Tag: short story

  • “The First Time Ever I Saw Your Face”

    by
    Donald L. Vasicek
    First North American Serial Rights
    About 600 words

    Maybe it was the Mayan symbol for sun tatoo just down
    over your rounded, smooth shoulder. Or the sleeveless,
    flower print dress garnished with those white, little
    daisies against the background of the navy blue cloth, that sort of
    of clung on your hard body like a sack. I don’t know what
    caused it.

    I know I watched your breasts heaving against the
    flowers, behind the cloth each time you took a breath. I
    knew they were there.

    And as you talked, I watched your smooth lips, like
    quarters of fresh peach slices, cause some magic. Yes,
    it was magic that day.

    Up and until then, I always thought of you
    as sweet, young and in China. I wanted to help you like I
    do Panther now that the embolism took away most of his
    right hind leg.

    You know, sort of a be-there-all-the-time-guy to catch
    you when you fall, I guess. Who in the hell knows? Well,
    shit, I know and I’m bleeding to death because of it.

    I walk the halls of life like a paper cup blowing
    across a parking lot. First, I shoot off like a rocket.
    Then, I pause. I wait. I need an attack. And something
    comes along and pushes me so violently I zig zag and bump
    up and down.

    Then, just as brutally, I’m sucked up into this vacuum
    and whipped like cream. I fly from side-to-side and drift
    up into the air like God gave me a gentle shove. Finally, I
    flutter to the asphalt parking lot and a Humvee runs over
    me.

    Since that day I’ve been a stranger to myself.
    It was the words you spoke that day. It was how you
    spoke them. It was how you talked limitlessly, unguarded,
    secure, happy and confident in yourself. You burrowed into
    me with your shyness tapping your finger just above your
    mouth on the right side. Your words. Your unruffled face.
    The sparkle of your blue eyes against your pristine black,
    so black, wavy, soft hair, mauled me. And yet, your hair
    was sort of a rust color like Panther’s sheer black coat
    when a sliver of sun slices across him like it did to you
    across the table from me that day.

    It’s a dichotomy, you know. Faultless black with a
    wedge of rust in it. Nothing is perfect, or is it?
    It were as though I changed from one minute to
    the next that day. We met for lunch just like we had all
    those times before. To talk film. Books. To talk
    writing. Politics. Denver. Columbine. Jeff. Moving to
    LA. The Women In Film Group. Your dad. Your mom.
    Juney and Anthony. Baltimore. Your script.
    My script. My, my, my.

    And when you pushed the salad into your mouth, you
    know, the lettuce, the tomato, the cabbage, the sprouts,
    the sunflower seeds, the carrots, the cucumbers and the
    pinch of vinegar and oil, I watched you like I beheld THE
    CIDER HOUSE RULES. They sort of folded into each other and
    disappeared somewhere inside of you.

    It was like reading an Elmore Leonard novel. I couldn’t
    wait to get to the next word, the next sentence, the next
    paragraph, the next page, the next chapter and the end of
    the book. Even though I was working my ass off immersed in
    you without even realizing it, the essence of your being
    permeated my subconscious mind. It nailed the fortress of
    your sum and substance into me. I was hammered into a
    consciousness that twisted my life around like a corkscrew.

    Before that day, I perceived you as a sweet, young
    woman who was bright, worldly, naive about the film
    business and your heart, and attractive. I never gave one
    thought to loving you. Not one thought before that day.

    You were too genuinely nice to me. Too innocent-like. So,
    so delightful. You accepted me for who I was. A
    writer/filmmaker. Mostly positive, pleasant, but a pariah.

    A renegade. I spoke like one about how we treat animals
    and how we should treat animals. And about guns and
    Charlton Heston and how I wondered if I should send him a
    card of praise everytime someone was killed by a gun or
    when he read the BIBLE on PBS. Somehow, it reminded
    me when I first noticed that our town mayor was
    someone who murdered animals and he went to
    church every Sunday. How can that be?

    You laughed. Just laughed and looked into my eyes.

    I’m still not sure if you agreed or disagreed with me. The
    thing that probably riveted me to you more than anything
    else was how closely you and I were able to talk with each
    other. We were able to be our human selves.

    Isn’t that remarkable? It made me feel as though
    we were one. Since then, I haven’t been able to
    think about anything or anyone else except you.
    Well, maybe, except Panther and my writing.

    How can this be, darling? You’ve gone off with some
    handsome dude, a good guy, and I saw you being pregnant,
    and I didn’t even get to tell you that I love you.

  • “Writing Sex, Violence and Hooking Your Audience”

    by
    Donald L. Vasicek
    Olympus Films +, LLC
    Writing/Filmmaking/Consulting
    http://michaelc.nextmp.net/wordpress
    dvasicek@earthlink.net

    You need simply to watch the first ten minutes of “The Sixth Sense”
    to learn how to get your readers hooked. A supernatural thriller
    that was one of the box office surprises of 1999 primarily because
    of its appeal to a large demographic that spanned families to adult
    viewers, shows sex and violence in the opening five minutes of the
    movie.

    I use “The Sixth Sense” as an example because it depicts well what
    producers look for in screenplays, and editors look for in novels and
    short stories. M. Night Shyamalan, the writer/director of “The Sixth Sense”, was
    able to begin the movie with sex and violence and still attract kids,
    parents, teens, couples, and marrieds with the storyline of a boy
    who sees dead people. This approach to writing screenplays or
    novels or short stories because of its wide audience appeal, and thus,
    a better opportunity to sell tickets, books, etc.

    If you’re serious about getting produced as a screenwriter, or
    published as a fiction writer, you would serve yourself well if you
    studied movies and books that do well at the box office and book
    stores. Look for what happens in the first ten minutes of the movie,
    or the first few lines of the novel or short story. Look for how sex
    and violence is incorporated into the storyline and theme(s), particularly
    for a wide audience, and how tastefully. Blend sex and violence with
    the theme and you’re on your way to being successful.

    See you next time. Be sure and bring a refreshment. A glass of
    spring water, perhaps, some carrots, and a tuna sandwich. Experience
    what that does for studying and reading how to successfully write.

    Pax.