leukaemia Awareness

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Final Presentation

My short story!

Behind the Bedroom door

 

“BANG!” 

Luke was suddenly woken as his bedroom door slammed shut. He instantly reached out to grab his teddy bear for protection… but it was not there.

“Where could he be?” Luke thought to himself. “Teddy is always next to me.”

As Luke climbed out of bed he could see teddy in the middle of his bedroom floor, but something was wrong. As he took a closer look he could see that teddy was missing one of his button eyes.

“What has happened to you teddy? Where is your button eye?”

Luke began to look around his room, but the button was nowhere to be seen. He thought it might have been his older sister, Claire that had taken it.

Suddenly he noticed a piece of black coal sitting amongst a pile of snow in front of his bedroom door.

“What is this piece of coal doing here and how did this snow get into my room?”

Luke then remembered the slam of his bedroom door that had woke him. He reached down to pick up the piece of black coal and slipped it into his pyjama pocket.

“Right teddy, let’s go find your button eye and put you back together again.” Luke took teddy by the leg and walked through his bedroom door.

“CRUNCH!”

Luke’s feet sank into the ground as he stepped forward. He became very cold and whispered, “Where are we Teddy?”

Luke could see that the walls were made from blocks of ice and the ground was thick with snow. It looked like an igloo.

“Who are you?” said a loud voice from behind him. Luke turned around to see a short man in a fur coat. It was an Eskimo.

“You must be far from home young man, what brings you here?” asked the Eskimo. 

“My teddy bears button eye has gone missing, have you seen it anywhere?”

The Eskimo looked at teddy and thought for a moment.

He pointed and said, “A strange looking snowman came through here, may be he has seen the button? He went that way but watch out for polar bears… they don’t like little children.

Luke thanked the Eskimo, took teddy by the leg and left.

“Whoosh!”

Outside in the crisp cold air the wind began to blow. Luke could see mountains through the falling snow. At the very top was a little red flag… they were at the North Pole!

Luke walked through the snow making deep crunchy footprints until they came cross a baby seal.

“Hello” said Luke, “my teddy bears button eye has gone missing, have you seen it anywhere?”

The baby seal looked at teddy and thought for a moment. She pointed and said,

“A scary looking snowman came through here, may be he has seen the button?

He went that way but watch out for polar bears… they don’t like little children.”

Luke thanked the baby seal, took teddy by the leg and slowly continued through the snow.

The cold wind began to blow harder, and the frosty snow began to fall heavier than before.

“I’m cold Teddy” shivered Luke. As they trudge through the snow, they stumbled upon a small cave.  Luke peered into the darkness… “It looks very scary and dark in here teddy, but we must get out of the cold”. They slowly stepped into the dark cave.

“ROAR!”

Luke spun around to find an angry Polar bear staring straight at him.

“What are you doing here? This is my cave!” growled the Polar bear.

“Please don’t eat me!” begged Luke, “my teddy bears button eye has gone missing and I’m trying to find it”.

The angry polar bear looked down at teddy and slowly began to smile.

“I am always willing to help a fellow bear.”

The Polar bear pointed and said, “A silly looking snowman came through here, maybe he has seen the button. He went that way.”

Luke grabbed teddy by the leg and left the cave.

All was calm and still…

The wind had gone and the snow had stopped. As they walked through the fresh snow Luke could see a white figure in the distance.

“I think that is the snowman that might know were your button eye is!” said Luke as he continued forward.

“Excuse me Mr snowman. My teddy bears button eye has gone missing, have you seen it anywhere?”

The snowman slowly turned around and Luke stepped back in horror. The snowman looked very strange indeed. One of his eyes was a piece of black coal, but the other was teddy’s very own button eye!

“What are you doing with teddy’s button eye?” shouted Luke.

“I’m s-s-s-s-sorry,” stuttered the snowman “…I accidentally stumbled upon your bedroom in the night. I soon became too warm and began to melt. One of my eyes fell out so I had to find another one.”

Luke remembered the piece of black coal he found on his bedroom floor and reached into his pyjama pocket. “Is this your missing eye?”

“Yes it is…” said the snowman.

Luke handed over the piece of black coal and the snowman returned the button.

“HORAY!”

Luke cheered with joy and dropped the button into his pyjama pocket to keep it safe.

He looked at Teddy. “We can put you back together again as soon we get home. I think we should get back to bed now before mummy finds out!”

Luke looked up at the snowman, with his eye now back in place. “How do I get back home?” The snowman smiled at Luke and pointed. “A door behind the tree will lead you back to your bedroom.”

Luke thanked the snowman, took teddy by the leg and walked towards the tree. As they stepped behind the huge tree trunk they suddenly appeared back in the bedroom.

“Lets get into bed before mummy finds us.” Luke and teddy got into bed and safely under the covers. Luke closed his eyes and drifted off to sleep.

THE END

The little boy's short stories...

We will all create an individual short story that represents the little boys 'Escapism from reality' 

The main plot to these short stories is that the little boys teddy bear has lost his button eye. The little boy then takes teddy on adventures to find the button and put teddy back together again.

This story represents the little boy suffering from Leukaemia and his insecurities that are told through his teddy bear. It deals with the boys situation of losing his hair amongst other things and his determination to get better.

Here is the idea for my short story:

I wanted to create a short story that involves the little boy trying to find teddy's button eye and his adventure through the snow.

Setting: Snow world / Winter wonderland / Antarctica / North pole.

Characters: Snowman / Polar bear / Seal / Penguin / birds / Husky dogs / Eskimo

Story idea

Theme:

A story about a brother and sister, one of which is suffering from Acute Leukaemia, and their very different methods of dealing with such a terrible situation.

Main plot:

The main story focuses on a young brother and sister and how they both react in very different ways after one of them is diagnosed with Acute Leukaemia.

-       How one child deals with the having disease.

-       How the other child deals with coping with the disease in the family and how they can help.

These stories could be told in the hope to raise money for a children’s charity and raise awareness of the disease (Britain’s biggest childhood cancer)

We will try to work closely with a related charity with the possiblility of them using our idea to further promote their campaign.

 

Possible charities:

Children with Leukaemia: www.leukaemia.org (Mr Men & Little Miss running event)

Leukaemia Research: www.lrf.org.uk

 

Story One: From the perspective of the little girl and her parents.

Plot: A little girl is trying to deal with the recent diagnosis of Acute Leukaemia. Since the bad news she tends to shut herself away in her bedroom and proceeds to scribble page after page of black crayon. Her parents are obviously concerned by this behaviour and when they ask her what she is doing there is no reply.

(- This reaction would imply that she is the child with the disease and has become quite disturbed by the situation)

The twist: As the girl produces more and more pages of black crayon the parent’s discover her collection of puzzles and suddenly realise that there is a reason to what she has been doing. As they collect up all of the pages and carefully piece them together it forms a much larger image that reveals her decision to undergoing a bone marrow transplant to try and save her brothers life (the child diagnosed with Leukaemia)

Media: Either a video or interactive website… or both.

The video would clearly tell the story. We could also create a shorter (viral) version that doesn’t reveal the ending forcing the viewer to visit the website  where they can watch the full version and find out for themselves.

The interactive website could include the video as well as info about the illness and a link to the charities website.

A section where the user could piece together the different pages to form the large image featured in the video (a puzzle)

There could be a section on the site that allows visitors to purchase the children’s storybooks from the little boys perspective.

 

Story Two: From the perspective of the little boy

Plot: A little boy has recently been diagnosed with Acute Leukaemia and is receiving treatment at home meaning he is unable to leave his room. The child therefore must keep himself occupied and use his imagination to escape the realities of the situation. The reader is then taken through the little boys hugely imaginative thoughts told using a series of short stories for children (on a pirate ship, saving a princess from a dragon, first boy in space ect) The ending to each story could include the boy being saved by a little girl (referring to his sister undergoing the bone marrow transplant)

(These stories are told as a form of the little boys escapism: Escapism is mental diversion by means of entertainment or recreation, as an "escape" from the perceived unpleasant aspects of daily stress. It can also be used as a term to define the actions people take to try to help relieve feelings of depression or general sadness.)

Media: Children’s (interactive carousel) book.

This book could begin with a short introduction about the little boys situation (briefly referring to his sisters reaction of locking herself away in her bedroom)

The book could then become a children’s adventure story as you follow the boy’s adventures through a series of stories.

These stories could be told through an interactive book as we discussed, allowing the reader to piece together different storybooks and literally travel through them (almost like a pop up book). It could also include a sheet of paper to allow the child to actually use their own imagination and draw the story that they have created.

Story Title:

‘Behind closed doors’

‘Short stories: Behind Closed doors.’

'Behind the Bedroom door'

Concept development

Through the theory of learning with stories it tells us that children should read and use their imagination rather than relying on television and Internet.

- Living world / Spirit world

- (the death of)  a child's Imagination

- Adults imagination: Use a child's perspective

- Child : Teaching them to read and use imagination

  Adult : Teaching them to think like a child

- Fairy tale : Story of tooth fairy. A fairy that comes in the night and takes away television from little children that watch t.v too much.

- Work with NSPCC. Child abuse. Pop Up book? : pull tab to throw a punch. (Hard hitting)

- Magic camera : 

1/ With a simple video camera, the child uses his imagination to create stories. 

2/ From the point of view of the video camera, you can see the reality of what they are filming. 

Similar idea to the movie : Son of Rambo

Plot : A long English summer in the early 80's and two boys are about to form an unlikely friendship. Will Proudfoot has been brought up in a strictly religious household, forbidden to watch TV or listen to music. But after Lee Carter, the school trouble-maker, blows Will's mind with a pirate copy of Rambo: First Blood, Will's easily persuaded to act in Lee's home-made movie sequel. Armed only with a camera - "borrowed" from Lee's brother -- and their limitless imagination, the pair plot stunt after stunt, dodging teachers and family all the way, as they do whatever it takes to finish their masterpiece in time to enter it in the national Screen Test competition. 

Directed by Garth Jennings (Hitchhiker's Guide to the Galaxy), SON OF RAMBOW is a heart-warming nostalgic comedy about two boys with a big video camera and even bigger ambitions.

- Abducted :

1/ Teach children not to go with strangers

2/ Teach parents to keep an eye on their children

- Child's imagination : A brother and sister are told to use their imagination and tell a story through a single image.

1/ From the perspective of the first child. He starts to think what he could draw and we travel through his thoughts on a series of adventures.

2/ From the perspective of the second child. She begins to draw page after page of black crayon much to the concern of her parents. It is only at the end that you discover that the pages form a much larger image that may surprise you!

The last idea involving children's imaginations is what we have decided to develop...

Four (very) good initial ideas

1 / Dreams (freud)

2 / The unseen world

3 / Greek Mythology

4 / Adult vs Child perception of the world

Job allocation and time management

Job allocation: 

(this is not set in stone but is an initial plan considering each members strengths and abilities)

Concept generation - Peter Allinson / Casey Pocock

Researchers - Christina Kalli / Sara Lim

Strategists - Angela Ramos

Story writers - Peter Allinson / Casey Pocock

Motion graphics / editing - Peter Allinson

Illustration / Photography - Christina Kalli / Angela Ramos / Sara Lim

Online / Programmer - Peter Allinson

Branding / advertising - Casey pocock

Project structure :

Time management :

Brainstorming ideas

Philosophers

Philosophers to consider and understand are the works of  Walter Benjamin and Roland Barthes.

Walter Benjamin

The literary-philosophical works of Walter Benjamin (1892-1940) rank among the most quietly influential of the post-war era.

He was a German-Jewish Marxist literary critic, essayist, translator, and philosopher. who was at times associated with the Frankfurt School of critical theory.

Key Text : lluminations contains his two most celebrated essays, 'The Work of Art in the Age of Mechanical Reproduction' and 'Theses on the Philosophy of History'

Roland Barthes

Roland Barthes (1915–1980) was a French literary critic, literary and social theorist, philosopher, and semiotician. Barthes' work extended over many fields and he influenced the development of schools of theory including structuralism, semiotics, Marxism and post- structuralism.

Key Text : "Image--Music--Text" (1977) provides an analogous parallel look at the active and passive, postmodern and modern, ways of interacting with a text.

Presentation One - 3/04/2008

www.yeondoojung.com

Theories

Behavioral Storytelling theory
http://cbae.nmsu.edu/~dboje/690/behavioral_storytelling.htm

Storytelling Theory and Practice

The Toy Story Theory of the Text

http://www.thevalve.org/go/valve/article/the_toy_story_theory_of_the_text/

What's the story? Feminist theory and narrative

http://www.questia.com/PM.qst?a=o&d=96479515

Narratology

Narratology is the theory and stud of narrative and narrative and the ways they affect our perception. In principle, the word can refer to any systematic study of narrative, though in practice the use of the term is rather more restricted (see below). It is an anglicisation of the French word narratologie, coined by Tzvetan Todorov in his Grammaire du Décaméron (1969), and has been retrospectively applied to many studies that were described otherwise by their authors. Although a lineage stretching back to Aristotle's Poetics may be traced, modern narratology is most typically said to begin with the Russian Formalists, and in particular with Vladimir Propp's Morphology of the Folktale (1928).

Due to the origins of the term, it has a strong association with the structuralist quest for a system of formal description that can usefully be applied to any narrative (the analogy being with the grammars by reference to which sentences are parsed in some forms of linguistics). This aim has not, however, characterised all work that is today described as narratological, Percy Lubbock's groundbreaking work on point of view, The Craft of Fiction (1921), is a case in point. Jonathan Culler argues that the many strands of (what he regards as) narratology are all united by a recognition "that the theory of narrative requires a distinction between... 'story' - a sequence of actions or events, conceived as independent of their manifestation in discourse - and... 'discourse', the discursive presentation or narration of events", but admits that this is only implicit in the work of many of the authors he is grouping together in this way. The distinction was originally proposed by the Russian Formalists, who used the terms fabula and sjuzhet, but a succession of other pairs has preserved what is essentially the same dichotomy (e.g., histoire/discours, histoire/récit, story/plot).

To a certain extent, the designation of work as narratological or otherwise may have more to do with the university department in which it takes place than with any specific theoretical position. Although a narratological approach can be taken to any narrative at all, and the classic studies (for example, Propp's) were often of non-literary narratives, the term "narratology" is most likely to be encountered within the disciplines of literary theory and literary criticism: examples of systematic narrative study that would not typically be described as narratological would include sociolinguistic studies of oral storytelling, such as those of William Labov, and studies in conversation analysis or discourse analysis that deal with narratives arising in the course of spontaneous verbal interaction. However, constituent analyses of the type where narremes are considered to be the basic units of narrative structure could be included either in linguistics, in semiotics, or in literary theory.

Learning from stories

The basic theory of learning with stories...

The theory behind learning and encouraging behavioral change with stories is complex and, as with all matters regarding the working of the human brain, there is still much research to be carried out before it is fully explored, understood and explained. In brief, stories are taken in and understood at the first attention level. This first attention level occurs when the brain is in Beta state. The diagram link below shows the four basic brain states.

When a person listens to a story, both sides of the brain are working. The left brain is processing the words while the right brain is actively filling in the gaps. This is the reason why it is so important to read to children, to allow their brains to imagine the story rather than using television and films for all their learning. Good story writers carefully choose visual, auditory, kinesthetic and olfactory words to give the story depth and to stimulate the right brain to enrich the meaning of the story and store it in the memory for easy recall.

The information in the story can also be captured at the second attention level as the brain searches for a deeper meaning. At this level, the right brain is often favored as relationships and patterns are developed. Processing can be in either the Beta or Alpha state but it is an unconscious process - that is, we are not aware that we are doing it. The second attention level is where the story is reformulated to have personal relevance. Sometimes the story stays at this level and causes unconscious behavioral change, or it can rise into the first attention level through an "A-ha!" reaction.

It is vital that the story, myth, legend or whatever is chosen, is selected carefully. Ideally the story should be easily understood at the first attention level but stimulate a search for a deeper meaning at some time in the future.

The following extract from Nelson Mandela's book, Long Walk to Freedom (Mandela, 1995) illustrates exactly how this process works.

"The audience became more and more quiet as Chief Maligqili spoke and, I think, I became more and more angry. No one wanted to hear the words that he spoke that day. I know that I myself did not want to hear them. I was cross rather than aroused by the chief's remarks, dismissing his words as the abusive comments of an ignorant man who was unable to appreciate the value of an education and the benefits that the white man had brought to our country. At that time, I looked on the white man not as an oppressor but as a benefactor, and I thought the chief was enormously ungrateful. This upstart chief was ruining my day, spoiling the proud feeling with wrong-headed remarks.

But without exactly understanding why, his words soon began to work on me. He had sown a seed, and though I had let that seed lie dormant for a long season, it eventually began to grow. Later I realised that the ignorant man that day was not the chief but myself".

The Chief's speech stayed with Mandela for years before the search for personal meaning began which eventually burst into his consciousness.

If you would like to delve further on this topic then How to Influence Others at Work contains a whole chapter on this theory.

Perhaps, you would prefer to go straight to some stories which have been carefully crafted with this theory in mind? Aesop's Management Fablesis full of stories of all genres to use on training workshops. The examples range from managing change to delegation.

Fact or fiction?

Fiction:

Fiction is the telling of stories which are not entirely based upon facts. More specifically, fiction is an imaginative form of narrative, one of the four basic rhetorical modes. Although the word fiction is derived from the Latin fingo, fingere, finxi, fictum, "to form, create", works of fiction need not be entirely imaginary and may include real people, places, and events. Fiction may be either written or oral. Although not all fiction is necessarily artistic, fiction is largely perceived as a form of art and/or entertainment. The ability to create fiction and other artistic works is considered to be a fundamental aspect of human culture, one of the defining characteristics of humanity.

"Fiction has three main elements: plotting, character, and place or setting." (Morrell 2006, p. 151)

Character

Characterization is often listed as one of the fundamental elements of fiction. A character is a participant in the story, and is usually a person, but may be any persona, identity, or entity whose existence originates from a fictional work or performance.

Characters may be of several types:

• Point-of-view character: the character from whom the story is viewed.
• Protagonist: the main character of a story
• Antagonist: the character that stands in opposition to the protagonist
• Supporting character: A character that plays a part in the plot but is not major
• Minor character: a character in a bit/cameo part

Plot

Plot, or storyline, is often listed as one of the fundamental elements of fiction. It is the rendering and ordering of the events and actions of a story. On a micro level, plot consists of action and reaction, also referred to as stimulus and response. On a macro level, plot has a beginning, a middle, and an ending. Plot is often depicted as an arc with a zig-zag line to represent the rise and fall of action. Plot also has a mid-level structure: scene and sequel. A scene is a unit of drama—where the action occurs. Then, after a transition of some sort, comes the sequel—an emotional reaction and regrouping, an aftermath. (Bickham 1993, pp. 23-62)

Setting

Setting, the locale and time of a story, is often listed as one of the fundamental elements of fiction. Sometimes setting is referred to as milieu, to include a context (such as society) beyond the immediate surroundings of the story. In some cases, setting becomes a character itself and can set the tone of a story. (Rozelle 2005, p. 2)

Theme

Theme, a conceptual distillation of the story, is often listed as one of the fundamental elements of fiction. It is the central idea or insight serving as a unifying element, creating cohesion and is an answer to the question, 'What did you learn from the piece of fiction?' In some cases a story's theme is a prominent element and somewhat unmistakable. (Morrell 2006, p. 263)

Style

Style is not so much what is written, but how it is written and interpreted. Style in fiction refers to language conventions used to construct the story or article. A fiction writer may manipulate diction, sentence structure, phrasing, dialogue, and other aspects of language to create style or mood. The communicative effect created by the author's style is sometimes referred to as the story's voice. Every writer has his or her own unique style, or voice (Provost 1988, p. 8). Style is sometimes listed as one of the fundamental elements of fiction. 

Types of prose fiction:

• Flash fiction: A work of fewer than 2,000 words. (1,000 by some definitions) (around 5 pages)
• Short story: A work of at least 2,000 words but under 7,500 words. (5-25 pages)
• Novelette: A work of at least 7,500 words but under 17,500 words. (25-60 pages)
• Novella: A work of at least 17,500 words but under 50,000 words. (60-170 pages)
• Novel: A work of 50,000 words or more. (about 170+ pages)
• Epic: A work of 200,000 words or more. (about 670+ pages)

Two perspectives

Use of perspectives

History museum expert Barbara Franco describes how good storytelling techniques can improve a museum exhibit. She illustrates the point when she says "good labels raise questions and get people thinking." The voice telling the story makes a great difference. First-person encourages the reader, audience, or visitor to the museum to listen and relate to a person, the speaker, not just to the recitation of facts.

An example of a first-person story is The Great Gatsby by F. Scott Fitzgerald. There is also a "third person" perspective in which the main character is seen from the outside and the inside at the same time, heightening the reader's involvement in the story.

Mixes of viewpoints and voices assist in telling extremely complex stories. Franco says it this way: "Audience research has shown that visitors are more willing to deal with difficult topics in exhibitions if they are given multiple viewpoints and are able to hear different sides."

"Addressing the unfamiliar is one way to foster critical engagement," says Joshua Brown, filmmaker and historian. A good storyteller gives the listener or reader a sense of making order out of chaos. So the good storyteller must give the reader a good dose of feeling the chaos, and there has to follow enough order made out of the chaos to give the reader the satisfaction of a good story.

Ever seen something like this in the playground? 

A pupil a (let’s call him Bob) is playing football. He’s just lost the ball, and is really annoyed with himself. He chases after the ball, and in the process barges through a classmate, Sally. Sally, naturally enough, begins crying.

Sally runs to the teacher, and tells her that “Bob hit me!”. The teacher calls Bob across. Bob is furious, shouting that ‘I didn’t do nuffink!”

The truth is that they’re both right! From Sally’s point-of-view, a naughty boy ran across for no reason and hurt her. But Bob was so busy thinking about the ball that he didn’t even notice he’d bashed Sally!

Let’s study an example in detail, for a story The Burglar.

There are two characters in this story, the burglar and the old lady. If they were telling a friend what had happened, they would have very different recollections of this event. The burglar would probably feel embarrassed by the way he was caught; the old lady might be frightened.

We could tell this story in the thirdperson, like this:

Alternatively, we could tell the story in the firstperson:

With ‘one story, two perspectives’, you could tell the story in the first person from two different points-of-view. The first half could tell the story from the burglar’s point of view; the second half is the landlady’s version.

It gives you the chance to show off your clever prose style. You can write the one of the characters using short, clipped sentences, and make the second version full of complex sentences ,semi-colons, colons and brackets.

As with non-linear stories, you have the chance to develop irony. In ‘The Burglar’, what the burglar says is amusing once you know the old lady’s version.

http://www.baldworm.co.uk/Story_structure/two.html

The Short Story

http://www.theshortstory.org.uk/





















Click on the link below for 75 great short stories:

75 Great Short Stories

New and forthcoming books

Short story collections to watch out for

Just out

The latest book from Anne Enright, winner of last year's Man Booker Prize, is a collection of stories called Taking Pictures (Jonathan Cape). As Hermione Lee wrote in the Guardian on 1 March, 'Every one of these stories takes you to a place you might rather not be in, but which you are drawn in to explore, allured by their dark brilliance'.

Gerard Woodward's new book, Caravan Thieves, is out now, published by Chatto & Windus.

Dream Lover (Bloomsbury) is a selection of William Boyd's short fiction from across his career.

Peter Hobbs's collection I Could Ride All Day in My Cool Blue Train has just been published as a cheaper paperback by Faber. Don't miss these extraordianry stories.

Cate Kennedy is highly regarded in her home country of Australia - she has won The Age short story competition twice, and her stories have been published widely (including in the New Yorker in 2006). Although Kennedy's stories are often domestic and local in setting, they are universal and unerringly human in sentiment. Her characters, young and old, speak eloquently of the hidden motivations that propel us all to act, often without realizing it. Dark Roots was published in January.

Forthcoming

Caroline Oulton's Unsafe Attachments explores the relationships of a loosely interlinked group of Londoners (Hutchinson, May).

Christopher Hope's In the Garden of Bad Dreams will be published in May.

August sees the publication of Gerard Donovan's Country of the Grand and the Collected Stories of Lorrie Moore (both Faber).

In October 2008, Jonathan Cape will publish Direct Red by Jessie Corfield, a collection of 12 stories about what it is like to be a surgeon.

In November 2008, Canongate will publish a collection of short stories about the Vietnamese boat people by Vietnamese writer Nam Le. The book's title will be The Boat.