Fat: A Fictional Narrative Essay

had a strange pull to gore, she knew she would enjoy this. She speeds toward the adult, her hair sticking to her sweaty face, caught in her nose, mouth and eyes. The adult keeps snarling and charging at her, grunting and wheezing with every step his fat, greasy body makes. Dead plants and sticks rake Aliea’s legs, she sucks in air, trying to ignore the pain in her side. She presses her free hand to her side and keeps on charging, faster, faster, faster is all she can think about. She grips the stick

Him bending to pick his clothes from the floor always made me raise my head from the pillow. Him leaving was his best side. He liked to see the back of me as well. It was a relief. But to say it out loud would not be good. So we pretended it was all happy sunshine everyday. “You going to the store already?” “Uh huh.” Jesus, he couldn't even bother answering me properly and here I was making an effort. I rolled my back to him and drew the cover over my head. “Have a good day.” “Uh huh.” Closing

She stopped. The flat gold carpet tipped at a forty-five degree angle, then swirled away when she reached for it. The end table swooped and crashed a sharp edge into her arm. Then the floor lunged in and slammed against her side but not before her outstretched arms cleared the table of pill bottles, candles and lotions. The black lamp tipped, embroidered shade popping off and she felt the fall vibrate the walls as she lay there breathing. A lazy film of powder rose from where the light bulb used

of the plot. With weak characters comes an even weaker narrative. Strong characters are especially needed in works of fiction; without firm character development, the reader can become bored with the story at hand. In actuality, creating a fictional character is not that burdensome. If you follow a few simple steps, then forging a firm fictional character is actually an uncomplicated process. The first step in creating an established fictional character is envisioning your character’s personality

person do when they experience writer’s block? Get rid of all distractions? Create a deadline for yourself? Well, if you’re Charlie Kaufman you write a meta-fictional screenplay about it. In her article, “Adaptation, Metafiction, Self-Creation”, Julie Levinson writes, “Adaptation is an exemplar of a particular type of metafiction in which the narrative charts its own processes of creation” (Levinson). In short, Adaptation follows Kaufman’s struggles to adapt The Orchid Thief by Susan Orlean, which is about

different level of education, does not mean we are going to get fat and gain 15 pounds.The thought of gaining 15 pounds seems overly questionable. According to Thrillist, the term “Freshman 15” was first used in a 1989 issue of the Seventeenth magazine (Anderson). The subheading of the cover was dubbed “Fighting the Freshman 15”, which was to fight against body shaming of gaining 15 pounds as a college freshman. Freshman 15 is completely fictional because students don’t actually gain 15 pounds, students

light of this quotation, compare how the writers explore gender. 'Wide Sargasso Sea', by Jean Rhys, and 'Sula' by Toni Morrison are both novels that respond to the issues of women that are confined to their social roles. Grace Nichols' book, 'The Fat Black Woman's Poems', supports and also contrasts the views of both Rhys and Morrison. All three texts question gender roles and oppression in society. While Nichols is very outspoken and doesn't let her gender confine her, the main character in Wide

Historiographical Essay Over time, historians have interpreted the use of animal imagery in western folk and fairy tales as a means for providing entertainment and moral lessons to western society. However, many historians have different ideas about how animal imagery and stereotypes actually affect a society besides keeping away from wolves and bears and such. Dr. Jack Zipes, a professor of German and comparative literature, promotes in his paper, "What Makes a Repulsive Frog So Appealing: Memetics

the classical Hollywood cinema; the changes have a direct effect on the relationship the film has with the viewer. Classical Hollywood cinema includes standards such as continuity editing, highly motivated, character-driven stories and a coherent narrative structure. Breathless defies these elements of traditional filmmaking, instead defining what we know as French New Wave. From its opening scene Breathless breaks convention. Michel Poiccard, the main character in the film, is seen at the beginning

desktop you get to can also go through her emails. The emails are as thrilling to read and see as the content in the folders. When you get tired of creeping through Nina’s desktop, you can start to play Valtameri a fictional stand-in for the real game. In Valtameri is where most of the narrative of the game take place mainly because this is where the relationship between Nina and Blake took place. The game has the traditional MMO inbox in the top left corner of the screen when you can read the chat messages