Month: May 2014

“People F#cking Suck” – from 1,000 Awesome Writing Prompts by Ryan Andrew Kinder… (NSFW, AC, TRIGGER WARNING)

It’s time once more for a prompt from 1,000 Awesome Writing Prompts by Ryan Andrew Kinder…

This week’s prompt is a darker one, indeed.

#814. Write from the perspective of a people trafficker.

 I’m giving myself 20 minutes to write this. Wish me luck.

**Done with 8 seconds to spare. Thank God. I feel more than a little slimy after writing this.**

***WARNING!!! TRIGGER WARNING FOR THE FOLLOWING FICTION!!! DARK SHIT AHEAD!!! THE AUTHOR WAS ATTEMPTING WRITING FROM A DISTASTEFUL PERSPECTIVE BUT DOES NOT ENDORSE THE BELIEFS FOUND HEREIN.***

Don’t say you weren’t warned.

“People F#cking Suck”

Most people would call me a monster. I don’t know, though. I’ve seen monsters. Real ones. Guys that do things that make even the most hardened badass in some Central American backwater prison have nightmares about. Heavy shit, man. Fucking crazy shit. Me? I just traffic people. Move em from point A to point B, pick up a little green (both the spending kind and the smoking kind) and that’s that.

Yeah, yeah, oh my god, don’t I realize they’re people? Yeah, of course the fuck I realize they’re people. That’s why the job pays so well, isn’t it? Thing is, you live long enough in this world, long enough in my world, and you begin to realize something. People fucking suck. They do. All of them. You, me, and the trembling little girls in the back of my van. We all suck.

I won’t lie, I used to have empathy for them. Most of them. But a lot of these girls? They come from places that would make you vomit just to walk a hundred yards from, let alone live in. These girls aren’t random kidnap victims, enslaved brutally like the movies would have you believe. Ok, well, most of them aren’t. Most of the girls I move were sold to us by their own families. Their own fucking families. You get that? Their own mothers or fathers or siblings or aunts or uncles or fucking grandparents brought them to my employer, who paid a ridiculously small amount of money, and then gave them to me. To move.

You know why they sold them? Two things, usually. One, simple greed. People fucking suck, remember? And greed runs the world, buddy. Greed runs the world. You wouldn’t believe it, but the highest call for these little packages are to some of the richest bastards in the wealthiest, most “civilized” countries. They fucking suck too. So much god damned money they sometimes literally wipe their ass with it. They get bored. They can have anything, so the get anything. Including fresh young girls to play with, till they get bored with them too, and then bam, back in the van, and off to the next dude who can’t quite afford first pick. Sick, sucky people.

Reason two? The place they came from was such a god awful hell hole that there literally was nothing better in the world for them than being sold into slavery for sex. Their families believed, no, fuck that, knew that the only chance they had for a better life was one spent on their back in some foreign city, carted around by some fuckwad like me and staying just a step ahead of the authorities. Sure, some girls get scared. Some find ways to get loose, escape, get to the cops wherever the fuck we are. They ruin things for the rest of em. We have to pack up quick then. Get em on the van and move before we all get fucking hung.

Thing is, that one girl, that one stupid selfish girl who had to run off? You know what she did for her “sisters”? She fucked em, royally. See, when we set up someplace new, when there’s no feds or government types sniffing up our asses, we have the time to vet some of the customers. Not all of them, mind you – go back to reason one if you want to know why – but a lot of em. Enough that the girls we set up don’t have it all that bad. Sure, they gotta spread their legs at someone else’s whim, but fuck, how’s that any different from marriage in the fucking warzone they came from? At least with us, they get cleaned up. They see docs. Gotta keep the good healthy, after all.

But when a girl gets loose, we gotta pull stakes. Yank the other girls from whatever situation they are in, some of them pretty cozy. We gotta hit the road, and more often than not, ditch the merchandise at the first chance we get. That can go one of two ways too. Either we sell them to some cheap fucking pimp who’s gonna use em, abuse em, and then ditch them when they are too broken, bruised, or diseased to be of use. Or we kill them. Simple as that. Take them out in a desert and just leave them in a locked van. It’s easier that way.

So that girl, the one that got away? She fucking sucks. The pimps? Fucking suck. The johns? Fucking suck. The families? Fucking suck?

But me? I’m just a guy who drives a van.

And yeah. I fucking suck.

Cassandra’s Tears

This is an older piece that I’ve reworked, so a lot of it is newer material. No particular form or style this time, just an inspiration from a story of a damaged girl and the poor souls lost to her painful past.

Cassandra’s Tears

She was like a prophecy in flesh,
Some darker omen given human form
To curl about your spirit, to enmesh
Your very essence in the growing storm
Of doom and portents dwelling in her eyes
As sweet distractions beckoned from her thighs.

For like Cassandra, tearfully ignored,
Your eyes are blinded to the warning signs,
Your ears are deafened to the siren’s roar,
Your fingers could not feel the dark designs
She had for you, and wandering there on
Her wicked curves, your lust becomes her pawn.

Such sweet oblivion upon her lips,
So perfect flavored with the burning heat
Of stars so hot, no form could dare eclipse
Their raging fires, nor any shield could beat
The great intensity of blows that rained
From her soft tongue, and leave you weakened, drained.

And like a prophecy ignored, she sowed
Such chaos in her wake; and yet the truth
Is that it was nothing more than what was owed
For basking in her wild and lustful youth.
Aye, no lover left destroyed could claim
That warnings weren’t ignored in passion’s name.

And like a sirened sailor, you are lost
To songs of lustful lover’s dreams
To find, too late, you cannot bear the cost,
You drown in moans but never once in screams
To seas of deepest blue, her sorrow filled eyes,
That wicked, never once gave life to lies.

Chuck Wendig’s Flash Fiction Challenge: The Stock Photo What-The-Palooza

I don’t know why, but I’ve always found it hard to write based off of a picture for inspiration. Weird writing prompts I can go with all day, but show me a picture and tell me to write about it, and for some reason, I always freeze up. I don’t know why that is, but I found it to stay true with this week’s writing challenge from the terrible mind of Chuck Wendig.

That said, I committed to a picture (#42, posted below) , and interestingly enough, as I sat her struggling with writer’s block, I realized exactly what my story would be…

Below, said story and the picture that inspired it.

Image

“Don’t do it,” he said. “I’m telling you now, it’s a bad idea.”

I looked at the man before me and I have to admit, I was puzzled. Maybe it was the cheap, flimsy bathrobe wrapped around his body, almost but not quite translucent enough to reveal the hairy body beneath. Maybe it was the oh so fashionable soup strainer mustache, or the matching bushy eyebrows that made one think of stale cigar smoke and cheap booze. Maybe it was the way he was holding up a grocer’s scale like some strange vegan version of Lady Justice, weighing heads of lettuce like they were the heads of the condemned in revolutionary France. Maybe it was the bunny hood.

It was probably the bunny hood.

“Don’t do what, exactly?” I asked, still not quite sure what he was talking about or where he actually came from.

“Don’t start it like this.”

“Start what?”

“Your story, dimwit!”

“My story?”

“Yeah. Don’t you know that starting a story with a dream sequence is a bad idea?”

A dream sequence! That would explain some things, sure! I pinched myself, hard. It stung. The bunny-man gave a tsk-tsk, shaking his head sadly.

“See, there you go, running with the dream tropes. Pinching yourself, really? Let me guess, your next step is gonna involve a splash of water?”

I looked down at the liquid laden bucket that had inexplicably appeared in my hand. I set it down gingerly, somewhat embarassed. The bunny looked pleased.

“So, if this is a dream,” I said, “who are you supposed to be?”

“I’m not going to tell you,” he replied. “Look, I’m offended enough just being here. That you expect me to then reveal some great detail about your inner turmoil and traipse gleefully through exposition land is, frankly, insulting. You want to know why you’re here? Figure it out your damned self.”

“Ah!” I exlaimed, “I know exactly who you are!”

“Do you?”

“I do. And you’re an evil bastard, let me tell you.”

“Please do. I love hearing about my questionable parenthood from a guy talking to a man in a rabbit suit.”

“You’re him. The wicked beast that haunts me any time I try and write a story based off a picture based prompt. You’re Writer’s Block!”

The rabbit-man laughed, and gave a half bow.

“Guilty as charged,” he admitted, “but I’m really not so bad as that.”

“I think you are.”

“Of course you do. You’re a writer. You’re bound to hate me.”

He took a break to set down the scale and the lettuce, plucking a single leaf and then munching on it loudly.

“But,” he said between chomps, “What you don’t realize is that I’m the greatest pal you’ve got.”

I stared blankly.

“You’re really going to make me do it, aren’t you? Fine. Fine! I’ll do it. I’ll play Mr. Exposition, but only this once, you dig?”

I nodded.

“Alright. It’s like this. I’m not the asshole people make me out to be. Sure, I can be crippling. I can come in in the middle of a really great story and really throw you for a curve. I bring things to a crashing stop, and it could be hours, days, weeks, hell, years before you get back to writing. So I guess, yeah, I can understand your frustration.

Thing is, though, I’m doing you a favor. You wanna know why I come in and louse up your flow? Because what you were writing wasn’t working. Simple as that. It’s kind of like a train wreck crossing over a busy intersection. You weren’t paying attention, things started to go off track and boom, there I am. Stopping the flow of words, keeping you from launching yourself into the fiery, burning doom of crap story telling.

But do I get any credit for that? No! I get yelled at, cursed, threatened, begged, cajoled, even propositioned if I’d just go away. Or worse, I get blamed when you really wanted to play some stupid Facebook game anyway. You don’t care that I take the bullets, man. You don’t care that I shoulder that blame, even when it’s unfairly laid on me. You just bitch, bitch, bitch, moan, moan, moan.”

“Gee,” I said, shrugging a little self-consciously, “I don’t know what to say.”

“Ah, no, wait. That one is my fault, sorry. No one ever knows what to say when I’m around. Kinda intentional, that. Look, let’s just let bygones be bygones, alright? Since we’re clearly committed to this dream crap, lets skip forward to the part with the booze and the women. Buy me a carrot juice, introduce me to some of those dream babes, and we’ll call things even. Sound good? Shall we do this?”

“Yes,” I said, extending a hand in friendship to my old nemesis, “Let us.”

2014 Flash Fiction Challenge, Week 20 – “Carrion Carriage”

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Ok, so it may seem a little strange to post to weeks worth of challenge responses in a row, but I found Thain in Vain’s current prompt to be very inspiring. Here’s hoping my darker dreamings are as entertaining as the lighter fare…

Here we go, with “Carrion Carriage”

“What a morbid piece,” Janey said, shuddering.

“Carrion Carriage,” Doug said, reading the nameplate. “Appropriately named.”

The canvas was almost black. In the center was an old-fashioned horse and buggy. Both were black, but with a strange, sickly green aura effect that allowed them to stand out on the dark canvas. The horse was nearly skeletal, bones showing through tattered skin, its eye sockets hollow. On the driver’s bench, a skeleton clad in a heavy cloak, a fine top hat perched upon its bony brow.

“It’s actually kind of stunning,” Doug said, staring closer at the piece. “The amount of detail is amazing, considering it’s all painted in black and that kind of yellow-green. The shading is impeccable, all fine lines mixed with hatching to give the illusion of depth.”

“Enough of the art critique, Doug. I don’t like it.”

“Look!” Doug exclaimed, ignoring her protests, “There’s even a passenger in the carriage. The lines are so faint as to be barely visible but…”

Doug stopped, pulled back. Drew closer again, and stared.

“Holy shit, Janey, it looks just like you!”

“Stop it, Doug!”

“No, really! Ha! That’s why you don’t like it, isn’t it? Christ, Janey, it’s just a coincidence. This thing’s like a hundred years old.”

“Can we go now?” Janey said with a sniff. Doug relented, with a last glance back at the painting as they left the gallery.

A month later, Janey was dead. The sniff at the gallery had turned into a terrible congestion, the congestion into a nasty cough, the cough into a raging fever…and then it was over. It rained at her funeral. A week of sun before, sky clear as it could be, then storm clouds the morning of, thick, roiling, black, angry things, filling the sky and blotting out the sun.

Doug stood in the rain for a long time after. Everyone else was gone. His parents, her parents. Friends. Family. Just him, the rain, and her muddy grave. He’d long since lost track of the wetness on his face, which drops were tears, which were rain. Suddenly, he felt himself struck by the urge to run. Soaked to the bone, wearing his wool suit, he ran, breath ragged, heart pounding. He had no idea where he was going, he just felt the need to go.

And there it was. The gallery. His heart sank, then his anger pulsed. It was the painting, the god damned painting! He rushed through the gallery door, straight to the canvas. He ran up, wanting, needing to see her face again.

It wasn’t there. The carriage was empty.

The cold of the gallery began to seep through his clothes. He shivered, sighed, then turned away to leave. He must have imagined it. He must have. As he slouched towards the door, another young man walked past him, looking at the painting.

“Huh!” the young man exclaimed, “Mister, did you notice? The passenger looks just like you!”

Doug sniffed, coughed, and shivered.

2014 Flash Fiction Challenge, Week 19 – this was a tough one!

Ok, so I didn’t make the deadline for submitting this at Thain in Vain’s blog, but I liked the prompt and wanted to write to it anyway. It was crazy hard getting this to not be over 500 words. My first draft was just shy of 700. It was an excellent exercise in editing (ahhhhh I love alliteration) however, as I went through and trimmed it to the lean but fun story it turned out as.  Hope y’all enjoy it.

The prompt? A man’s dog (or pet of your choice) develops the uncanny ability to communicate telepathically with him. No more than 500 words.

“Bob. BOB!”

Bob sat up, his hands flying to his eyes, wiping away the sleep.

“Who’s there?”

“We need to talk, Bob.”

Bob stared slack-jawed around the apartment, brow furrowed. He leaned over the side of the bed, looking beneath it.  He went to the wardrobe, flung it open. He checked the TV. Off.

A sigh followed.

“Look down. The end table.”

Bob looked down at the table, saw a magazine with a picture of the President and a goldfish bowl. In it, Flipper, his goldfish. Bob leaned down close to the magazine.

“Mr. President?” he whispered.

“Fucks sake, Bob, no! In the bowl!”

Bob jumped.

“Flipper?!?”

“Yes. Flipper.  GOD I hate that name. You do realize that Flipper was a dolphin, right? You know what dolphins eat, right? It’s like intentionally naming a kid after a serial killer.”

Bob frowned.

“I guess I never thought of that.”

“You haven’t thought about a lot of things, Bob. That’s why we need to talk.”

“I’m still a little…confused. Um…how, exactly, is it that we’re talking?”

“Telepathy, Bob. Look, I don’t have the patience to explain this to you because I know you aren’t going to understand it anyway. Hint, Bob – you have to *read* those brainy magazines you leave lying about to be smarter. And the girls you bring home aren’t impressed with them anyway.”

Bob was flustered. Was he really being lectured by a goldfish? Maybe he was hallucinating. Maybe it was last night’s dinner. He thought it had tasted off.

“It wasn’t dinner, Bob.”

“How did y…”

“Telepathy, Bob, fuck! I’m not going to explain it! Look, I’m just going to say this. Despite my frustration, I like you. You’re a decent guy. You feed me well, you keep my water clean, you even did the research and got me a filter and bubbler, which, you know, props. Because a lot of people don’t think a goldfish needs those. But we do, Bob, we do. We need to talk because I know you like that Amy girl and you’re thinking of popping the question.”

“No I’m…”

“Don’t lie, Bob. Telepathy. Thing is, I was cool with you dating her, because hey, everyone wants to have a bit of fun now and then. That’s a hint, Bob. This tank is made for two, know what I mean? Anyway, this girl. Amy. Don’t marry her.”

“And why not?” Bob asked, indignant at the gall of his fish.

“She’s a gold digger, Bob. She knows about the inheritance that’s coming your way, and when it does, she’s splitting and taking half.”

“But ho…”

“Do I really have to say telepathy again?”

Bob’s head drooped, his lips frowned.

“Awww…don’t be like that, big guy. There’s plenty of fish in the sea. I should know. Look, from now on, you bring girls over, I’ll scan their thoughts, and we’ll find you the right one.”

Bob’s face lightened.

“Really? You’d do that?”

“Sure thing, pal. Just one condition.”

“Name it, anything!”

“Change my fucking name.”

Flash Fiction Challenge, this week from Chuck Wendig…

From the terrible mind of Chuck Wendig comes this week’s Flash Fiction challenge: a story of no more than 1000 words, incorporating the following three random sentences.

“The borderlands expire thanks to the hundred violins.”

“A poetic pattern retains inertia.”

“The criminal disappears after the inventor.”

Here goes…

It was a study in contrasts. Lord Felwin se Vaan, a man born to one of the purest noble lines and a knight of the Emperor’s own Praetorian elite, dressed in a uniform of vibrant crimson, pressed so cleanly, so tightly that he looked more toy than soldier…though nothing could be further from the truth. Before him, the sneak-thief, Rawley, a bastard-born son of the gutter, his greying robes disheveled and sooty, and only newly returned to him. The latter rubbed his wrists gingerly, massaging the lingering ache of the manacles from which he’d so recently been freed. Lord Felwin regarded him with a cold, cautious stare, then handed him a small bundle of similarly colored cloth. The rogue took them, rolled them open, and regarded the pair of blackened daggers that they held.

“Remember,” Lord se Vaan said, his voice crisp with authority, “the nature of your parole. You are to find the artificer, Taalien Kreg. You are to retrieve from him the schematics from his…device. And you are to silence the creation of any further constructs of their nature.”

Rawley flipped the daggers deftly, caught them, and made them vanish from sight. To Lord se Vaan’s right, a wizened, wrinkled old man gasped. The rogue smiled.

“Right. And you remember your promise. My crimes wiped clean. My debts paid full. My freedom guaranteed.”

Felwin nodded sharply. The rogue bowed, and took his leave. The old man, Master Daen of the Artificer’s League, sighed.

“And thus,” he spoke, his voice dry and raspy, and colored with no small amount of regret, “the criminal disappears after the inventor.”

Lord se Vaan turned and regarded the old artificer, one of his Emperor’s most trusted advisors.

“You  think I am wrong to do this? You think there is a better way?”

“Taalien is a brilliant creator, my lord.”

“A brilliant creator?” Felwin cried out. “A brilliant destroyer! Gods be merciful, Daen, have you seen the men that return from the havoc your ‘creator’ has wrecked? The borderlands expire thanks to the hundred violins! A hundred VIOLINS! What madness drives a man to make warfare with such a thing as sound?”

The old master shrugged.

“A poetic pattern retains inertia. Its waves carry, grow, amplify. In the grasp of a musician, these waves rise and fall, make beautiful sounds of questionable use. In the hands of a genius though…”

His words trailed off, and over them, outside, separated from them by not just walls of stone and sand, but miles of terrain and air, the horrid wailing of Taalien’s creation could still be heard.

“Your words border on treachery,” Felwin warned. Again, the master shrugged.

“If acknowledgement of genius is treachery, then I willingly condemn myself every day. That said, genius is no excuse for wickedness. No, Lord se Vaan…I cannot think of a better way. Trust in me, I have tried. Taalien was a brilliant student. Hmmm…yes, even my superior in intellect. But he must be stopped. I question only your choice of instruments, my lord. This Rawley…what makes you think him trustworthy?”

“I have my reasons.”

Silence then, save for the distant wailing of the sonic weapon, the hundred violins and their damnable, impenetrable shield. The master nodded, turned, and took his leave. Felwin stood there, silent, alone.

Rawley would succeed. He had to. He alone knew the passages well enough, beneath the keep in which Taalien had walled himself. He alone could move with the silence and deadliness this act would require. He alone carried the fate of the empire on his sneaking shoulders.

“Speed of the Gods,” Felwin whispered, “little brother.”

Beyond, the violins wailed.

An older piece: a sonnet redouble in Shakespearean style…

This poem was written in May of 2007, as an entry into a poetry contest for the medieval re-creation group I’m part of. The form is a sonnet redouble, which is also called a “sonnet of sonnets”. Where a sonnet is a 14 line poem consisting of alternating rhyming lines with a rhyming couplet at the end, a sonnet redouble is fourteen sonnets, each of which begins with the last line of the sonnet before it, and a fifteenth sonnet that is composed of the final lines of all the sonnets that preceded it. Many sonnets start with a question, with the following lines exploring the question posed and the final couplet answering said question. Likewise, the first part of this sonnet redouble asks a question, to be debated and then answered in the final sonnets.

I. THE QUESTION

When asked why I would want to be a knight,
One day while arming up in maille and plate,
I paused, and did my eldest son invite,
To sit and hear my thoughts on that estate.
A knight, I said, is pure and good and true,
And likewise strong in spirit and in arm,
Where he would ride, know justice would ensue,
And innocents, he’d keep from every harm.
And one day, son, I’d like to be that man,
Exemplifying that which I believe,
And though my sword is made of but rattan,
A knight is more than what one’s eyes perceive.
And then he asked, his mind alert, awake,
“If I would be a Knight, what would it take?”

II. PROWESS

If I would be a knight, what would it take?
And then I knew the spark within him burned,
I’d have to tell him all, with no mistake,
And feed the need for chivalry that yearned.
For one, I said, a knight must have great skill,
In deeds of arms, he must a name be made,
For there, where spectators are given thrill,
And fighters meet with spear or mace or blade,
‘Tis there that in the fires of battle fair,
I will, as steel on anvil, take my form,
Where every hammered blow may thus repair,
My faults, and thus in battle may perform,
And show my worthiness upon the field,
To prove my Prowess with a blade and shield.

III. COURAGE

To prove my Prowess with a blade and shield,
However strong, will not a knight create,
‘Tis but one virtue that a man must wield,
If he would deem to reach a Knight’s estate.
For I must be in bravery unmarred,
No questions must exist that I would flee,
No matter what I face, or how I’m scarred,
A solid wall of courage must I be.
For though my mind may tremble at a sight,
My heart must be a calmly sleeping child,
In lulled sleep, when once it would take fright,
I must be solid, when my thoughts run wild,
And when the armies charge, and others quake,
With Courage stand, where lesser men would break.

IV. DEFENSE

With Courage stand, where lesser men would break.
But stand not still, nor shatter ‘neath the blow,
Instead, an active effort must I make,
To shield the innocent from battle’s flow.
For skill and bravery are worthless things,
If not applied to help the poor and meek,
In hollowness, their lack of effort rings,
When not brought forth defending all the weak.
Indeed, some battles fought are not with swords,
But waged instead in words woven of hate,
And I must stand against these wordy hordes,
Engaging them in fiercely held debate,
And with my will alone to be my shield,
Defend my ground, and never think to yield.

V. JUSTICE

Defend my ground, and never think to yield,
But temper that with wisdom, this I must,
For villainy, when finally revealed,
Do not defend, but show it pure disgust.
For there are many whom, with silvered tongue,
Manipulate the hearts of those naive,
Speaking to all they can, both old and young,
Delighting at each soul that they deceive.
To be a knight, a man must seek the truth,
He must be sure of those he would defend,
Investigating all, a stalwart sleuth,
Lest base beguilers do his image rend.
I must, when liar’s words my heart would stain,
For Justice stand, and ever true remain.

VI. HONESTY

For Justice stand, and ever true remain,
But what is justice, if I know not truth?
‘Tis but a mockery, at which to feign,
A stumbling farce, impure, unclean, uncouth.
Thus truthfulness itself must show in me,
Integrity must course within my veins,
No half-truths passed or white lies let there be,
Discarding all, till only truth remains.
Aye, naked truth, as harsh as it is bare,
Must be the lantern, guiding with its light,
That scatters lies that fall beneath its glare,
I’ll bear it well, if I would be a knight.
The path of Chivalry is intertwined,
With Honesty, both in my heart and mind.

VII. FAITH

With honesty, both in my heart and mind,
I realize that I must overcome,
The wavering uncertainty I find,
Within my soul, to which I may succumb.
To beat the doubting demons in my head,
Will take conviction of the strongest sort,
To banish fear and courage keep instead,
I must in credence find my first support.
For confidence can make the nightmares flee;
Belief, a weapon stronger then the sword,
And when frustrations taunt and torture me,
At bay are kept, assurance as my ward.
To be a knight, my spirit must be trained,
To keep the Faith, and from my doubt abstain.

VIII. FRANCHISE

To keep the Faith, and from my doubt abstain,
I must, in others, inspiration seek,
For knightly deeds can be the anchor’s chain,
That holds one fast, when doubts would make one weak.
And as I take from others, I must give,
The same example through each step I take,
And through my actions, I must be the sieve,
That strains out bad impressions others make.
To be the one that others bring to thought,
When chivalrous displays they seek to know,
In outward deeds let chivalry be wrought,
And felt in truth, and not as just a show,
But more, that in me, chivalry’s refined,
Through Franchise, may my deeds others remind.

IX. LOYALTY
Through franchise, may my deeds others remind,
That there are others sharing in their Dream,
That they need not look far before they find,
A friend to hold in chivalry’s esteem.
And when a friend as such is found, embrace,
Yea, bring them close, and never let them part,
Nor let your actions bring to them disgrace,
Instead, to them, fidelity impart.
For without fealty, there are no knights,
But fealty is empty without love,
So love the ones you swear to, and by rights,
Keep to their expectations set thereof.
If e’er the accolade I wish to see,
In Loyalty, let I a stalwart be.

X. GENEROSITY
In loyalty, let I a stalwart be,
Within good faith, be giving to my friends,
And may I show good hospitality,
To strangers, to whom chivalry extends.
For reputations rest upon the lips,
Of those we meet, e’en for a passing glance,
Let not a stingy attitude eclipse,
One’s noble deeds, for therein lies the chance,
That all one’s goodness quickly be forgot,
Because, in greediness, you did impress,
The image of a miserly despot,
Instead of sharing all through good largesse.
I’d rather be the latter sort instead,
In Generosity, my heart to spread.

XI. COURTESY
In generosity, my heart to spread,
But wealth is not the only thing that’s shared,
For though ’tis good to see one’s guest well-fed,
‘Tis not, if without gallantry prepared.
For many are the chivalrous who lack,
The wealth by which to woo the stranger’s heart,
And yet, in reputation do not slack,
Showing a different wealth, ‘fore they depart.
For gracious deeds are worth their weight in gold,
And kindly words, many a soul will heal,
Solicitude, a salve that can’t be sold,
Civility, a trait of great appeal.
A knight should strive for geniality,
To show in deeds and words great Courtesy.

XII. NOBILITY
To show in deeds and words great Courtesy,
And yet, not as a sycophant or slave,
But done in truth, and with good dignity,
For that is how the chivalrous behave.
Uphold the standards of the gentle born,
And dabble not in acts of the depraved,
Keep not the company of those forsworn,
Lest to their reputation, be enslaved.
So hold yourself above the vile and rank,
Assisting others that would do the same,
And guard against the villains at your flank,
Who can, through wicked actions, taint your name.
Decry the fools, and nobly lift your head,
Shirking the base, to Nobly act instead.

XIII. HUMILITY
Shirking the base, to Nobly act instead,
But guard against the overzealous pride,
That can be formed, when holding up your head,
And let not modesty be thus denied.
For chivalry lives not amongst the vain,
Who act for but themselves, and they alone,
Who lust for glory, even should it stain,
What acts of goodness that they may have shown.
Sing not your deeds, but let you be content,
That you have done them, others then will sing,
If so inspired by the deed’s event,
If not, your song in hollowness would ring.
So I must try against my pride to fight,
And Humbly bow when deeds are brought to light.

XIV. SUMMATION
“And humbly bow when deeds are brought to light.”
Thus ended I my thoughts on chivalry,
And what was needed to become a knight,
All spoken to the child on my knee.
And there he sat, in silence, for a spell,
I swear, I heard the whirring of his brain,
I wondered, had I taught this lesson well?
I hoped that some small wisdom he’d obtained.
“So, do you understand these words, my son?”
I asked, and then he turned his little head,
And as I thought on how this had begun,
He looked at me, and smiling, this he said:
“I know the answer I could give as right,
When asked why I would want to be a knight…”

XV. THE ANSWER
If I would be a Knight, what would it take?
To prove my Prowess with a blade and shield;
With Courage stand, when lesser men would break;
Defend my ground, and never think to yield;
For Justice stand, and ever true remain;
With Honesty both in my heart and mind;
To keep the Faith, and from my doubt abstain;
Through Franchise, may my deeds others remind;
In Loyalty, let I a stalwart be;
In Generosity, my heart to spread;
To show in deeds and words great Courtesy;
Shirking the base, to Nobly act instead;
And Humbly bow when deeds are brought to light;
When asked why I would want to be a Knight.

 

Antagonists, protagonists, and more importantly…

CONFLICT!

One of the best lessons I ever had was from my high school creative writing teachers. I’m going to paraphrase it, as it has been longer than I’d like to admit, but the essence is this: not every story has a bad guy, but every story has conflict. A central conflict is what drives the plot, motivates the characters, regardless of whose side they are on, and draws you through the story. Sometimes that conflict comes from an antagonist, and sometimes that antagonist lasts through the whole story. Not always, though – sometimes, a series of shortly visited antagonists drive the plot.

More important than determining the villain is the question “what is the protagonist’s goal?” and in the tradition of Monty Python, “what is his/her quest?” A good protagonist has to have goals. There has to be something they desire or wish to achieve in order to draw them through the story. A good protagonist also needs a quest, a mission that will help them achieve their goal. As an example, let’s say we have a story about a young woman who wants to be a writer. Besides clear madness, what is her motivation, her goal, for doing so? Let’s say that she wants to be a writer because nothing brings her more joy than remembering her grandmother telling her fantastic stories, and she wants to do that to. Her quest, then, is to find a way to tell fantastic stories to others, and in doing so, emulate her grandmother.

Once you have determined a character’s goal (or goals) and quest, you add conflict by making that goal more difficult to attain. After all, if we tell a story about a young writer whose dream is to tell fantastic stories like her granny, so she goes out, tells the stories, and is successful, the end…that’s a pretty dull story. No conflict means no reason to care. We have to add in conflict. This conflict can come from any direction – it could be a single adversarial antagonist, it could be a collection of short-lived antagonists, it can be an over-arching condition that antagonizes her.

A single antagonist that lasts the duration of the story could be someone who intentionally works to sabotage her ability to tell these stories, to write them down. It could be a jealous sibling who gran never spent time with due to favoritism. It could be a spouse who is overwhelmed with the responsibilities of life and resents the writer “wasting” time on her dreams, it could be a nasty critic who goes out of his way to berate and abuse the writer’s attempts. All of these antagonists could follow the character through the story, thwarting her at her attempts to achieve success and in general making…yes, conflict! And note, these characters DON’T have to be unsympathetic. In fact, sometimes the best antagonist is one who is quite sympathetic, but has goals that simply conflict with those of the protagonist. Keeping with the example we started with, let’s look at the writer’s spouse, shall we?

Our writer’s husband has his own goals and quests. To make it simple, we’re only worried about the ones that can’t play nicely with our protagonist. In this case, let’s say that the husband’s goal is to find a way to make ends meet. His quest is to enlist the help of his spouse to do so. Alas for him, her goals conflict with his, at least in the short term; as she learns the craft of writing, she is taking up time that could be spent working a second job or doing something else that could be bringing money in. We could make the husband a bit more sympathetic by giving him his own antagonisms too. Perhaps he has an injury, and though he works two jobs, they are menial and pay very little. All of this leads to conflict, that drives the story forward. Will he see that her writing could reward them in the future, or will the present’s crippling debt blind him from the possibilities? Conflict!

What if we want a series of smaller antagonists, rather than a single one in our story? What if our writer is unmarried, but has a number of detractors to her craft? One could be her boss at her day job – she pushes our writer relentlessly and overworks her while paying her a pittance. Every time our writer tries to make time to write, her boss steps in and demands overtime, extra work, taking things home. Do note, her antagonism doesn’t necessarily have anything to do with the writer’s goals. She isn’t doing this maliciously, at least, not maliciously towards the goal of writing. This is a short-term antagonist, though. Our writer can quit her job, delegate her workload, or come in extra early, and defeat this antagonism. But oh no! On her way in, petty antagonist #2, that wily motorcycle cop, pulls her over and gives her a ticket. She’ll have to work double the overtime load to be able to pay it off, because antagonist #3, the greedy landlord, was pounding on her door this morning and wants the rent ASAP! Again, the important thing here is that they all add conflict, and that conflict drives the character through the story and makes her want to succeed in her quest to achieve them. Sometimes, the antagonist isn’t even going to be a person. What if the writer found out she had a deadly illness? Or that a horrific natural disaster was about to strike? Or that the story she’s dreamed of telling has already been told almost identically by another author? What will she do? Sometimes, life itself is the greatest antagonist we can ever face.

And wow, this was a lot longer than I intended it to be. Hopefully, the point is clear. Know your characters. Know their goals. Know how they intend to achieve those goals. Then throw a wrench at them. That wrench can be anything, so long as it causes conflict. Because conflict is key.

Thanks for reading!

Getting the most out of this writing prompts book!

1,000 Awesome Writing Prompts by Ryan Andrew Kinder…having a lot of fun with this book!

Prompt #457: The note left on the windshield of your car made you think…

“You think I’ve forgiven you? I haven’t. I’ll never forget.”

It was stuck to his windshield like a parking ticket; hell, he thought it was a parking ticket at first, which would have made the perfect end to the perfect evening. He was being sarcastic, of course. Even though there was no one there to say it to, even though the thought only crossed his mind, he still smirked as if he’d delivered his sarcasm to an appreciative audience. That’s just the way George was.

He closed his eyes and sighed. His first thought was to throw the note away, to crumple it up and toss it to the wind and be on his way. It had, after all, been a rough day. Any day that you have to tell a dozen people that their jobs are gone, that there will be no more paycheck coming in to feed that new baby, to pay off that new car, is a shitty one. He was the manager, though, Chief Asshole in Charge of this wing of Global Dynamics, and the only one who walked away from it with his job intact.

He felt guilty about it. Terribly guilty. Outwardly, he made a good show of being aloof and professional but inwardly, it was killing him. This note didn’t help. Didn’t they know that he felt bad enough as it was? He liked his employees, hell, he considered some of them friends! Frank had let him crash on his couch for a week when he and Miriam had reached a breaking point.

Ah, Miriam. It could be her, he thought. It would be just like her. Divorced now for only a handful of months, she still managed to make his life a living hell whenever possible. It wasn’t enough for her to get the house, get half his paycheck in alimony, to have destroyed the friendships they had as a couple. No, she had to go around pulling stunts like this, leaving hate filled notes on his windshield wiper and constantly reminding him of his failure to her.

Or maybe it was the guy who parked next to him at his apartment complex. The guy who always came in so damned late, with his engine roaring on that stupid ass muscle car. The guy who drank to much and played music too loud, and who served as a constant reminder to George that he wasn’t sleeping in his own bed, in his own house. Maybe it was him…the wind picked up when George was unloading some boxes the other day, and caught his door. It flew out of his hand and smacked right into jerkwad’s precious car. The ding was pretty bad. Maybe he’d seen George move his car away from the incriminating spot?

George’s mind continued to speculate, continued to ponder, continued to dwell on the grievances he’d given others in the past. Doubt and fear and anxiety washed over him in waves, and finally, it was too much for him to take. He collapsed to the ground, sobbing. clutching the note in his hands, tears of regret and remorse streaming down his face.

“I’m sorry, I’m sorry,” he repeated over and over, “so sorry.”

He didn’t even hear the sound of approaching footsteps.

“For fuck’s sakes,” a male voice spoke. His voice was tinged with frustration and annoyance. George looked up, wondering.

“Look, pal, can you just move away from my car, huh? I gotta be somewhere.”

Confusion flashed across George’s face. He rose from his knees, staring at the man who stared back with a look of incredulity mixed with irritation. In his hand was a key fob. The man pressed it. George’s car honked twice.

What?

George turned. This wasn’t his car! Same year, same model, same god damned color…but not his car! He must have forgotten where he parked in the day’s stresses, and just assumed.

“S-s-sorry,” he babbled, “I must have the wrong car.”

“Yeah, well, you mind moving on?”

George paused, and looked down at the note in his hand. Would this guy care? Would he even give two shits about it? Would he have broken down over his guilt, his pain, his memories?

“No. You’re right. Sorry.”

George sighed. and stuffed the paper in his pocket.

“You’re right,” he said, “it’s time for me…to move on.”

 

A contest entry…

The specifics of the contest were as follows: Just tell me, if you were gifted with the ability to see the creatures of the supernatural world – all things fae, angelic, demonic or otherwise – what would you want to see first?

 

My response?

 

Ah yes, to see what other eyes cannot,

The world that frolics well beyond the veil,

Where faery lords and beasts that man’s forgot

Make mischief, there, beyond the mortal pale.

To have my eyes awakened to their sight

By mystic means, however they are wrought,

T’would be like sunlight dazzling in the night,

Beguilling and bewitching is the thought.

But of them all that dance beyond the shroud,

There be not one that I would rather see

Than she who stands alone, so bright and proud,

The Queen of all the fae, the Lady Sidhe.

Oh, sweet Titania, merciless and fair,

What I would give to see you standing there!