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Victorian Courtship

Should I have married at 18 when I had time to court? (Donald McLean, Correspondence to Ethel Waxham Love, 1909)

If they were willing to take the time and make the effort, American society during the late Victorian period provided young men and women with many opportunities to meet. One method was the system of calling. A proper call, or visit, lasted no more than ten or fifteen minutes. If the young lady called upon was absent or unavailable, the gentleman caller left a personal calling card. The lady responded with a return call or card if she desired to continue the social relationship. If she didn’t, the polite gentleman went looking elsewhere.

Gentlemen Callers

According to etiquette, men were expected to “retain gloves upon the hand during the call” in honor of the fifteen-minute time limit. Also, a well-bred man would never put his hat down on a chair, but would hold it in his hands at all times. This was an indication of control and responsibility. After all, if a man could not tend to his own hat for fifteen minutes, how would he ever manage a wife for an entire lifetime?

Once a lady chose to receive a young man (and she could receive more than one at a time), he could present her with a gift of flowers, candy or a book. Anything more expensive or of a more personal nature was deemed inappropriate and could be rejected — along with the suitor. A proper young woman could not offer a man a gift until he had given one to her. She could, however, send birthday or holiday greetings in the form of written correspondence, commercial greeting card or postal card. A photographic portrait, sometimes taken by a traveling photographer who set up shop at a local hotel or county fair, was also a popular memento for one sweetheart to give another.

Physical contact was considered the height of Victorian intimacy, therefore closely monitored by society. A young lady, for example, was never to take a gentleman’s arm unless he offered; and, unless they were engaged, it was improper for a gentleman to offer a lady his arm during daylight hours. Many courting couples, however, found ways to get around this: roller skating and ice skating gave young couples the chance to hold hands in public. Piano duets were also popular because the couple could not only share the piano bench, but could occasionally touch hands while reaching for the keys.

Pleasures of the Ballroom

One of the most popular forms of contact among courting couples in all economic classes was dancing. This was in spite of complaints by those who thought that such amusements would distract young women from meeting their family responsibilities. Critics who worried about the “fleeting and unsubstantial pleasures of the ballroom” did not find a sympathetic audience with young men and women who wanted the physical closeness and private conversation which dancing so easily allowed. But, in the early years of this century, dancing was as controlled by etiquette as every other activity, and certain traditions had to be followed.

When she arrived at a dance, for example, each young woman received a dance card on which young men signed up for the various dances. Some of these might include the two-step, the one-step or the waltz. The successful social strategist filled her dance card at the start of the evening with the names of men she liked. An unanticipated opening on her program was considered embarrassing, especially for a popular young lady. Sometimes even the most fastidious girl danced with fellows she didn’t favor, just to avoid being thought a “wallflower.”

Cutting — refusing to dance with someone once his name was on the program — was not considered proper unless the man had behaved badly or had paid too much attention to another woman during the evening. To avoid being the object of such gossip, a proper young lady never danced more than two dances with any one man unless they were seriously courting.

Long after many Victorian customs disappeared, the use of dance cards remained. While this system was not perfect, it at least allowed young ladies to have private time with the men they favored and to politely limit the unwanted attentions of men for whom they did not care.

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The Writing Process

Most people feel pretty confident about judging a piece of writing when they read it. They either like it or they don’t. However, producing a writing piece is something altogether different.

How Do Good Writers Do It?

A Process—Parts of the process are individual and parts of the process are collaborative!

  • Prewriting
  • Drafting
  • Revising—adding things in; taking things out
  • Editing—collaborating with other people is useful in this step
  • Publishing—or present your work to the public

Prewriting—the writing before you REALLY write

Questions to ask—

  • What am I writing about? Let’s say you want to write about soccer.
  • For whom am I writing? That is, what is my target audience? Are you writing an essay or article for other students, explaining why soccer is such a great sport? Or are you writing to parents, telling them why they should allow and encourage their kids to learn how to play soccer? Whoever you are targeting will dictate to you how to write the article. You will take a different approach for each of these audiences.
  • What is important or interesting about this? Why would people care?
  • What do people already know about this topic? What can I teach them?
  • Why am I writing about this? What do I want someone to take from this?

Different kinds of Prewriting to Organize Your Thoughts:

  • Free write in a journal—some people think best through words
  • Venn Diagrams—some people like a visual that lays out ideas more sharply. Let’s go back to the soccer idea. Let’s say you decide to compare field sports—soccer to football. Which is interesting because most people call soccer football. Americans are the only ones whovenn01 play football the way we do. On the left you have soccer rules, and descriptions. On the right you have football rules and descriptions. In the middle are the things that both sports have in common.
  • Idea chart—(good example of this is the software program Inspiration)—use circles to write ideas in. Maybe you’re going to write about habitats—which is your central topic. Maybe you’re going to talk about animals in their habitats,inspiration_1 or about plants. Maybe you’re going to talk about the definition of a habitat and this is going to be an expository essay. (Remember Expository means information or background, when we were talking about the structure of stories).  In your expository you will probably want to give examples of different habitats, such as rain forests, or deserts. Maybe in the desert subtopic you want to talk about the role of nurse plants that take care of young plants by protecting them from the sun. Then you might want to give examples of different plants that do this. Drawing it out like this will help you to see that one end of your drawing is more focused, and this will help you narrow down exactly what you want to write about.

Drafting: Scotch-Taping Your Thoughts

When you write a draft:

  • It should feel complete and clear. It is good writing, but probably not GREAT yet. The draft is sometimes referred to as The Sloppy Copy. Yes, it’s probably a little sloppy, yet it is COMPLETE, it should feel finished, it should feel good. You are finished with it, but you don’t want to publish it yet because there are probably grammar errors, things you want to elaborate on, stronger sentences, verbs, etc.
  • Organize your thoughts clearly.
  • Include all the parts of formal writing: Introduction, body, and conclusion.
  • Don’t freak out about spelling and grammar. You want people to be able to read it and understand what you’re saying, but there’s going to be a lot of spelling errors and grammar problems—that’s okay! At this point, you don’t want to impede or hinder that writing process of just telling what you want to tell—whether it’s a story or an exposition or an opinion article, etc.
  • The reason you want it complete is because the next step is the revision process, where you will want feedback. If you just give someone a paragraph, that person will only be able to say “You only have a paragraph. You need more.” You want to be able to ask the person you want to read it—”Okay, how can I make this better? What aspect or idea am I missing?”
  • Try to write for your audience. If you’re writing for a bunch of kids, try to use kid language. If you’re writing for senators, you’re going to use more formal language. If you are writing an opinion paper, where you want to influence your audience versus just telling a story—your language and approach will be much different.

Revisit and Revise. Call in the Troops!

Good reviewers include:

  • You (But you need distance. You can always see your mistakes or where you can flesh out your ideas when you’ve just finished the article five minutes ago. Just set your writing aside for a couple of days, or a week if you can. Then pick it up and read it cold. You’ll see your mistakes and where you need to explain stuff more. You’ll also see where it’s really great and you’ll find yourself saying “Wow, I did a great job with that!”
  • A teacher
  • A parent or other adult—someone you know who loves to read and will give good feedback
  • Your peers—choose people you trust has your best interest at heart.
  • Someone from your target audience—if you are writing about soccer to parents, ask a parent to give you feedback on your ideas, your organization of the piece, etc.
  • Group reviews—give it to a group of people who get together and hash out your ideas, where it can be expanded or improved, what works in the piece.
  • Multiple readers—give your piece to several different people over time and get individual feedback. If several people mention problems with the same area, it probably does need work. This helps.

When you Revise, Remember

  • Your focus when Revising should be on IDEAS and organization. Ask yourself, does this idea work? Is it clear? Is it organized well?
  • Is the piece appropriate for the audience? That is, is the topic appropriate? Is it needed? Will my audience be interested in it?
  • Do you have a strong and interesting introduction and conclusion? First impressions and final impressions are the most vital in any piece. Spend time on thinking about your first sentence. How can I grab my audience and keep them reading through the entire piece? The Hook!
  • Do ideas fit where they are placed? Do I need a transition sentence? Is the overall organization logical?
  • Is there enough information? Do you stay on topic? Do you provide relevant information?
  • Do you make the reader care? Sometimes you have to write about something you don’t really care about. But you must write about it because this is your assignment.  If you don’t care, this will show in your writing. Find an angle that will make you care more about it.
  • Does it have a natural flow with strong transitions?
  • Read it aloud! This will help you to see whether it sounds natural. Find where you left out words, or it sounds funky.

Editing: The Great Clean-Up!

  • Your focus here is grammar, spelling, punctuation, etc.
  • Get someone you think is better at those things than you are to be your editor.
  • If there are specific rules you aren’t sure of, check with your teacher or a style guide.
  • Don’t blindly trust the computer’s spell check! Spell check is wonderful, but it doesn’t always catch mistakes. For instance, you might have put the word “dot” for “dog.” Since “dot” is a word, spell check won’t catch the mistake. Read it aloud because when you do, you focus more on the individual words, and will catch more mistakes.

Editing Marks and Symbols:

Click here to see proofreading symbols and abbreviations

Publish with Pride!

Remember that you write because you have something to say. You don’t want to write and then just let it sit on your desk, collecting dust.

Publishing Includes:

  • Oral presentation: where you tell your story, read your poem or argue the points in your article.
  • Clean, hard copies
  • Book binding
  • Poetry readings
  • Blogging or web publishing
  • Podiobooks
  • Any sharing of your finished project!

Wrapping Up

  • Involve other people!
  • Read your work aloud!
  • Challenge yourself to raise the bar, no matter how good you think it is!
  • Get the feedback of those with strong skills!
  • This is not a linear process! You can loop! It’s recursive! You might be editing, then realize you left something out totally and need to revise. Or you might think of another aspect, and decide you might have to research more, or prewrite.

Take Practice Test Here

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Subject-Verb Agreement (and, or, nor)

On this lesson we’re going to be focusing on some very small words and their role in making the subject and verb agree.

Making Subjects Agree with Our Verbs

Two or more singular subjects joined with or or nor must have a singular verb.

Examples:

  1. Either the balloon or the propeller is going to break. (balloon/propeller are both singular verbs so you need to use a singular verb form, which is “is.” One of these things is going to break.)
  2. Neither the balloon or the propeller is very sturdy.(again, balloon/propeller are singular so you need to use “is” instead of “are.”)
  3. Neither the potatoes or the peas are done. (Here is where you use “are” for the verb because potatoes and peas are both plural.)

When a singular subject is joined with a plural subject by or or nor, the verb must agree with the last subject listed.

Examples:

  1. Neither the lights nor the wreath is in the box.
    • Since wreath is the last subject listed, and it is singular, the verb must be singular—is.
    • Try reading just the last part of the sentence with the second verb and listen to how it sounds. “The wreath is in the box.” You can hear that “is” should be used in the sentence.
  2. Neither the wreath nor the lights are in the box.
    • We just switched the order of the listed subjects. Now the last subject is plural, so the verb must be plural.
    • Remember, it’s the subject that is closest to the verb that dictates what the verb must agree with.
    • Again, just say the last part of the sentence. “The lights are in the box.” That sounds right; If you said The lights is in the box, you could hear the mistake.

A Compound Subject Joined By AND Must Have a Plural Verb.

Examples:

  1. The boy and girl are waiting for the train.
    • You can substitute the pronoun “they” for boy and girl.
    • “They” is plural, so the verb must be plural. Boy and girl imply more than one.
  2. The boys and girls are waiting for the train.
  • Boys is plural and girls is plural—so there are lots of boys and girls. This needs a plural verb.

Two Exceptions to the Above Rule:

  • If  the parts of the compound subject taken together are thought of as a single unit, then the compound subject must have a singular verb.

ü      Examples:

  1. Bacon and eggs is what I like to eat to start out the day. Bacon and eggs is one breakfast. You usually hear bacon and eggs together and think of the two together as ONE breakfast. So this is why you use the singular verb “is.”
  2. Rice with beans is very popular throughout the world. Again, you think of these two foods together as ONE meal. Rice with beans is so common together, this is why you think of the two together as ONE meal.
  • Second exception: if either word—every or each—comes before a compound subject, then it needs a singular verb.

ü      Example: Every town and village celebrates. The word “every” means ONE, and so you must use a singular verb.

Making Subjects Agree With And/Or/Nor: Exercises

  1. Memorial Day and Veterans Day (is/are) national holidays. (The “and” makes the subjects plural.)
  2. Either historical occasions or distinguished persons (is/are) commemorated on secular holidays. (because “or” is used, you must look at the subject that is closest to the verb. Since distinguished persons is plural, you must use “are”.)
  3. Concert tickets or a fancy dinner (is/are) a great gift. (One of the subjects is plural; the other is singular. Since the subject closest to the verb is singular, you must make the verb singular).
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Pronouns

Pronouns are words that stand for nouns or for words that take place of nouns. They are generally used when it doesn’t make sense to repeat the noun over and over again. Read these two sentences:

  1. Aunt Marcie was late because Aunt Marcie had waited for the delivery of Aunt Marcie’s Steampunk_Watch_Version_2_2_by_Aranwenwatch. (All nouns)
  2. Aunt Marcie was late because she had to wait for the delivery of her watch. (With pronouns)

Antecedents of Pronouns Pronouns get the meaning of the words they stand for. These words are called antecedents. The first one doesn’t sound natural–it doesn’t flow. The only time you would hear someone talk like the first example would probably be during an argument. So we use pronouns to make it flow, and so it doesn’t sound clunky. Pronouns can take the place of a noun in the same sentence, or take the place of a noun in a previous sentence. Look at this clause: My father opened his email first. (“…his” refers to the subject, or noun–”My father.” So “he” is a pronoun.) My father opened his email first. He couldn’t wait any longer.  (Look at the second sentence. “He” still refers to “My father” since my father is the subject of the previous sentence.) Pronouns can also take the place of an entire group of words. Trying to make the team is hard work. It takes hours of practice every day. (The “It” refers to “trying to make the team”–that whole idea.) Antecedents of Pronouns Pronouns get their meaning from the words they stand for. These words are called antecedents.  In the example “My father opened his email first.”

  • The pronoun is his
  • The antecedent is father.

Here are more examples:

  • Trying to make the team is hard work. It takes hours of practice every day.
  • The pronoun is it.
  • The antecedent is Trying to make the team.

Everything was lost in the flood.

  • The pronoun is Everything.
  • There is no clear antecedent.

Locate the antecedents to the pronouns below: Although he was known as an expert software developer, Darryl enjoyed selling computers. (Answer: International Business Machines Company). Who will take the class? (Answer: There is no clear antecedent.) International Business Machines Company (IBM) was a new company in the 1930s. The electromechanical calculator was its invention. (Answer: International Business Machines Company is the antecedent; its is the pronoun.) Different Types of Pronouns:

  • Personal
  • Demonstrative
  • Interrogative
  • Reflexive and Intensive
  • Relative
  • Indefinite

Personal pronouns refer to the person speaking (first person), the person spoken to (second person), or the place or thing spoken about (third person). Examples:

  • I left my Spanish book at home. (first person–I, me, my).
  • Can I borrow yours? (second person) (You, Yours).
  • She said she needed hers during fifth period. (third person)

Here’s a breakdown of words for points of view, singular and plural.

  • First person, singular–I, me, my, mine.
  • First person, plural–we, us, our, ours
  • Second person, singular–you, your, yours
  • Second person, plural–you, your, yours
  • Third person, singular–he, him, his, she, her, hers, it, its
  • Third person, plural–they, them, their, theirs

Find the personal pronouns in the sentences below:

  1. I waited for my computer to boot up. (I and my are first person singular pronouns).
  2. Sheila, you left your computer on. (you and your are a second person singular pronouns, referring to Sheila, which is the antecedent).
  3. I haven’t seen my grandfather in a year. He will arrive from Louisiana tomorrow. (I and my are first person singular pronouns. He is a third person singular pronoun).

A Demonstrative Pronoun directs attention to a specific person, place or thing. They may come before or after their antecedents. Demonstrative pronouns are this, that, these or those.

  • This is the watch I chose. (Where “this” is the demonstrative pronoun and “watch” is the antecedent or the noun the demonstrative pronoun represents)watch2
  • endangeredbymagicOf all the books I’ve written, this has the most action.

Relative Pronouns

  • A relative pronoun begins a subordinate clause and connects another idea in the sentence.
  • Relative pronouns include that, which, who, whom and whose.
  • Examples:
  1. Here is the compass that Jedidiah lost (“Here is the compass.” this is a complete sentence with a subject and a verb; it makes sense and can stand on its own.  “That Jedidiah lost,” is not a sentence. Jedidiah is the subject, and lost is the verb but that makes it a clause instead of a full sentence because you can tell something is missing–that Jedidiah lost makes you ask what did Jedidiah lose? That is a relative pronoun, connecting the subordinate clause to compass. )
  2. Teddy bought my airship, which needs lots of repairs. (same thing here–which connects the subordinate clause “…which needs lost of repairs” to airship, the antecedent. The relative pronoun is which.)

Interrogative Pronoun

  • An interrogative pronoun is used to begin a question.
  • It may or may not have a specific antecedent.
  • Interrogative pronouns include what, which, who, whom and whose.
  • Examples:
  1. What did I do wrong? (No antecedent.)
  2. Of these keys, which one will turn Steam Man off? (which is the steammaninterrogative pronoun referring to keys)

Demonstrative, Relative and Interrogative Pronouns: Exercises

(Remember demonstrative is demonstrating which ones, relative shows relationship and interrogative asks questions, or interrogates.)

  • Those paintings in France are more than 30,000 years old. (Demonstrative)
  • These are the symbols representing stars. (Demonstrative)
  • There are two people. To whom were you speaking? (Interrogative)

Indefinite Pronouns

  • Indefinite pronouns refers to people, places or things without referring to which ones.
  • They often lack specific antecedents.
  • Examples:
  1. Anyone can learn to operate a boilerplate. (no specific antecedent)
  2. All of the students learned to operate a boilerplate.

List of indefinite pronouns:

Anyone, another, anybody, anything, each, everything, everyone, little, much, neither, nothing, one, other, somebody, someone, both, many, few, others, several, all, many, more, most, none.

Indefinite Pronoun Exercises

  1. Many do their banking, shopping and research at home on their computers. (Many implies many people, so this is an indefinite pronoun).
  2. Others go to a grocery store where technology–a scanner–tallies their totals.
  3. Before 1861, nobody expected to send signals across the country.

Practice here

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Steer an Airship

In case anyone wants to know how to steer an airship, here it is from the United States Patent office:

A non-rigid airship is provided which includes a gas envelope having propulsion units mountedairship on either side thereof. Thrust emanating from the propulsion units is deflectable to control at least the vertical positioning of the airship.

Horizontal positioning of the airship may be controlled by varying the relative thrust of the propulsion units. A method is also provided for controlling the flight path of an airship.

The method includes providing propulsion units on opposite sides of the airship and deflecting the thrust of the propulsion units to control vertical placement of the airship. Horizontal placement of the airship may be carried out by varying the relative thrust of the propulsion units.

The Monkey’s Paw

by W.W. Jacobs

Click here for audio version (it takes you to a page where you can download it).

I.

WITHOUT, the night was cold and wet, but in the small parlour of Laburnam Villa the blinds monkey1were drawn and the fire burned brightly. Father and son were at chess, the former, who possessed ideas about the game involving radical changes, putting his king into such sharp and unnecessary perils that it even provoked comment from the white-haired old lady knitting placidly by the fire.

“Hark at the wind,” said Mr. White, who, having seen a fatal mistake after it was too late, was amiably desirous of preventing his son from seeing it.

“I’m listening,” said the latter, grimly surveying the board as he stretched out his hand. “Check.”

“I should hardly think that he’d come to-night,” said his father, with his hand poised over the board.

“Mate,” replied the son.

“That’s the worst of living so far out,” bawled Mr. White, with sudden and unlooked-for violence; “of all the beastly, slushy, out-of-the-way places to live in, this is the worst. Pathway’s a bog, and the road’s a torrent. I don’t know what people are thinking about. I suppose because only two houses on the road are let, they think it doesn’t matter.”

“Never mind, dear,” said his wife soothingly; “perhaps you’ll win the next one.”

Mr. White looked up sharply, just in time to intercept a knowing glance between mother and son. The words died away on his lips, and he hid a guilty grin in his thin grey beard.

“There he is,” said Herbert White, as the gate banged to loudly and heavy footsteps came toward the door.

The old man rose with hospitable haste, and opening the door, was heard condoling with the new arrival. The new arrival also condoled with himself, so that Mrs. White said, “Tut, tut!” and coughed gently as her husband entered the room, followed by a tall burly man, beady of eye and rubicund of visage.

“Sergeant-Major Morris,” he said, introducing him.

The sergeant-major shook hands, and taking the proffered seat by the fire, watched contentedly while his host got out whisky and tumblers and stood a small copper kettle on the fire.

At the third glass his eyes got brighter, and he began to talk, the little family circle regarding with eager interest this visitor from distant parts, as he squared his broad shoulders in the chair and spoke of strange scenes and doughty deeds; of wars and plagues and strange peoples.

“Twenty-one years of it,” said Mr. White, nodding at his wife and son. “When he went away he was a slip of a youth in the warehouse. Now look at him.”

“He don’t look to have taken much harm,” said Mrs. White, politely.

“I’d like to go to India myself,” said the old man, “just to look round a bit, you know.”

“Better where you are,” said the sergeant-major, shaking his head. He put down the empty glass, and sighing softly, shook it again.

“I should like to see those old temples and fakirs and jugglers,” said the old man. “What was that you started telling me the other day about a monkey’s paw or something, Morris?”

“Nothing,” said the soldier hastily. “Leastways, nothing worth hearing.”

“Monkey’s paw?” said Mrs. White curiously.

“Well, it’s just a bit of what you might call magic, perhaps,” said the sergeant-major off-handedly.

2774794-2-monkeys-pawHis three listeners leaned forward eagerly. The visitor absentmindedly put his empty glass to his lips and then set it down again. His host filled it for him.

“To look at,” said the sergeant-major, fumbling in his pocket, “it’s just an ordinary little paw, dried to a mummy.”

He took something out of his pocket and proffered it. Mrs. White drew back with a grimace, but her son, taking it, examined it curiously.

“And what is there special about it?” inquired Mr. White, as he took it from his son and, having examined it, placed it upon the table.

“It had a spell put on it by an old fakir,” said the sergeant-major, “a very holy man. He wanted to show that fate ruled people’s lives, and that those who interfered with it did so to their sorrow. He put a spell on it so that three separate men could each have three wishes from it.”

His manner was so impressive that his hearers were conscious that their light laughter jarred somewhat.

“Well, why don’t you have three, sir?” said Herbert White cleverly.

The soldier regarded him in the way that middle age is wont to regard presumptuous youth. “I have,” he said quietly, and his blotchy face whitened.

“And did you really have the three wishes granted?” asked Mrs. White.

“I did,” said the sergeant-major, and his glass tapped against his strong teeth.

“And has anybody else wished?” inquired the old lady.

“The first man had his three wishes, yes,” was the reply. “I don’t know what the first two were, but the third was for death. That’s how I got the paw.”

His tones were so grave that a hush fell upon the group.

“If you’ve had your three wishes, it’s no good to you now, then, Morris,” said the old man at last. “What do you keep it for?”

The soldier shook his head. “Fancy, I suppose,” he said slowly.

“If you could have another three wishes,” said the old man, eyeing him keenly, “would you have them?”

“I don’t know,” said the other. “I don’t know.”

He took the paw, and dangling it between his front finger and thumb, suddenly threw it upon the fire. White, with a slight cry, stooped down and snatched it off.

“Better let it burn,” said the soldier solemnly.

“If you don’t want it, Morris,” said the old man, “give it to me.”

“I won’t,” said his friend doggedly. “I threw it on the fire. If you keep it, don’t blame me for what happens. Pitch it on the fire again, like a sensible man.”

The other shook his head and examined his new possession closely. “How do you do it?” he inquired.

“Hold it up in your right hand and wish aloud,’ said the sergeant-major, “but I warn you of the consequences.”

“Sounds like the Arabian Nights,” said Mrs White, as she rose and began to set the supper. “Don’t you think you might wish for four pairs of hands for me?”

Her husband drew the talisman from his pocket and then all three burst into laughter as the sergeant-major, with a look of alarm on his face, caught him by the arm.

“If you must wish,” he said gruffly, “wish for something sensible.”

Mr. White dropped it back into his pocket, and placing chairs, motioned his friend to the table. In the business of supper the talisman was partly forgotten, and afterward the three sat listening in an enthralled fashion to a second instalment of the soldier’s adventures in India.

“If the tale about the monkey paw is not more truthful than those he has been telling us,” said Herbert, as the door closed behind their guest, just in time for him to catch the last train, “we shan’t make much out of it.”

“Did you give him anything for it, father?” inquired Mrs. White, regarding her husband closely.

“A trifle,” said he, colouring slightly. “He didn’t want it, but I made him take it. And he pressed me again to throw it away.”

“Likely,” said Herbert, with pretended horror. “Why, we’re going to be rich, and famous, and happy. Wish to be an emperor, father, to begin with; then you can’t be henpecked.”

He darted round the table, pursued by the maligned Mrs. White armed with an antimacassar.

Mr. White took the paw from his pocket and eyed it dubiously. “I don’t know what to wish for, and that’s a fact,” he said slowly. “It seems to me I’ve got all I want.”

“If you only cleared the house, you’d be quite happy, wouldn’t you?” said Herbert, with his hand on his shoulder. “Well, wish for two hundred pounds, then; that’ll just do it.”

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The Broken Chain

In this story let’s look at plot and subplot. A bicycle chain is like a plot. The chain drives, or propels the bicycle forward; so does the plot propel the story forward. My first bike was a one speed, and it just had one gear. If I wanted to go up a hill, I just had to pedal really hard. Same with some stories; they only have one main plot and it has to drive the story clear to the end. When I got a ten speed, with several gears, I could change things up and it got really interesting. Same with story. You have the central, or main plot, but then you can have several small plots that are happening to enhance the main plot and to make the story interesting.

I. Subplot– a minor story within the story. It doesn’t drive everything–it just makes it more interesting. It’s going to relate to the main plot somehow. Here are different ways:

  • Contrast. Maybe the main plot is about a guy who is very unfortunate, and he just can’t get the one thing he wants. He has a friend who always gets what he wants. This is contrasting the main plot.
  • Reinforcement. Maybe in our story, not only is everything going wrong as far as him reaching his goal, but even little things go wrong, like when he’s getting dressed and his shoe lace breaks. This reinforces his bad luck, and can show what the character is like–how he reacts.
  • Comic Relief. This works particularly well in a serious book. It provides some relief and entertainment. Shakespeare did this a lot–had wacky subplots going on.

Keep in mind a subplot is a complete story. There really could be a whole other story written just about this, but there isn’t. But it has to be concluded before the main plot is resolved.

Gary Soto was born in 1952 and usually writes about his own life. He was born in a Mexican-American neighborhood. He says the broken chain was to cue the feeling of latching on to a boyfriend or girlfriend for the reader.

Since we know Soto is going to address boyfriends and girlfriends, we can assume this is going to be the central plot. However, there’s going to subplots so try to figure out which is which.

I. Central plot:

A. Central: What is the main thread of the story? What conflict drives the whole story?

II. Subplots: Focus on other relationships in the story. What conflicts add to the story?

A. Your own Life–the life of a teenager is complicated. What has been the main conflict of your week?

B. Types of conflict: Character vs. character, character vs. self, character vs. nature/physical environment, character vs. society.

  • Maybe you have a big sporting event with two rival schools competing. That would be character versus character.
  • Maybe you have a big test to study for, or nine weeks grades are coming up and you have to make up work because you slacked off a little. That would be character vs. self.
  • Character vs. environment–maybe the air conditioning in the computer lab has quit working and you are hot, which makes you lethargic.
  • Character vs. society–maybe your peers are signing a petition against school uniforms, and getting ready to picket against them.

Always think of what you, as a teenager, might be in conflict with–whether it’s friends, boyfriends, girlfriends, teachers, parents. As you think of these things, start reading the story below:

The Broken Chain

By Gary Soto

Alfonso sat on the porch trying to push his crooked teeth to where he thought they belonged. broken_chainHe hated the way he looked. Last week he did fifty sit-ups a day, thinking that he would burn those already apparent ripples on his stomach to even deeper ripples, dark ones, so when he went swimming at the canal next summer, girls in cut-offs would notice. And the guys would think he was tough, someone who could take a punch and give it back. He wanted “cuts” like those he had seen on a calendar of an Aztec warrior standing on a pyramid with a woman in his arms. (Even she had cuts he could see beneath her thin dress.) The calendar hung above the cash register at La Plaza. Orsua, the owner, said Alfonso could have the calendar at the end of the year if the waitress, Yolanda, didn’t take it first.

Alfonso studied the magazine pictures of rock stars for a hairstyle. He liked the way Prince looked—and the bass player from Los Lobos. Alfonso thought he would look cool with his hair razored into a V in the back and streaked purple. But he knew his mother wouldn’t go for it. And his father, who was puro Mexicano, would sit in his chair after work, sullen as a toad, and call him “sissy.”

Alfonso didn’t dare color his hair. But one day he had had it butched on the top, like in the magazines. His father had come home that evening from a softball game, happy that his team had drilled four homers in a thirteen-to-five bashing of Color Tile. He’d swaggered into the living room but had stopped cold when he saw Alfonso and asked, not joking but with real concern, “Did you hurt your head at school? ¿Qué pasó?”

Alfonso had pretended not to hear his father and had gone to his room, where he studied his hair from all angles in the mirror. He liked what he saw until he smiled and realized for the first time that his teeth were crooked, like a pile of wrecked cars. He grew depressed and turned away from the mirror. He sat on his bed and leafed through the rock magazine until he came to the rock star with the butched top. His mouth was closed, but Alfonso was sure his teeth weren’t crooked.

Alfonso didn’t want to be the handsomest kid at school, but he was determined to be better looking than average. The next day he spent his lawn-mowing money on a new shirt and, with a pocketknife, scooped the moons of dirt from under his fingernails.

He spent hours in front of the mirror trying to herd his teeth into place with his thumb. He asked his mother if he could have braces, like Frankie Molina, her godson, but he asked at the wrong time. She was at the kitchen table licking the envelope to the house payment. She glared up at him. “Do you think money grows on trees?”

Frijoles-Refritos_lgHis mother clipped coupons from magazines and newspapers, kept a vegetable garden in the summer, and shopped at Penney’s and K-Mart. Their family ate a lot of frijoles, which was OK because nothing else tasted so good, though one time Alfonso had had Chinese pot stickers and thought they were the next best food in the world.

He didn’t ask his mother for braces again, even when she was in a better mood. He decided to fix his teeth by pushing on them with his thumbs. After breakfast that Saturday he went to his room, closed the door quietly, turned the radio on, and pushed for three hours straight.

He pushed for ten minutes, rested for five, and every half hour, during a radio commercial, checked to see if his smile had improved. It hadn’t.

Eventually he grew bored and went outside with an old gym sock to wipe down his bike, a ten-speed from Montgomery Ward. His thumbs were tired and wrinkled and pink, the way they got when he stayed in the bathtub too long.

Alfonso’s older brother, Ernie, rode up on his Montgomery Ward bicycle looking depressed. Hemontgomery_bicycle parked his bike against the peach tree and sat on the back steps, keeping his head down and stepping on ants that came too close.

Alfonso knew better than to say anything when Ernie looked mad. He turned his bike over, balancing it on the handlebars and seat, and flossed the spokes with the sock. When he was finished, he pressed a knuckle to his teeth until they tingled.

Ernie groaned and said, “Ah, man.”
Alfonso waited a few minutes before asking, “What’s the matter?” He pretended not to be too interested. He picked up a wad of steel wool and continued cleaning the spokes.
Ernie hesitated, not sure if Alfonso would laugh. But it came out. “Those girls didn’t show up. And you better not laugh.”

“What girls?”

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The Lady or The Tiger

About the author, Frank Stockton: Born 1834; died 1902. He wrote fairy tales and stories for both adults and children. He used pseudo-historical details to make his fiction realistic and bring it to life, (similar to Steampunk. I’ve got Steampunk on the brain!). In the following story he describes a civilization that is a lot like ancient Rome. There is a Colosseum. We’ve got gladiators, and there’s a blood-thirsty audience watching these things. This is the setting for The Lady or The Tiger.

As you read, keep in mind that this story has more than one type of conflict. There are layers of conflict in this one. See if it’s mostly:

  • character vs. character
  • character vs. self
  • character vs. nature/physical environment
  • character vs. society.

The more you do this with each story you read, the easier it will get to identify these conflicts as they crop up. As you recognize each conflict, think of how different the story would have been if one of the conflicts wasn’t there. (Note: I took the liberty of breaking up the paragraphs to make reading easier. I also added a comment or two in order to help  explain some of the passages).

The Lady or The Tiger

By Frank Stockton

In the very olden time there lived a semi-barbaric king, whose ideas, though somewhat polishedmem_lady_and_the_tiger and sharpened by the progressiveness of distant Latin neighbors, were still large, florid, and untrammeled, as became the half of him which was barbaric.

He was a man of exuberant fancy, and, withal, of an authority so irresistible that, at his will, he turned his varied fancies into facts. He was greatly given to self-communing, and, when he and himself agreed upon anything, the thing was done. [In other words, he didn't ask anyone else's opinion; he just did whatever he pleased]. When every member of his domestic and political systems moved smoothly in its appointed course, his nature was bland and genial; but, whenever there was a little hitch, and some of his orbs got out of their orbits, he was blander and more genial still, for nothing pleased him so much as to make the crooked straight and crush down uneven places.

Among the borrowed notions by which his barbarism had become semified was that of the public arena, in which, by exhibitions of manly and beastly valor, the minds of his subjects were refined and cultured.

But even here the exuberant and barbaric fancy asserted itself. The arena of the king was built, not to give the people an opportunity of hearing the rhapsodies of dying gladiators, nor to enable them to view the inevitable conclusion of a conflict between religious opinions and hungry jaws, but for purposes far better adapted to widen and develop the mental energies of the people.

This vast amphitheater, with its encircling galleries, its mysterious vaults, and its unseen passages, was an agent of poetic justice, in which crime was punished, or virtue rewarded, by the decrees of an impartial and incorruptible chance.

When a subject was accused of a crime of sufficient importance to interest the king, public notice was given that on an appointed day the fate of the accused person would be decided in the king’s arena, a structure which well deserved its name. For, although its form and plan were borrowed from afar, its purpose emanated solely from the brain of this man, who, every barleycorn a king, knew no tradition to which he owed more allegiance than pleased his fancy, and who ingrafted on every adopted form of human thought and action the rich growth of his barbaric idealism. [The king didn't owe anybody a thing. He only had to be true to himself, and he loved to be barbaric; leave everything to chance]

When all the people had assembled in the galleries, and the king, surrounded by his court, sat high up on his throne of royal state on one side of the arena, he gave a signal, a door beneath him opened, and the accused subject stepped out into the amphitheater.

Directly opposite him, on the other side of the enclosed space, were two doors, exactly alike and side by side. It was the duty and the privilege of the person on trial to walk directly to these doors and open one of them. He could open either door he pleased; he was subject to no guidance or influence but that of the aforementioned impartial and incorruptible chance.

If he opened the one, there came out of it a hungry tiger, the fiercest and most cruel that could be procured, [or bought]which immediately sprang upon him and tore him to pieces as a punishment for his guilt. The moment that the case of the criminal was thus decided, doleful [or sad sounding] iron bells were clanged, great wails went up from the hired mourners posted on the outer rim of the arena, and the vast audience, with bowed heads and downcast hearts, wended slowly their homeward way, mourning greatly that one so young and fair, or so old and respected, should have merited so dire a fate. [merited means deserved]

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The Ransom of Red Chief

Listen to the story.

This story was written by O. Henry, who lived during the Victorian era, (a perfect time for Steampunk, btw!). O. Henry’s birth name was William Sydney Porter. He was born in 1862 and died in 1910, only 48 years old. He was a journalist and an author, but was best known for his short stories with twists at the end.

Before you read, look at the title, and predict what the conflict will be. Do you think the central conflict will be:

  • character vs. character
  • character vs. self
  • character vs. nature/physical environment
  • character vs. society

Based on the fact that “ransom” means the red chief was kidnapped and someone wants money for the Red Chief’s return, it’s safe to assume it’s character vs. character. Of course, there will probably be internal conflict as well, which is character vs. self. But we have no inkling of what the character will be struggling with inside his heart. And there is definitely a twist or two to the plot that I think you’ll really enjoy!!!

So here is the story:

The Ransom Of Red Chief

IT LOOKED like a good thing: but wait till I tell you. We were down South, in Alabama — Bill Driscoll and myself — when this kidnapping idea struck us. It was, as Bill afterward expressed it, “during a moment of temporary mental apparition”; but we didn’t find that out till later.

There was a town down there, as flat as a flannel-cake, and called Summit, of course. It redchiefcontained inhabitants Of as undeleterious and self-satisfied a class of peasantry as ever clustered around a Maypole.

Bill and me had a joint capital of about six hundred dollars, and we needed just two thousand dollars more to pull off a fraudulent town-lot scheme in Western Illinois with. We talked it over on the front steps of the hotel. Philoprogenitiveness, says we, is strong in semi-rural communities; therefore and for other reasons, a kidnapping project ought to do better there than in the radius of newspapers that send reporters out in plain clothes to stir up talk about such things. We knew that Summit couldn’t get after us with anything stronger than constables and maybe some lackadaisical bloodhounds and a diatribe or two in the Weekly Farmers’ Budget. So, it looked good.

We selected for our victim the only child of a prominent citizen named Ebenezer Dorset. The father was respectable and tight, a mortgage fancier and a stern, upright collection-plate passer and forecloser. The kid was a boy of ten, with bas-relief freckles, and hair the colour of the cover of the magazine you buy at the news-stand when you want to catch a train. Bill and me figured that Ebenezer would melt down for a ransom of two thousand dollars to a cent. But wait till I tell you.

About two miles from Summit was a little mountain, covered with a dense cedar brake. On the rear elevation of this mountain was a cave. There we stored provisions. One evening after sundown, we drove in a buggy past old Dorset’s house. The kid was in the street, throwing rocks at a kitten on the opposite fence.

“Hey, little boy!” says Bill, “would you like to have a bag of candy and a nice ride?”

The boy catches Bill neatly in the eye with a piece of brick.

“That will cost the old man an extra five hundred dollars,” says Bill, climbing over the wheel.
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Leiningen Versus The Ants

By Carl Stephenson

What a strange, yet horribly tragic story, (we read it for language arts class). It’s about this guy named Leiningen who owns a plantation in Brazil. He gets word that there’s a huge horde of ants coming toward the plantation–two miles wide and ten miles long. The District Commissionerleiningan vs ants warns him that he must leave and take all his workers with him. But Leiningen figures that he’s smart and that he can take control of his fate by conquering the ants.

It’s an amazing tale. The author did well in describing how the ants worked–they really are intelligent. They made boats out of leaves, and they built a dam. I remember seeing on the Discovery Channel those big ants with incisors and snapping jaws, and how they could strip a stag of its flesh clear down to the bone in only minutes–six according to Stephenson’s novella.

My skin crawled as I was reading it. I kept slapping at my legs!

Leiningen was bull-headed, brave, and fool-hardy, imo. He thought he could defeat nature and the ants. I guess he did, and he did make a run for the dam to release the river to save his men, and nearly got eaten by the ants.

But he lost at least two men–peons is what the author called them. Ugh. How demeaning. It was written in 1962. I didn’t realize they called Brazilians, peons. Not very nice. Anyway, sad that the plantation owner felt he could sacrifice his men for the ants, and they didn’t even save the plantation. Too, I couldn’t help but notice how the author compared women to oxen!

Here it is if you want to read it, a classic short story:

Leiningen Versus The Ants

Here is the practice test you can, well, practice on before you take the real test for a grade.

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