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Cities and Memory 13
When a child is born in Illia, a room is added to the outside of the parents’ house. As the child ages, the room is enlarged and divided until it has rooms of its own. Some never reach the size of their parents’, and some swell to many times their parents’ house’s size. Some are ill-tethered, and when they fall, a new line is established, but most remain part of the original structure, and so to see Illia at night is to see a many-limbed formation like a coral, made luminous by the lichens and fungi that decorate the youngest generations.
Young families are wavering and clumsy as they climb and slowly branch. The oldest and most successful lines are broad and towering, immense and graceful as they coil toward the sky and to each other, until it becomes uncertain where each line began. Old houses without children appear as gaping holes in the orange luminescence. If too many remain alongside each other, a cavity forms, and the ambrosial city of Illia seems a hollow thing built on memory and rot.
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( OH, DIGITAL MEDIA WORKSHOP GROUP. ILU GUYS SO MUCH. )
I'm so over assignments. |D; My hands hurt, my neck hurts, my head aches and my eyes are blurry. None of these things are conducive to being coherent.
[EDIT] I'm glad I got in before Permanent Accounts went up to $60 (not that that's really expensive) but HOLY SHIT FIVE THOUSAND USERPICS FOR $175 FOREVER. I would never use that many. There is never a need to have that many. But. HOLY SHIT. XD
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( Prologue. )
There's more to come, but I'm getting all adjshfahs about this section alone, so thoughts would be nice, guys, plz. I like the first paragraph but the rest feels very blah-blah-blah... so it's a good thing that Ash is just about ready to take over. I do wish I could break out of present tense, but we'll see how it goes.
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Show a character in a room of his house; introduce us to small, specific details that will reveal what this character’s past is. Try to place the character in action.
( Backstory through Environment. )
Chaz doesn't feel quite in-character yet, but since this is... maybe three chapters into the novel, Ash is at an appropriate level of fascination, I think. I still have no timeframe for this. XD; I fail at everything. (Now that I have picked this icon, Scuttle seems like a good choice for Chaz, which is terrifying. XD)
...it is kind of amazing how calm and happy zoning out and writing for the last hour has made me. The world is a good place again. Why don't I do this all the time?
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1) Play with using deliberately foggy signifiers at key moments as an exercise in foregrounding these moments.
2) Play with writing a piece where one or more of the important bits are left off the page. (Some of these bits might include things people don’t say in dialogue.)
( Thinner South, and the game called Shar's War. )
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Write something in a voice totally alien to you. Play. Before you write, list four characteristics of the voice you want to capture: Velocity of language. Verbosity (including the types of words used). Viewpoint – are we up close, or very removed, what person? Vision – what kinds of things does the narrative voice OBSERVE? Write for a while and then foreground a moment or object by playing a variation in voice against the rest of the text.
( This is terrible and nonsensical. I mean that. )
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Written for Introduction to Creative Writing.
( A Snuffbox Sestina. )
Loosely based on the relationship between Gren and Vicious in Cowboy Bebop. (Also? SESTINAS ARE FUN. :D)
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