last night’s hurricane blew the roof off
pieces of felt lay on the street like bits of rubber tires
blown off a moving car mundane occurrences
don’t matter insurance will cover damages it’s
only stuff replaceable in all events except
life that breathes skin that is drenched in the rain or tears
the hand that held yours when others crept away and you
were alone looking at the leaky ceiling with
the roof partly gone streaks of cloud visible perhaps none
of the storm strikes you as odd just the leaking heart you hear
drip drip drip
© Neetu Malik
I decided to enter the KidLit Chuckle Challenge. I had 200 words to make someone laugh. In addition, I was required to use two of the six writing prompts given. I chose ‘Avocado the Penguin’ and ‘Broccoli.’ My entry is below. The italicized illustration note does count toward the total 200 words.
Illustration: Penguin and Poodle are drawn like fruits/vegetables with faces. As their names change, they change.
Avocado groaned. “Why would anyone name a penguin after a squishy green tropical fruit?”
“Or a dog after a vegetable?” Broccoli the Poodle said.
“I hate my name,” said Avocado.” My penguin friends all have wonderful names like Big Wing and Small Wing, and Medium-sized Wing, and Slightly-Smaller-than-Big-Wing, and A-Touch-Bigger-than-Small-Wing.”
“Isn’t that confusing?” Broccoli asked.
“What do you mean?”
“Never mind. What name would you like?”
“Pear. It has such a nice sound: Pear the Penguin, or Pear-with-really-humongous-wings, or Pear-Penguin-with-wings-bigger-than-a-Killer-Whale’s-fin, or—”
“Stop! I can’t take it anymore.”
“You don’t like Pear?”
“No.”
“How about Butternut Squash Penguin or Eggplant-with-gorgeous-wings or—”
“How about Waddles,” Broccoli said.
“I don’t waddle.”
“What about Stands-all-day-with-tired-feet or Doesn’t-know-to-go-south or Has-anyone-seen-my-egg?”
“NO!”
“Well, those names are way better than large-bottomed-fruit-of-the-happy-wing.”
“Wait, that’s close, real close.”
“Really? You’re so frustrating.”
“What would you like your name to be?” Penguin asked.
“Udon Noodle Poodle. Notice how it rhymes.”
Penguin nodded, “Sophisticated.”
“I know.”
“Oh! Oh! I’ve got it,” Avocado shouted. “Cheese Curd Bird.”
“Wow, that’s FANTASTIC.”
“Udon Noodle Poodle, can I really change my name?”
“Yes, Cheese Curd Bird.”
“Thanks.”
Happy Writing!
Kidd
September. Summer comes to a close and a new school year begins; with all of the excitement, wonder and angst of growing up, fitting in, and trying to figure out who you are and your place in the world.
Which is why I found Bagley’s, I Am Flawsome, a treasure of a book, and a welcome and much needed September read for girls going back to school.
I Am Flawsome, which means that while one may have flaws, (and who doesn’t), one can still be awesome in spite of them, is geared to girls between the ages of eight and thirteen. A variety of coloring pages, activities, and thoughtful prompts, and spaces for daily journaling, encourages girls to accept themselves as they are, and promotes a healthy and positive self-image.
You won’t find the author’s name anywhere in the book, which I thought was a printing error, but Sheila explained, “I want the book to stand on its own to better accomplish the intent for which it was written: a daily practice for girls to learn how to be their own best friend.”
So, the book is not about her, but about you, the reader.
As the pages in the book affirm:
I am,
F ollowing my heart
L earning new things
A dapting as I go
W elcoming differences
S etting goals
O pening my mind
M aking mistakes
E nough
I Am Flawsome, is a wonderful book that validates the individual, and helps them to discover and see how very special and unique they are.
The perfect gift for girls of all ages, young and old alike!
Veronica Jorge
See you next time on October 22nd!
Other books reviewed by Veronica.
A California native, novelist Tracy Reed pushes the boundaries of her Christian foundation with her sometimes racy and often fiery tales.
After years of living in the Big Apple, this self proclaimed New Yorker draws from the city’s imagination, intrigue, and inspiration to cultivate characters and plot lines who breathe life to the words on every page.
Tracy’s passion for beautiful fashion and beautiful men direct her vivid creative power towards not only novels, but short stories, poetry, and podcasts. With something for every attention span.
Tracy Reed’s ability to capture an audience is unmatched. Her body of work has been described as a host of stimulating adventures and invigorating expression.
Techniques for Engaging Openings
Once upon a time may work for fables, but choosing the right place for a story to ensnare readers is every writer’s worry.
The key is to hook them from the first paragraph. The following are a few ways to keep the pages turning. Setting the Scene creates a vivid picture to draw readers into the narrative, making them feel as though they are part of the story:
The courtroom was a hive of activity. The smell of polished wood and the rustle of papers filled the air as the jury filed in, their faces a mix of curiosity and solemnity.
Much of what works best has to do with the genre. Fiction readers enjoy imagery or action to engage and generate the narrative. Imagery is the use of descriptive language that engages the reader’s senses to create vivid mental pictures and evoke sensory experiences making the scenes, characters, and emotions more tangible and immersive.
Imagery in nonfiction writing makes real events, facts, and concepts more vivid and engaging for the reader. It can bring descriptions of people and places to life, making them more memorable and impactful. A Question or Statistic Lead might be your answer to a best-seller.
A Descriptive or Imagery Lead uses vivid descriptions to paint a picture and draw readers into the scene:
The morning sun casts a golden glow over the bustling farmers’ market. Stalls overflowed with vibrant fruits and vegetables, their colors a feast for the eyes. The air was filled with the scent of fresh bread and the sound of cheerful chatter.
Here are some examples of imagery:
Visual: The morning sun cast a golden glow over the bustling farmers’ market.
Auditory: The rumbling sound of load on load of apples coming in.
Olfactory: The air was filled with the scent of fresh bread.
Gustatory: Her lips tasted as sweet as sugar.
Tactile describes textures and physical sensations: The kitten’s fur felt like a velvet curtain.
Kinesthetic: I feel the ladder sway as the boughs bend.
Organic is about internal sensations, like hunger, thirst, fatigue, or emotions: A pang of anxiety tightened her chest.
Using sensory details can help simplify and clarify complex ideas:
Imagine the brain as a bustling city. Neurons are the streets, constantly transmitting signals like cars zipping through traffic. Synapses, the intersections, control the flow of information, ensuring everything runs smoothly.
An Action Lead jumps straight into the story to create an immediate sense of urgency:
The storm unleashes its fury upon the small coastal town with a deafening roar. Waves crash against the shore, and residents scramble to secure their homes against the onslaught.
An Anecdotal Lead starts with a brief, engaging prose that sets the stage:
Last summer, while hiking through the dense forests of the Appalachian Trail, I stumbled upon an old, abandoned cabin. Its weathered wood and broken windows told a story of a time long past, sparking my curiosity about the lives that once thrived there.
A Quotation Lead starts with a powerful quote that relates to your theme. This can lend authority and context to your story.
“The only limit to our realization of tomorrow is our doubts of today.” These words by Franklin D. Roosevelt resonate deeply with anyone striving to overcome personal obstacles and achieve their dreams.
A Question Lead poses a thought-provoking question to engage readers:
Have you ever wondered what it takes to turn a simple idea into a successful business? For many entrepreneurs, the journey is filled with challenges, triumphs, and invaluable lessons.
A Statistic Lead begins with a surprising or compelling statistic to grab attention:
Did you know that nearly 70% of adults experience imposter syndrome at some point in their careers? This pervasive feeling of self-doubt can hinder even the most accomplished individuals.
A Dialogue Lead uses a snippet of dialogue to introduce characters and set the tone:
“I can’t believe we’re finally here,” Sarah whispered, her eyes wide with wonder as she gazed at the ancient ruins. “It’s like stepping back in time.”
Once the words are on the page, find the sentence that resonates best with your theme. Your opening should hook the reader immediately. Use one of the leads mentioned above to draw them in.
Be concise, every word counts. Avoid unnecessary details and focus on the core message. Have a clear beginning, middle, and end. Ensure each section transitions smoothly to the next. Keep your readers engaged with interesting anecdotes, vivid descriptions, and compelling stories. Edit to eliminate redundant or weak sections to aim for clarity and impact.
By starting your story with a strong lead and following these tips you can craft a compelling opening.
Happy writing!
Diane Sismour
Diane Sismour gave up her hard-hat to write dark, suspenseful stories that keep fans up at night. Her characters (and readers) never know what perils await them or the predicaments they must resolve. Unable to restrain her passion for storytelling to prose, she is now writing adaptations of her works for the screen.
She lives with her husband in eastern Pennsylvania at the foothills of the Blue Mountains, where they own Leaser Lake B and B. Diane enjoys traveling to conferences to reunite with friends and meet fans. She’s a member of national and local writing and screenplay groups.
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More info →A Slice of Orange is an affiliate with some of the booksellers listed on this website, including Barnes & Nobel, Books A Million, iBooks, Kobo, and Smashwords. This means A Slice of Orange may earn a small advertising fee from sales made through the links used on this website. There are reminders of these affiliate links on the pages for individual books.
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