Frankenstein Creative Writing

I wander through the misty woods, pushing brambles to the sides with one hand as I guard my Canon camera with the other. I stop as come a small stream, I flip my bag to the front of me and reach into my backpack. “It has be in here somewhere.” I mumble to no one as my hands move around the items in my unorganized bag. I finally pull out my instructions on how to get to the abandon house that I had written down from the internet earlier. I shove the wrinkled paper back into my bag and cross the river then turn left. Twenty minutes later I appear at an old broken gate with a slightly sinking house behind two pine trees. My eyes dart quickly to the rusting No Trespassing sign and back again to the broken gate. I carefully lift the gate above the

It donned a large cloak of silken strands of the deepest silver. Its tail was long and eagerly wagged in rhythm with the arched floppy ears. It had eyes of golden thunder that became two suns in the cloudy sky of its face, but as soon as I reached to pet the creature, it galloped away, leaving me in the wake of the swirling dust and sand. I sighed, but my spirits were lifted by the sight of a person walking toward me. A god perhaps, for I saw no settlement in the vicinity.

Several fields have studied the relationship between creator and creation. The most significant aspect of this research considers the difference between nature and nurture. Sociologists, psychologists, scientists, and other professionals have tried to pin down the exact distinctions between these two types of upbringings. In literature, the same questions have been asked and studied using fictional characters, most famously in John Milton’s Paradise Lost, in 1667, and Mary Shelley’s Frankenstein, in 1818. The complexity of the characters in these texts creates the theme of nature versus nurture before they diverge and arrive at differing conclusions.

The novel Frankenstein; or the Modern Prometheus cannot be categorized into only one genre because it has various features of different genres. It is certainly a tragedy. Although the core narration starts with a story of how Frankenstein’s father meets and marries the protagonist’s mother, she first has to endure the death of her father called Beaufort. Thus, the novel already begins as a tragic exposition. As a result, the narrative fiction ends with almost everyone including the protagonist and the antagonist as dead.

     In her novel Frankenstein, Mary Shelley explores a wide range of themes concerning human nature through the thoughts and actions of two main characters and a host of others. Two themes are at the heart of the story, the most important being creation, but emphasis is also placed on alienation from society. These two themes are relevant even in today’s society as technology brings us ever closer to Frankenstein’s fictional achievement.

When man decides to assume the role of God, consequences are bound to plague such an ambition. In the case of Victor Frankenstein, the protagonist in Mary Shelley’s Frankenstein, the product of such an ambition is a creature born of the dead. Despite the frightening process of his creation, the creature wakes into the world as a benevolent being. He simply longs for acceptance and friendship, but due to his unsightly features, the world is quick to condemn him as the monster he appears to be. With an unbearable sense of rejection in his heart, the monster begins to turn wicked. Soon enough he is responsible for multiple deaths in the name of revenge. Although many treat him unfairly, the monster is fully aware of his actions

She walked up the stair unhurried, her steps confident, and her hair still perfect without fault. As she reached the top of the stair there was slight hill that rose up before her, stood heavily on top was a creature that made her top lip rise in an act of disgust. It was easily 7ft tall, built similarly to a man, but its legs were thick and tough, no feet at the bottom like any person, they resembled an elephants, hard and wide, made to balance the large creature it was carrying. Its arms were disproportioned; the top of the arm was thinner than the bottom, getting wider and more engorged as it got closer to its hand. The hand looked like a swollen mess, heavy and fat with its tiny fingers poking out, similar to a plastic glove that had been blown up like a balloon. But it was its face that was the most disgusting thing to the girl. It was small and lumpy, its mouth taking up a large part of it, almost splitting the face. The mouth was long and thin, the sharp spikes of teeth had shot through its lips on multiply occasions, leaving the tough skin around its mouth shredded and scarred. And at the top of its head was its eyes, they were fish like, unblinking and dull. The creature in front of her was disgustingly

I relaxed on my deck outside, basking in the streams of sunshine and sticky humid air.

Almost all great works of literature contain allusions to other great works of literature that enhance the meaning of the work. Mary Shelly’s Frankenstein is an excellent example of a major literary work that contains a sustained allusion to another major work. Frankenstein contains many references to Milton’s Paradise Lost, and the two stories are parallel in many aspects.

In Marry Shelley’s Frankenstein, the powerful creature represents the physical manifestation of the ugliness and selfishness of Victor’s desires as well as being the solution for his need to escape from the elements that threaten his way of life.

The girl reached the clearing, sighing of relief, but she was far from safe. Leaving the bushes and trees behind meant that the creature wouldn't be able to hide, its camouflage rendered useless, but it would also have freedom to move. The birds stopped their chirping, and just the buzzing of mosquitoes in the nearby pond broke the silence, not even her breath could be heard. The predator, a long lizard-like being covered in kaleidoscopic feathers stumbled out of the vegetation, its six legs moving in unison, its size almost equal to an Earthly horse. Its short tail, able to snap a small tree whipped the earth. The jaw, who could maim her in a bite, clicked in anticipation.

Many people know that Mary Shelley, the author of Frankenstein, was part of a family of famed Romantic era writers. Her mother, Mary Wollstonecraft, was one of the first leaders of the feminist movement, her father, William Godwin, was a famous social philosopher, and her husband, Percy Shelley, was one of the leading Romantic poets of the time ("Frankenstein: Mary Shelley Biography."). What most people do not know, however, is that Mary Shelley dealt with issues of abandonment her whole life and fear of giving birth (Duncan, Greg. "Frankenstein: The Historical Context."). When she wrote Frankenstein, she revealed her hidden fears and desires through the story of Victor Frankenstein’s creation, putting him symbolically in her place

Last winter, I went on a camping trip in the woods. As we unpacked our tents, I couldn’t believe what I saw. Two red eyes glowing right at me behind a bush. They were getting bigger and bigger the closer the creature got to us. We usually go camping in this forest, but this was the first time I saw something strange here. My stomach churned as I noticed the bush starting to rustle, alarming me that the creature will jump out and kill us. ¨Hey Matt, do you see those big, glowing, red eyes too?¨ I whispered, still looking at the creature hidden behind the bush. Matt, my best friend, was too busy fighting the cloth of our tent because he got his legs somehow stuck.

The Gothic novel Frankenstein by Mary Shelley Wollstonecraft absolutely advocates change and up to a certain degree shows concern of the social attitudes and customs of the 18th and 19th centuries. Mary Shelley successfully created a fiction that was meant to indirectly criticize the practices of the time. Shelley wishes to modify the fact that knowledge that existed during the late 1700s through the 1800s were being used for detrimental purposes, although some were being used for honorable purposes; she also expresses concern for the intrusion of technology that was being experienced at the time the novel was written.

It was almost like he was praying to the rich-silver sculpt of a complete villain! He couldn’t have been, for the creature was no god. It was once a being, like us, who roamed the neighboring grounds and haunted a house north of the forest to three gentle hills and three large houses. One always belonged to the Prearrian’s and the other to the Lilac’s, but the third was the special Weedings. It was a terror, and just maybe did the monument act as the authentic burial site of the creature whom the family had killed...Just