Cornhill

2009-03-03T23:03:00.000-08:00

The Handout

2007-12-02T21:41:00.000-08:00

Unit One
Short Model Poems

Ars Poetica can be defined as the art of poetry. In presenting the art of poetry in a poem, the poet Archibald MacLeish assumed a double responsibility to make the sense of the poem describe a poem and to show this poem to be an example of the kind of poem of which he writes. That is a poem should be. In this case, Ars Poetica can inspire how to write poems. Before writing poems, it is useful to read all of the poems in this collection as models and patterns for you to imitate while you are learning the basics of creative writing. When you read one of these poems you will say to yourself, “I think I can write that!” and then try to write a poem. You will not be expected to duplicate these models, but to mine them for ideas and inspirations that will help you to express your own thoughts and feelings in poetry.

Poetic Adaptation

The poet William Carlos Williams is just to say that he has eaten some plums, “I have eaten the plums that were in the icebox and which you were probably saving for breakfast. Forgive me they were delicious so sweet and so cold.” This is not just to say in an ordinary way. With his poetical sense, he says it in poetical composition.

Poetic Adaptation Exercise
Directions: Write short models poems.

For your inspiration, you can start writing your poem with a short or concrete one. Like in Tennyson’s The Eagle, think of an animal, or a flower like in Blake’s The Sick Rose. Write down as many words and expressions as you can to describe an animal or a flower you like. Think of them and write a short poem.

"In you I have seen something lovely.
Your eyes look so nice.
I see in you twice as always."

thee

have seen

something lovely

look so nice thy eyes

as always twice

in thee

see

Tips: To create imagery, write what you see, hear, smell, taste, and touch. To create musical devices, use rhyme, rhythm, alliteration, and assonance. Do not forget to apply a poetic typography when you type it.

Poetic Writing Project

Directions: After you can write a concrete poem, you may try to write an abstract one like in Frost’s The Secret Sits or Hughes’ Theology. Think of love, jealousy, ambition, greed, hate, and the like; or think of heaven, angle, ghost, hell, and the like. Express your own feelings and thoughts about them, and use imagery, figurative language, and tone to write your own poems.

Tips: In creative writing—the only way to learn to write is to write. To be creative or not to be depends on your own creation.

Unit Two
Short Model Stories

The Death of Kalakarna
By Siswo Harsono

In the early morning
The king holds meeting
With vizier he’s discussing
The princess kidnapping

In Mandaraka, Prabu Salya had ordered Patih Tuhayata to look for Surtikanti around the country. Tuhayata had been back and ready to give information to the king.
"Have you found the princess?" asked Prabu Salya curiously.
"No, sir," answered Patih Tuhayata with guilty feeling, "But I’d met her lover in Petapralaya and told him about this case."
"She’s not there?" asked Pujawati amazingly.
"No, Madam!" said Tuhayata, "But he has promised to help us to find her."
"Well, but how?" asked Prabu Salya cheerfully.
"He told me that he’s going to meet Janaka in Madukara, " told Patih Tuhayata,
"Maybe he is the man who kidnaps the Princess."
"No way! He’s her friend," said Pujawati.
"I think it’s possible," said Prabu Salya, "All right, Vizier—you may go and keep searching."
"Yes, sir!"

Suryaputra went to Madukara Palace. He was mad at Janaka and accused him of
kidnapping her lover. They were about to fight.
"Janaka! Where’s Surtikanti?" asked Suryaputra angrily, "Don’t you dare kidnap my darling!"
"I don’t hide your lover," said Janaka calmly, "But I know the man who has kidnapped her."
Suryaputra was startled and asked, "Who? Where’s he? Tell me, Janaka!"
"He’s Kalakarna—the King of Awangga," said Janaka, smiling.
While leaving, Suryaputra said, "Ok! I’m going there. I’ll kill him! See you later, Janaka!"

In the front-yard of Awangga Palace, Suryaputra met Kalakarna. They had a big fight.
"Hey, you—bastard!" shouted Suryaputra to Kalakarna, "Where’s my lover?"
"Who? Yer lover? Huahahahah… not yers! She’s mine!" said Kalakarna, laughing at him.
"Khk-cuah! Go to hell—son of a bitch!" said Suryaputra, spitting on the ground.
Because of his anger, Kalakarna tried to hit and kicked him. Suryaputra jumped aside and got a spear.
"Now, you dead!" said Suryaputra, aiming his spear quickly at Kalakarna. He stabbed his spear in Kalakarna's heart.
"Oh, no!"
Kalakarna fell in war.

After killing Kalakarna, Suryaputra looked for his lover in Awangga Palace. He met her in the park.

Approaching his lover, Suryaputra greeted her, "Hallo, my dear! Are you OK?"
"Hi!" said Surtikanti, "How could you find me here? How did you know if Kalakarna had kidnapped me?"
Gazing softly at her, Suryaputra said, "Janaka told me. At first, I accused him of kidnapping you. I know who he is—a playboy"
"Are you jealous?" asked Surtikanti, laughing.
"Yes!" answered Suryaputra, smiling.
"Why? He’s your brother."
"My rival!"
"Really?" "Yes! Let’s go," said Suryaputra proudly.
They went home happily.

A typical anecdote as model for short story contains all the techniques present in the completely crafted short story. It is an idea that has become a story developed through a plot line. There is narration, foreshadowing, dialog, motivation, characterization, description, suspense, crisis, and conclusive end. Bishop (1988:5-6) gives his good example and analysis on it.

Example (anecdote) A drunk is driving up a mountain road during a rainstorm.
He smashes through the rail and is flung from the car. He grasps a loose branch in the mountainside and hang in the air. “Dear God,” he prays, “Save me!” an angel appears.
“God will help you.” The man is afraid. “I’ll do anything, just have Him save me.”
“God wants to know if you trust Him.”
“Yes, I trust Him. I’ll do anything to prove it. I’ll never drink again.”
The branch loosens. The man looks down. He is 3,000 feet above a roaring river. Only the light from the angel is present. “Do you really trust God?” the angel asks again.
“I trust Him, I’ll do anything to prove it.” The angel nods. “All right, let go of the branch.”

Bishop analyzes the situation and characterization in the opening sentence: a drunk driving in a rainstorm. Action: crash through rail. Opening suspense: grasping branch. Motivation: to stay alive. Informational dialog: help is available. Sustained suspense: “…if you trust Him.” Foreshadowing: “I’ll do anything to prove is it.” Inner revelation and character change: “I’ll never drink again.” Description of danger: loosening branch; roaring river below. Continued suspense: “Do you really trust God?” Mystery: how will angel save him? Heightened suspense: “I’ll do anything…” Crisis and story point: “Let go of the branch.” (Added mystery: does he or doesn’t he let go?). It is not only anecdotes that can be adopted and adapted as the short model stories but also jokes, fables, and the like. Before writing stories, it is useful to read all of the short model stories in this collection as models and patterns for you to imitate while you are learning the basics of narrative writing. When you read one of the short model stories you will say to yourself, “I think it is easy to write that!” and then try to write a short model story. Of course, you will not be expected to duplicate these models, but to mine them for ideas and inspirations that will help you to express your own thoughts and feelings in prose.

Narrative Adaptation Exercise

Directions: Group these sentences into three of four paragraphs to make a short story. The events are in the correct order.

Directions: Write a narrative description and add it to the short model story below.
Directions: Write a creative dialog and add them to the short model story below.
Directions: Write a short model story, either joke or anecdote, based on your own experience. Write it no more than 300 words.

Tips: If you have experienced a true story in your real life, you will write your own story easily and then you will know how to adapt a true story into a narrative writing.

Narrative Writing Project Directions: Write an original short story, either a fiction or a true story. Write it no more than 1000 words.

Unit Three
Short Model Drama

Siswo Harsono

THE DEATH OF KALAKARNA

In the early morning
The king holds meeting
With vizier he’s discussing
The princess kidnapping

SCENE 1. MANDRAKA.—PRABU SALYA ordered PATIH TUHAYATA to look for SURTIKANTI around the country. TUHAYATA has been back and ready to give information to the king.

SALYA (curiously). Have you found the princess?

TUHAYATA (feeling guilty). No, sir. But I’d met her lover in Petapralaya and told him about this case.

PUJAWATI (amazingly). She’s not there?

TUHAYATA. No, Madam! But he has promised to help us to find her.

SALYA (cheerfully). Well, but how?

TUHAYATA. He told me that he’s going to meet Janaka in Madukara. Maybe he is the man who kidnaps the Princess.

PUJAWATI. No way! He’s her friend.

SALYA. I think it’s possible. All right, Vizier—you may go and keep searching.

TUHAYATA. Yes, sir!

SCENE 2. MADUKARA.— SURYAPUTRA goes to Madukara Palace. He is mad at JANAKA and accuses him of kidnapping her lover. They are about to fight.

SURYAPUTRA (angrily). Janaka! Where’s Surtikanti? Don’t you dare kidnap my darling!

JANAKA (calmly). I don’t hide your lover. But I know the man who has kidnapped her.

SURYAPUTRA (startled). Who? Where’s he? Tell me, Janaka!

JANAKA (smiling). He’s Kalakarna—the King of Awangga.

SURYAPUTRA (while leaving). Ok! I’m going there. I’ll kill him! See you later, Janaka!

AWANGGA. In the front-yard of Awangga Palace, SURYAPUTRA meets KALAKARNA. They have a big fight.

SURYAPUTRA (shouting to KALAKARNA). Hey, you—bastard! Where’s my lover?

KALAKARNA (laughing at him). Who? Yer lover? Huahahahah… not yers! She’s mine!

SURYAPUTRA (spitting on the ground). Khk-cuah! Go to hell—son of a bitch!

(Because of his anger, KALAKARNA tries to hit and kick him. SURYAPUTRA jumps aside and gets a spear.)

SURYAPUTRA (aiming his spear quickly at KALAKARNA). Now, you dead! (He stabs his spear in KALAKARNA’S heart.)

KALAKARNA. Oh, no!

(KALAKARNA falls in war.)

SCENE 3. AWANGGA. After killing KALAKARNA, SURYAPUTRA looks for his lover in Awangga Palace. He meets her in the park.

SURYAPUTRA (approaching his lover). Hallo, my dear! Are you OK?

SURTIKANTI (smiling sweetly). Hi! How could you find me here? How did you know if Kalakarna had kidnapped me?

SURYAPUTRA (gazing softly at her). Janaka told me. At first, I accused him of kidnapping you. I know who he is—a playboy.

SURTIKANTI (launghing). Are you jealous?

SURYAPUTRA (smiling). Yes!

SURTIKANTI. Why? He’s your brother.

SURYAPUTRA. My rival!

SURTIKANTI. Really?

SURYAPUTRA (proudly). Yes! Let’s go.

(They go home happily, and the curtain falls slowly.)

Dramatic Adaptation The Jokesmith

INTELLIGENT DOG

PLAYERS

BUTCHER
DOG
MAN

SCENE. A large DOG walks into a BUTCHER shop, carrying a purse in its mouth. He puts the purse down and sits in front of the meat case.

BUTCHER (jokingly). What is it, boy? Want to buy some meat?
DOG (barking). Woof!
BUTCHER. Hmm. What kind? Liver, bacon, steak…
DOG (interrupting). Woof!
BUTCHER. And how much steak? Half a pound, one pound…
DOG (signaling). Woof!

The amazed BUTCHER wraps up the meat and finds the money in the DOG’s purse. As the DOG leaves he decides to follow. The DOG enters an apartment house, climbs to the third floor and begins scratching at a door. With that, the door swings open and an angry MAN starts shouting at the DOG.

BUTCHER (yelling). Stop! He is the most intelligent animal I’ve ever seen!

MAN (countering). Intelligent? This is the third time this week he has forgotten his key.

Adapted by Siswo Harsono

Dramatic Adaptation Exercise

Conversation is the basic model of dramatic dialogue. To write a dramatic adaptation, conversation should be added scene narration and stage direction to make it complete as a dramatic work.

Directions: Write and add a scene narration and a stage direction to the conversation below.
Directions: Rewrite the short model story below into dramatic adaptation.

Tips: The first step you identify the characters. The second step you identify the scenes and adapt the narratives. The third step you identify the dialogue and write the stage direction. The fourth step you rewrite the short story into playwriting formats.

Dramatic Writing Project

Directions: Write a short model play of your own original works. You may write it based on your own experience, imagination, or intuition. Be creative!

Unit Four
Short Model Script

SCENES FROM THE DEATH OF KALAKARNA

A film script by Siswo Harsono

1. FADE IN CAPTION OF TITLE AND POEM

In the early morning
The king holds meeting
With vizier he’s discussing
The princess kidnapping

CUT TO

2. INT. MANDARAKA PALACE. DAY

LS Prabu Salya ordered Patih Tuhayata to look for Surtikanti around the country. CUT TO Tuhayata has been back and ready to give information to PAN RIGHT ZOOM IN TO MCU the king.

SALYA. [curiously]. Have you found the princess?

TUHAYATA. [CUT TO CU feeling guilty]. No, sir. But I’d met her lover in Petapralaya and told him about this case.

PUJAWATI. [CUT TO MCU amazingly]. She’s not there?

TUHAYATA. [PAN LEFT]. No, Madam! But he has promised to help us to find her.

SALYA. [CUT TO CU cheerfully]. Well, but how?

TUHAYATA. [CUT TO MCU]. He told me that he’s going to meet Janaka in Madukara. Maybe he is the man who kidnaps the Princess.

PUJAWATI. [PAN RIGHT]. No way! He’s her friend.

SALYA. [CUT TO MLS]. I think it’s possible. All right, Vizier—you may go and keep searching.

TUHAYATA. Yes, sir!

CUT TO

3. INT. MADUKARA PALACE. DAY

ELS Suryaputra goes to Madukara Palace. CUT TO MCU He is mad at Janaka and accuses him of kidnapping her lover. ZOOM OU TO LS They are about to fight.

SURYAPUTRA. [CUT TO MCU angrily]. Janaka! Where’s Surtikanti? Don’t you dare kidnap my darling!

JANAKA. [PAN RIGHT calmly]. I don’t hide your lover. But I know the man who has kidnapped her.

SURYAPUTRA. [PAN LEF startled]. Who? Where’s he? Tell me, Janaka!

JANAKA. [CUT TO CU smiling]. He’s Kalakarna—the King of Awangga.

SURYAPUTRA. [CUT TO LS while leaving]. Ok! I’m going there. I’ll kill him! See you later, Janaka!

CUT TO

4. EXT. AWANGGA PALACE. DAY

ELS In the front-yard of Awangga Palace, ZOOM IN TO LS Suryaputra meets Kalakarna. They have a big fight.

SURYAPUTRA. [CUT TO MCU shouting to KALAKARNA]. Hey, you—bastard! Where’s my lover?

KALAKARNA. [PAN LEFT laughing at him]. Who? Yer lover? Huahahahah… not yers! She’s mine!

SURYAPUTRA. [PAN RIGHT spitting on the ground]. Khk-phew! Go to hell—son of a bitch!

[ZOOM OUT TO LS Because of his anger, KALAKARNA tries to hit and kick him. SURYAPUTRA jumps aside and gets a spear.]

SURYAPUTRA. [aiming his spear quickly at KALAKARNA]. Now, you dead!

[He stabs his spear in KALAKARNA’s heart.]

KALAKARNA. [CUT TO CU]. Oh, no!

[ZOOM OUT TO LS KALAKARNA falls in war.]

CUT TO

5. THE PARK. AFTERNOON

LS After killing KALAKARNA, SURYAPUTRA looks for his lover in Awangga Palace. He meets her in the park.

SURYAPUTRA. [approaching his lover]. Hallo, my dear! Are you OK?

SURTIKANTI. [CUT TO CU smiling sweetly]. Hi! How could you find me here? How did you know if Kalakarna had kidnapped me?

SURYAPUTRA. [CUT TO CU gazing softly at her]. Janaka told me. At first, I accused him of kidnapping you. I know who he is—a playboy.

SURTIKANTI. [CUT TO MCU launghing]. Are you jealous?

SURYAPUTRA. [CUT TO CU smiling]. Yes!

SURTIKANTI. [CUT TO MCU]. Why? He’s your brother.

SURYAPUTRA. [PAN RIGHT]. My rival!

SURTIKANI. [PAN LEFT]. Really?

SURYAPUTRA. [PAN RIGHT proudly]. Yes! Let’s go.

[ZOOM OUT TO ELS They go home happily, and LONG DISSOLVE TO the curtain falls slowly. MUSIC UP until the end of the song.]

Script Adaptation

SCENE FROM INTELLIGENT DOG

A film script based on The Jokesmith story,

by Siswo Harsono

INT. BUTCHER SHOP—DAY

MLS A large dog walks into a butcher shop, CUT TO CU carrying a purse in its mouth. ZOOM OUT TO MLS He puts the purse down and ZOOM IN TO MCU sits in front of the meat case.

BUTCHER [CUT TO MCU jokingly]. What is it, boy? Want to buy some meat?

DOG [CUT TO CU barking]. Woof!

BUTCHER. [CUT TO MCU]. Hmm. What kind? Liver, bacon, steak…

DOG [CUT TO CU interrupting]. Woof!

BUTCHER. [CUT TO MCU]. And how much steak? Half a pound, one pound…

DOG [CUT TO CU signaling]. Woof!

[CUT TO MCU The amazed BUTCHER wraps up the meat and finds the money in the DOG’S purse. PAN RIGHT ZOOM OUT TO LS As the DOG leaves he decides to follow. ELS The DOG enters an apartment house, CUT TO MLS climbs to the third floor and begins scratching at a door. With that, the door swings open and an angry MAN starts shouting at the DOG.]

BUTCHER [CUT TO MCU yelling]. Stop! He is the most intelligent animal I’ve ever seen!

MAN [PAN LEFT TO countering]. Intelligent? This is the third time this week he has forgotten his key.

Script Adaptation Exercise

Like in play, conversation is also the basic model of script dialogue. To write a script adaptation, conversation should be added scene narration and a set of direction to make it complete as a script.

Directions: Write and add a scene narration and a set of direction to the conversation below.
Directions: Rewrite the short model story below into script adaptation.

Tips: The first step you identify the characters. The second step you identify the scenes and write the setting of place and time, and the narrative. The third step you identify the dialog. The fourth step you write the set of direction. The fifth step you rewrite the short story into scriptwriting formats.

Script Writing Project Directions: Write a short model script of your own original works. You may write it based on your own experience, imagination, or intuition. Be inventive!

E-Syllabus

2007-12-02T21:38:00.000-08:00

1. Prerequisite: Writing

2. General Objectives:

In Creative Writing Program, the students will be introduced to the basics of poetic writing, prose writing, playwriting, and scriptwriting in order that they are able to write creative forms of narrative, poetic, dramatic, and cinematic texts.

3. Lesson Plan

Meeting
Discussion
Sub-discussion
Specific Objectives

Poetic Writing. Poetic genre, format, and, elements. In order that the students are able to understand the genre, format and the elements of poetic text.
Short Model Poems. Poetic adaptation. In order that the students are able to write and adapt short model poems
Poetic Composition. Writing a poem. In order that the students are able to write and compose short model poems
Prose Writing. Narrative genre, format, and elements. In order that the students are able to understand the genre, format and the elements of prosy text.
Short Model Stories. Narrative adaptation. In order that the students are able to write and compose short model stories.
Narrative Composition. Writing a short story.In order that the students are able to write and compose short model stories.
Mid Test. Creative writing test and assignment. To evaluate the students’ creative writings for the first half semester.
Playwriting. Dramatic genre, format, and elements. In order that the students are able to understand the genre, format and the elements of plays.
Short Model Plays. Dramatic adaptation. In order that the students are able to write and adapt short model plays.
Dramatic Composition. Writing a short play. In order that the students are able to write and compose short model plays.
Scriptwriting. Script genre, format, and elements. In order that the students are able to understand the genre, format and the elements of scripts.
Short Model Scripts. Scripts adaptation. In order that the students are able to write and adapt short model scripts.
Script Composition. Writing a short script. In order that the students are able to write and compose short model scripts
Final Test. Creative writing test and assignment. To evaluate the students’ creative writing for the second half semester

4. References

Bishop, Leonard. 1988. Dare To Be A Great Writer. Ohio: Writer’s Digest Books.
Brooks, Keith. 1995. The Complete Video Course. London: Boxtree, Ltd.
Hedgecoe, John. 1990. Hedgecoe on Video. London: Hamlyn.
Knickerbocker, K L and others. 1985. Interpreting Literature. 7th ed. New York: Holt, Rinehart and Winston.
Novakovich, Josip. 1998. Writing Fiction: Step By Step. Ohio: Story Press.
Perrine, Laurence. 1987. Literature: Structure, Sound, and Sense. New York: HBJ.
Skaggs, Calvin, ed. 1977. The American Short Story in Two Media—Print and Film. New York: A Laurel Book.
Wolff, Jurgen and Cox, Kerry. 1991. Successful Script
Writing. Ohio: Writer’s Digest Books.

E-course

Cornhill

The Handout

E-Syllabus