For centuries, writers from Shakespeare to Poe to Burroughs to Wallace and so forth have used alcohol and illegal drugs to alter consciousness for the unfettered exploration of reality and narrative. You don’t need drugs to do this. We have David Lynch!
Experimental film can be great sources of inspiration for magical realist narratives. David Lynch’s short films are some of the best. The jarring nature of the above short film helps to momentarily jog the convention out of you, allow you to think outside the box and form a new reality for your burgeoning narrative. Consider “The Alphabet” as a tool. Please follow the below steps as given. They might feel very strange but stick with it:
- Watch “The Alphabet” again, if you’ve already watched it. Don’t try to “understand” it. Simply watch it in all its jarring and weird aesthetic. Again, don’t try to make sense of it. If you try to understand it, you’ll likely attempt to put it in your learned “conventional” box and this will diminish its mind-altering effects. Just let your mind feel jumbled. If you are of legal age and like to have a cocktail, glass of wine, beer, go ahead and have a drink before watching it.
- Now, think on a mindless activity you were forced to learn for your own good and that of society, such as learning your alphabet. As a child, you likely learned the alphabet song. You repeated it over and over until it was something you could never forget. You could vomit alphabets, regurgitate it in your sleep, bleed alphabets and dream alphabets. What other conventional necessity did you learn that became so essential to your state of being that it is fluid like blood and air. Be emotionally honest with yourself as you consider this convention. What parts of this convention are helpful? What parts do you resent? For instance, you likely learned to drive, and now maybe that learned convention you loved so much at the time has become an hour and a half commute to work and home from work. Every day. Ugh.
- Next, watch “The Alphabet” again. While you watch, hold this moment of necessary and resented convention lightly in your mind. Allow a juxtaposition to form within the landscape of the short film, either in whole or part. As you do this, consider the different “landscapes” or “chapters”: (a) the girl in the bed, (b) the face with sunglasses, (c) the progressive alphabet schematic, (d) the ping pong ball, (e) the room with bleeding head, (f) the nose-chin. As you do this, do not worry about whether or not anything makes sense or connects perfectly. If a connection happens, get writing! If a connection does not pop out at you, no worries. Follow the next step.
- Go back to the short film and choose one of the strange sections as focus, whichever one of the “landscapes” is most interesting to you in some way.
- Make a list of attributes. For instance, if you choose the nose-chin, describe the nose-chin, list what you see. There are no right or wrong answers here. Simply make a list of the image, the details, the strangeness.
- Now, imagine that strange image from Lynch’s short film magically plays on the wall of your living room, dining room, kitchen, bedroom… You’ve just returned home from work after participating in that long drive home, after brushing your teeth for the millionth time, after using the bathroom or calling your mother or any number of relentless conventional practices you learned as a child or young adult and continue to exercise. You see this strange image on your wall. What do you do? Write this in first person. You are the first person protagonist dealing with this strange occurrence after such a familiar and resented practice. How might these two relate? Diverge? What does this mean to your protagonist?
* Do not stress if your narrative feels jumbled in the first draft. Just go with it. Use the second and third drafts to sculpt and begin to make sense. It’s okay for early drafts to feel out of control. This “out of control” attribute in our early drafts is an excellent place to be for innovative writers.
Below, briefly describe how this mind-altering writing exercise feels? Is it uncomfortable? Does it bring up some things you’ve not before considered?
Guidelines, Submissions & Formatting
- Due Date: Sunday, 6 pm.
- Submission Link: Submit to the FORUM.
- Submission Format: Attach an MS Word document in Universal Manuscript Format with the following format (this format is firm and universal). Double-spaced, 12 point font, Times New Roman, 1 in margins, heading with name, address, email, website (if applicable), and phone number on page one. Page two and forward should have in the top right corner your last name and page number.
- Word Count: 1000 words or less (this is firm)
- First Draft: As you write the first draft, let your creativity go where it needs to go. First drafts are meant to be messy and creatively uninhibited. After writing the first draft, lay it to the side for at least a day before revising.
- Second Draft: Read through again, and revise for language and lyricism. Consider, during this revision, how the two characters interact and what that might mean in a sociopolitical and/or human relationship way. How do they foil each other? Flesh out any sections that might further reflect this sociopolitical undercurrent of the work but be careful not to make this undercurrent too obvious. Let the reader have room to work this out for him or herself. Remember, we don’t answer questions for our readers, we simply prompt our readers to ask good questions. Giving our readers room to make meaning for themselves within our narratives is a sign of artistic and literary excellence. Now, lay the work aside for at least a day before your next revision.
- Third Draft: Now read this revision aloud as you record yourself. Upon listening to your recording, consider any language issues in your revision. You might also ask a trusted reader to read the manuscript aloud to you as you sit with your own copy and make revisions. Hearing our language aloud is one of the quickest and surest ways to improve pacing, tone, and cadence.
- Forum: Upload your course-created work to your course and month forum so that other students in the course can read your work and give you feedback on your story. MAKE SURE YOU ARE UPLOADING YOUR STORY TO THE CORRECT FORUM AND COURSE. Group feedback runs on the honor code. Submit only one work by the due date, next Sunday 6 pm. Your feedback given on each story need be no more than a paragraph or two and should include elements that are working and elements that require further work.
- Favorite Forum Works: Beginning with Week 2, after you’ve read through all the student submissions, pick your favorite work from each peer’s course-created content. Mark this work as favorited. At the end of the course, you will each be able to review each others’ profiles and see which of your works are the favorites of your peers and instructor.
- Submissions to the Instructor: The last week of class, you will choose one favorite piece from the works you’ve created in this course for submission to Rae. You will be given the chance to flesh it out and make it longer. Your peers will give feedback on your story in short paragraph form. Rae will give you specific copy editing and contextual feedback.
- Please make sure to contact me directly with any questions regarding assignments and technology. firstname.lastname@example.org. The fastest way to get ahold of me is a text to 301-514-2380. The below question/discussion area is really for student and lesson interaction and I won’t be checking it everyday.