two essays from two authors. One essay, from Francois Truffaut, was written in 1954. The other, an Andrew Sarris piece, was written in 1962 America. There is one complaint surrounding these theories, and that's the fact that 'Auteur' is very much an idea focused on an individual, rather than acknowledging the work of the surrounding crew and craftsmen.
Tone in film, which can also be known as brightness, is made up of lighting, exposure and art direction. For example, in The Godfather, Coppola uses exposure to define the contrast of our characters. While a bright, highly exposed wedding happens outside, a dark, underexposed Mafia meeting happens inside. This shows us, as the audience, the surrounding mood of each situation.
Production Design -
Production design in a film is the design of the set between the actors and the background - the over visual design of a film. This is made up of the props, middle ground set etc. It can dictate the mood and the themes and it can reflect the state of a character.
Visual Contrast -
Ways directors can use contrast in their films are as follows; tone, blocking, camera movement, colour and art direction/production design. In a specific "Homepod" ad, Spike Jonze uses contrast in many ways. At the beginning, we're shown a set of dark, desaturated scenes in which Jonze uses things like rain and the visual feeling of claustrophobia to show a more melancholy feel. As soon as our protagonist starts to interact with the Homepod, things start to brighten up, literally, to give the bright feeling from visuals. She is soon in a more spacious set, the tone changes entirely. It's obvious Jonze does this to show us, the viewers how the Homepod can lighten up our lives.
Film Blocking -
Directors use space, lines and shapes when deciding how to block a scene to make it... well, interesting. When blocking in film, directors tend to use three shapes. Circles. Squares. And Triangles. Simple as that. Each is used to portray different emotions or feeling. Like, circles make you feel more included, safe. While squares create a boundary, setting up a scene to make you feel trapped. Triangles are sharp, ergo; more aggressive. blocking helps contrast and subtext really come through in any given scene.
Camera Movement -
When you see a whip pan in a film, it's not going to give you the same feeling or reaction as a slow pan. And that's exactly what a director intends when they use either of the above. A whip pan, where the camera moves from one shot to another very quickly gives a jolt of energy, a feeling similar to quickly turning your head when you hear a door open behind you. A slow pan, on the other hand, gives the audience time to take in a scene. A tilt shot is a very common way to open a film. It's often used to direct our attention to something in a scene. A zoom shot is usually used in a more comedic sense, due to its sudden nature. A dolly shot is a smooth tracking shot, giving a different experience than a pan or a tilt. Directors often combine a dolly shot with a zoom shot to create a reverse dolly zoom. This is then used to show an intense internal moment in a character. A Steadicam, while similar too, is not the same as a dolly shot. A Steadicam is stabilized on a camera operator and is moved by the operator. On the other hand, a dolly shot is moved along a set track on the floor of a set. Throwing out the idea of a stable Steadicam shot is the handheld shot. While it also allows the viewer to move through space, it builds more anxiety due to how rough or shaky it usually is. Before using any of these shots, a director should be aware of how they can combine different shots to really hook a viewer. Like if you used a bunch of dolly shots and Steadicam shots but suddenly use a handheld shot, people are already going to be on the edge of their seats. But something directors should always ask themselves 'how does this support the story?' because the cinematography isn't just there to be fancy, it's there to hold a story. Camera movements should be directing the viewer to where you want them.
Colour -
Colour in film is probably more important than you'd think. Colours are psychological, they emit emotions, even if it's subtle. Three factors go into deciding colour: Hue, Saturation, and Brightness. You can see a purposeful use of colour in the movie, the Matrix. The film can find itself being quite monochromatic with the colour green. This has an effect on the way we watch. For example, when we see green, we associate, whether consciously or not, it with coding. Or the fact that in scenes it's a very desaturated green, emitting an almost sickly feeling to the world. This reflects the overall state of the world throughout the film. Some films desaturate their image to give us a vintage photograph feel, or sometimes even a raw, gritty presence. High brightness and low brightness in specific colours is used to contrast particular scenes, similar to when it's used in tone. Bright images are more exciting or fun while darker images are more sombre and serious.
Motif -
A motif is any visual element with a significant meaning that is also a reoccurring image in a film. They are used in films to create a bigger depth than what's at face value. This ties into the idea that a great piece of art is one you can go back and watch and find even more depth.
The Dutch Angle -
The dutch angle, a significant tilt on the camera's x-axis, is used to create a sense of fear or visually represent that something is wrong. It was originally used by German-expressionists in the early 1900s. Before using it, directors must identify the right moment to use a dutch angle - one that identifies that something wrong or unsettled, consider the scene when storyboarding and writing shot lists, and then enhance the scene and the use of the dutch angle when filming. To enhance a dutch angle you should consider: how much you are tilting (the more you tilt, the more unsettled the scene is), where you place your camera on the y-axis (a downward angle opposed to eye level), the lens focal length (a wide-angle opposed to a regular shot), and the depth of field.
The Over The Shoulder -
An over the shoulder shot will simply connect your characters. To contrast that, a single shot will disconnect your characters. In a scene given to us, we can see the characters connect when they are framed in an OTS, mid close-up shot, and we watch them suddenly disconnect when the focus is pulled in, isolating the characters in a single shot. After being connected again by a third party waiter, Theresa, one of our two characters, is framed in a single close-up shot. This completely isolates her.
Point of Thought -
A point of view shot is a camera shot used to see through the eyes of a single character. However, a point of thought shot is a shot that, at first, you may think is a point of view shot but when you really look into it, it doesn't always seem to line up with the characters vision. Instead, it aligns us, the audience, with a thought. For example, in a lot of films, directors build suspense by showing us a character's reaction without showing us what the character is looking at. This is a point of thought shot. Usually, the thing that we're not able to see is somewhat mysterious or unknown to our character, which is exactly why we do not get to see what they are looking at. We get to share that emotional experience with the character and are therefore hooked further into the story.
Insert Shot -
An insert shot is a shot that isolates a specific object within a scene. This is usually shot by some variation of a closeup or even a pov shot. They are primarily used to convey important information. Three things to pay attention to when planning an insert shot are: Composition, colour, and timing. Composition, made up of camera movement, angle and size, plays a part in how your audience feels about a scene. A close up of an empty scorecard at the beginning of a scene represents the plot of a film - it has not begun to build up just yet. Colour is important in insert scenes. Specific colours can draw the audience to certain points in the shot. You can also use contrast and other colour theory matters to aid in the telling of your story. Using timing to your advantage is quite important too. The less time you linger on an insert shot of something shocking happening, the more urgency the audience will feel alongside a character. Longer shots will allow the viewer to process what's happening.
Establishing Shot -
An establishing shot is a wide shot that shows the landscape of a scene. It's usually used to declare the place, and sometimes time, a scene is taking place in. It establishes the scene, its location and its tone, showing a relationship between the character and the location. It's usually the most expensive shot in a film due to the fact you see everything.
What is Film Theory?
No, not the multipart show from The Film Theorists over on Youtube. Despite the fact I love MatPat and the theorist crew, I'm actually just talking about film theory. The act of pulling apart a film at the seams. To theorize a film, theorists (wow how many times am I going to have to say theory) break down the aspects in a film to analyze their depth and meaning. One would do this by breaking down the film's: editing, sound, colour, mise-en-scene, the type of film it is, lighting, shots, and angles.
What is Film Criticism?
Believe it or not, film criticism is actually different from film theory. Though I said before that film theory is the act of pulling a film apart at the seams, that statement is more accurate to film criticism. While film theory (word count - 7) is breaking down a film and it's key aspects to see how and why it works together, film criticism is literally picking the entire thing apart to find it's worth or just for the general population. Think Cinema Sins but like, with scholars.
What is the Auteur Theory?
Don't worry, I've never heard of it either. Auteur Theory is the idea that a director is the main author of their film. That each 'auteur' has their own voice that comes through within their film. This very directly stems from the fact Auteur is quite literally a French translation of the word, you guessed it, author. It falls into the idea that a director holds their camera like an author holds their pen. The main ideas of Auteur theory come from two essays from two authors. One essay, from Francois Truffaut, was written in 1954. The other, an Andrew Sarris piece, was written in 1962 America. There is one complaint surrounding these theories, and that's the fact that 'Auteur' is very much an idea focused on an individual, rather than acknowledging the work of the surrounding crew and craftsmen.
Friday, 28 February 2020
12 Ways To Write A Sentence With Sam
- Madelyn Ross is the queen of her district. - The Simple Sentence. A simple sentence conveys one set of information and begins with the subject.
- And now she's gone. - The Very Short Sentence. Must be 5 words or fewer, has more impact on the reader.
- “You’ve always underestimated me.” - The Power Sentence. Must be 12 words or less, good for if you waffle a bit
- I've seen it all. Murder, Magic, and Mystery. - The Red, White, And Blue. List three things with commas to show you have several ideas about a topic.
- Slowly, she approached the door. - The Adverb Start. Begin your sentence with an adverb to interest your reader.
- After her graduation, she never wanted to see the school again. - Begin with a proposition to determine a time or place.
- Hoping to see her friends again, she wandered the empty hall. - The ING Start. Begin your sentence with a verb ending in -ING
- Defeated, she left empty-handed. - The ED Start - Begin your sentence with a verb ending in ---ED for a "punchy" start.
- She was very impulsive; her flaws were her ultimate demise. - The Semi-Colon. Remove the conjunction of a sentence to make it easier to read.
- Magics--one of the hardest subjects--was the most popular topic at the school. - The Em Dash. Drop a phrase in the middle of a sentence that competes with the rest.
- While she was smart, her friend wasn't the brightest. - The W-Start Sentence. Not much to explain here.
- Saiton Prep, a school known to very few, was sister schools with Ruinross. - Explore The Subject. State the subject, say something interesting about it, and then finish the original sentence.
Thursday, 27 February 2020
I'm A Writing Pro... Crastinator
Task: Write 50-100 words to describe a character, just writing about their appearance.
You’d often see Avery strutting down the halls with her crimson curls bouncing along behind her. The shine was so fake and the deep colour easily contrasted her pale skin. She’d wear some version of the 50s pinup dresses, once again in her iconic crimson hue. Deeper red embellishments line most of her dresses, matching whatever heels or flats she’d wear. She seemed confident in whatever deep makeup she’d cake on at 5 am that morning. (mood)
Task: Write 50-100 words to flesh out character descriptions from 2 different viewpoints
People noticed different things about Ellie. Her classmates would note her silence in classes, the way she hunched over her work. They would question her abstinence from others. She’d hide at the back of the room, never leaving her dorm. But ask the right person and you’ll hear about her… less quiet manner. They’d note her eye twitching, avoiding eye contact, when you say the wrong thing or the way she wrings her hands mid-conversation.
Task: Write 50-100 words using metaphor to describe a character
Madelyn is often described as the ticking time bomb of her friend group. One push over the edge, and she’ll explode. But leave her standing, stranded on the edge and she’ll fall on her own. She’s a double edged sword. Being her friend is impossible but being her enemy will leave you dead.
Task: Write 50-100 words to introduce a character with their mannerisms body language
Long strides paint Avery in grace. With her shoulders rolled back, she walks in confidence. With her head held high, she’ll stand her ground, stubborn until the very end. With her chest held out, her voice a siren in silence. The room falls quiet when she enters, both a blessing and a curse.
Task: Write 50-100 words to describe a character using their actions
It was easy to see why she loved Ellie so dearly. It was in the small things, like the small post-it notes you’d find on your pillow, knowing she’d left them. Or the strange collection of novelty mugs she owned. The small things she’d make you see, feel, or believe. How her eyes softened when she knows she’s losing an argument, the look going straight to your pride.
Task: Write 50-100 words to show character through what they say (and don’t say) in their dialogue
“What? Am I the problem now?” She crosses her arms, shoulders roll back. If she can make herself as big as possible, maybe she can scare them.
“Madelyn, we both know that’s not what I said.” She fights not to scream they’re wrong, despite knowing how wrong she really is. “If you’d just listen-”
“I am listening!” She interrupts them, overlooking the overwhelming irony.
Task: Write 50-100 words to use comparison to highlight key differences between characters
Avery and Ellie are as similar as the night is to the day. They’re the definition of opposites attract. Even down to the colour of the clothes. Make them move in together and watch how quickly half the house falls apart while the other stays immaculate. Avery is the kind of person to have 5 separate versions of the exact same outfit, while Ellie will wear something until she physically no longer can.
Task: Write 50-100 words to show a particular setting through a particular character
I hated my dorm room after becoming head girl. Seeing ‘Madelyn’ carved in gold plating every day after returning from classes did not help whatever superior complex I had going on at the time. Avery had a canopy before me, so it only felt necessary to hang my own, green version, above the bed. But it felt… wrong. To again compare myself to Avery, my room was surprisingly bare? I never put up pictures and wasn't interested in anything enough to have posters.
Task: Write 50-100 words to show a specific time (time of year and or time of day or night) for a setting
The halls are impossibly quiet during the night. With a lack of movement, you’d be able to hear isolated footsteps from the opposite end of the dorms. The chirping of cicadas died out hours ago and the rays of moonshine is the only light left. The beams seep through each window, the scattered stained glass benefiting the most.
Task: Write 50-100 words to use setting to reflect a character’s nature
Avery’s room is immaculate. The second she discards anything it’s sorted appropriately. Her floor is spotless, the carpet stainless. Her walls are colour in crimson and cream, covered in framed photos of her friends and family. They’re laid out in perfection, unwilling to let them askew. Here are four words.
Task: Write 50-100 words to use the senses to evoke a sense of place
The school looked so much like a standard castle, no wonder nobody could tell it was a school. It’s pale pink exterior was ancient and wearing away, the rough bricks feeling as though they could crumble under your fingertips. The inside is the complete opposite. The grounds were covered in fresh grass and freshmen. The fresh smell of cut grass wafts around the school. Numerous sounds of bustling students overthrow the faint smells of the aging walls.
Task: Write 50-100 words to describe a setting to create a certain mood
The floorboards creak with each and every movement. The wind whistles outside the window, spinning and swirling through dead branches. Cracked paint is peeling off of the wall, a real sense of age seeping through the sight. Dust collects on the windowsills, almost entirely changing the pale creamy-white colour.
Task: Write 50-100 words to describe a setting to make readers ask ‘what happens next?’
The main courtyard was quiet. The passive wind swept past my ears, taking a hold on my hair. Concrete and cobblestone was cracked and scarred under my feet. But the grass seemed welcoming. I wasn’t afraid of my heels sinking into the soften dirt. A light… purple glow emits from around the corner. It’s screaming my name. It’s telling me I have to go.
Task: Write 50-100 words to describe a character, a goal for them, and 2-4 conflicts they may face.
All Maddie wanted was closure. That’s all she ever wanted. Her childhood was screwed over by someone she thought loved her and now she wants closure. Per her nature, she may not have the most moral way of doing that. The consequences wouldn’t be so black and white. Her new friend, on the other hand, is literally her moral compass… The same moral compass she tends to ignore.
Task: Write 50-100 words to create a character who has a goal and a character who opposes their goals.
Nobody loves their pasts. Everyone has their regrets. Ellie is the epitome of that idea. She’s the embodiment of that feeling of anxiety that rushes through you when you remember your mistakes and downfalls. She spends every waking hour trying to demolish this past, but that’s kind of hard when you’re dating the living reminder that you messed up.
Task: Write 50-100 words to list 2-4 things that will raise the stakes for your character on their way to reach their goal.
Okay, so, Maddie’s dad is trying to kill her and her family. So. That’s pretty bad. But, at the same time, she’s trying to fit into her new school and overcome her almost crippling post-traumatic stress disorder. All the while, she’s also learning how to handle her newly found magic.
Task: Write 50-100 words to list 2-4 things that will make your character interesting and will make the reader ask questions about them
Throughout the original story, Madelyn tends to have a lot of very vague nightmares and memories. They get more and more detailed as cohesive as the story goes on. She’s very impulsive and you never really know how she’s going to react or how she’ll act in most given situations.
Task: Write 50-100 words to list 2-4 conflicts for your character
In this weird sequel that I made, which is based around the same time as my creative writing story, Maddie kills someone one of her friends was close to. She took advantage of Ellie and dragged Avery down with her. So Ellie is stuck in this moral dilemma where she’s like, do I take the road I know is best or do I stick it out because where friends. One of my favourite lines from this is literally "I am not scared of you, Madelyn. I'm not scared of who you've become. But after all of these years, the nine long years that I've known you, I'm scared of hating you."
Task: Write 50-100 words to list 2-4 secondary sources of tension for your character
Well, Avery likes girls, and her family being her family doesn’t like that. So she’s forced into hiding, she’s stuck in her own moral dilemma, trying to please for family. All the while, she’s trying to maintain her good grades and be the year representative/head all at the same time.
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