mixtape writing contest 006 has been announced.
submissions due july 9.
Editor’s note: “It took exactly 18 minutes” is one of the winning entries in the Faulkner Mixtape Writing Contest. The challenge was to create a nonfiction piece with two different narrators.
It took exactly 18 minutes
The clock said 7pm. Amidst all the chaos I make a mental note of that. Maybe I’m trying to calm myself with something to focus on. It didn’t last long as here comes another one. Christ that hurts. My fingers are gripping the bed rails. There are about six women in the room and a man has taken Mark away to change into overalls. I’m being pricked and prodded from all directions. Paperwork being flicked through. Questions being asked. Previous answers being confirmed. What the hell does it matter? Just get on with it would you! That bright light right above my head is pissing me off. Onto my left side. In goes the epidural and my third blood vessel catheter in four weeks. Through the next set of swinging double doors and we’re in theatre. Curtain goes up. My husband is six-foot-five, he’ll be able to see over that when he gets here. My arms are placed out like I’m on a cross. Bags of blood are lined up. Reassuring words come from very nice midwives and anesthetists, all women. This room is full of specialists. Mark arrives in green overalls and a blue shower cap and even though I’m scared shitless I’m laughing as he looks hilarious. They’re too short and they haven’t got wellies to fit his size 15s so he’s wearing thongs! He’s sitting beside my head and sure enough they raise the curtain up another few inches. Can’t have him passing out. Continue Reading »
Editor’s note: “6 p.m., Cerro Fortin” is one of the two winning stories in the Faulkner Mixtape Writing Contest. The challenge was to write a nonfiction story using two different narrators.
Author’s Note: The scene: 6 p.m., a hiking trail in Mexico. 1st narrator: Mexican police officer. 2nd narrator: Sarah
6 p.m., Cerro Fortin
Estábamos subiendo la colina cuando vi una guërita, bajando lento con un perro, no mames, buey, un perrote, con unos pinches dientotes, jalando por adelante este guërita flacita. Ella lo jaló por atrás y lo intento parar pero parecía que iba el perro ganando.
“No mames, buey,” le digo a mi compañero, “mírale este guërita. Que madres esta haciendo solita por aquí a las 6 de la tarde?”
“Pidiendo desmadre,” dijo este compañero mío, aburrido.
“Verdad?” le digo. “Quieres pararla?”
“Para que?” pregunta. Pretende ser flojo, pero sé que es mas nervioso que yo, que se pone nervioso con estes jueguitos.
“Para que no, cabrón?” le digo. Continue Reading »
1. All knowledge and cultural reference is assumed. [Anyone reading your story also has access to Google, Wikipedia, and millions of websites and blogs.]
1.1. Therefore any explanation placed within the body of a narrative [For example: "He had on a boina, the South American version of a newsboy cap," or "He was listening to Outkast, a hip-hop group from Atlanta] tends to slow down or obscure the narrative flow and/or potentially alienate the reader (if he/ she already knows what the referent is).
1.2 Therefore the narrator should simply describe / narrate, and if necessary, add references via (a) links, (b) words in parenthesis, or (c) footnotes.
2. Emotions are never assumed [Ex: "She seemed happy that morning."], but can only be portrayed the way they were perceived by the narrator, [Ex: "She stood in the corner punching herself in the stomach."]
2.1. Any changes effected by or perceived by the narrator either (a) within him/herself or (b) outside of him/herself, must be placed in temporal context* [Ex: "Right now she would be around 6 months pregnant and we’re both grieving this in our own ways."]
2.1.a. *unless it is fiction.
3. Narrators should be self-aware and transparent about (a) their connections (and / or lack of connection) to the subject, (b) the temporal / historical context of the subject, (c) the potential effects of their writing on the subject, (d) their acknowledgment of using various mimetic or diegetic devices as storytelling “vehicles.”
3.1. Logical fallacies, incorrect information, hyperbole, and other potential “issues” are all “ok” as long as they are recognized transparently.
4. Narrators should develop / operate from a lexicon faithful to the way they speak / think in real life.*
____________________