Finished The Hunger Games

I finished the first book of The Hunger Games last week.  It has a dystopic setting, but the story's told as an action adventure. I recommend the book for both readers and writers. =)

In my second story-writing class, I needed more conflicts for the character. The Hunger Games constantly has conflict, which keeps the story going and gives the character Katniss many decisions to make. The book is now an example for me.

I started reading one chapter at a time until some point in the game. I was then reading three chapters at a time. One day as I cleaned my room, I read a section after each time I put something away. I read even before an interview.

When I had three chapters left, I rationed them again. Willy Wonka's reaction to Augustus Gloop's situation is a great way to describe the thrill of reading The Hunger Games:

"The suspense is terrible. I hope it'll last." 

(The line is originally from 30,000 Leagues Under the Sea).

Here's an interesting passage from chapter 13 (Small SPOILER):

Where are the Gamermakers driving me? ...To a whole new terrain filled with new dangers? I had just found a few hours of peace at the pond when this attack happened. ...The wall of fire must have an end and it won't burn indefinitely.  Not because the Gamemakers couldn't keep it fueled but because, again, that would invite accusations of boredom from the audience.

Think of a Gamermaker as a writer and the audience as the story's actual audience (Meta!). Katniss is then questioning the writer's direction. Readers would have been bored if Katniss got to rest a whole day at this moment. They want the story to keep moving.

She's also alone at that moment so just like the Gamemakers, both writer and reader want her to interact with the other characters.  We feel sorry for her pain but back to danger and love! I'm curious if the author, Suzanne Collins, intended to draw attention to the reader's self by mentioning an audience. How much pain and drama did you wish upon Katniss and Peeta?

The quoted section also shows writers that they drive their characters into an adventure. Give them opportunities to make decisions and grow. Character growth gives your readers more than suspense and entertainment.

In addition, writers have to push their characters around to view more of the setting and society. Like pushing a cameraman around.  You push to capture more, but the character or narrator is the one recording details.

How was the suspense for you?

Pausing One Dystopia For Another

My younger sister talks about the movie adaptation for The Hunger Games by Susan Collins in March 2011. Even my mom has read the series already. Haha. Thus, I bumped the first book higher on my reading list and have even stopped reading  Nineteen Eighty-Four  by George Orwell.  (I may have spoilers in this post!)

 Nineteen Eighty-Four has been a slow read for me, especially because I note elements of dystopic societies such as systems and rules. Here is my book with color-coded sticky notes (I barely passed the half-point):

I wrote on only a few sticky notes. The rest just mark passages.


The Hunger Games has been a faster read, which makes this book better than Nineteen Eighty-Four  for young adults. Sometimes Nineteen Eighty-Four  has long passages about regulations that are close to a manual.

I'm glad I read past chapter 2 before I wrote this post. I'm on Chapter 6, and I have placed 4 sticky notes (I limit myself because the book is my younger sister's).

At first I noticed how the main character, Katniss, is not as blind as many dystopic protagonists. She disagrees with her society and knows how little the government cares for people in her district. Winston in Nineteen Eighty-Four is the same way, but Katniss' attitude is stronger. Then I felt that she knew too much, especially for an adolescent.  Also twice already a moment was explained instantly instead of letting the read figure it out.

However, when Katniss changes her mind about Peeta's motives, I saw that she is confident in her view of things (The reader gets to interpret!)  This quality makes her seem more dystopic and adolescent to me. She may be blind about some facts after all.

The Hunger Games does differ from other dystopias by starting the story after a rebellion. Society has already stood against the government, and the people now face the consequences of their failure. The oppressed life has become more harsh for all common folk.

In addition, Katniss is in the same position as Julia in Nineteen Eighty-Four but the attitude and situation differ.  Julia represents the generation born into the dystopic world. She has grown up oppressed and cannot imagine a world without the current government. She breaks rules for fun. However, she is shown through Winston's eyes who has memories prior to the dystopic world.

As for Katniss' world, the adults who remember the failed rebellion seem to have broken spirits. The generation of Katniss may be broken as well from the consequences and conditions. However, survival is more at stake. Thee will to survive and refusal to accept imposed ways show potential and hope.

Suzanne Collins does a terrific job of keeping her readers in anticipation. I long for answers to my questions such as, "Once tributes enter the game, are they stuck in there until the game's over?" (I think I know the answer already but I have to see the answer. Haha). I try to read whole chapters at a time to pass the suspense of just that moment.

Who has read or is reading The Hunger Games? Please do not say anything pass the training center though. I long to see my questions answered.

Do you mark passages outside of school?

Hemingway's iceberg - minimalistic

I mentioned Ernest Hemingway's style in a comment on my post "Personify," but the subject should be blogged. Towards the end of the post I will explain the narration of my comic strip "The Affair."


Hemingway called his minimalistic style the iceberg theory, where only 10% of the information is given.  In a story, he eliminated all that the reader can assume, leaving what the reader could not assume.  Just the essentials, or the minimum, needed to understand the story.  


David Malki, creator of Wondermark.com, has a visual example of this style improving content. The Garfield strip below is redundant through the visual and text. 

Malki states, "the punchline is set up twice and delivered twice." 
Here is Hemingway's theory of just the essentials applied to the strip:

Malki on the strip above: "It allows the reader to connect the dots, and engages them in the narrative.  It leaves room for interpretation, and for Garfield’s true thoughts to only sound in the theater of the reader’s mind."

Without the speech bubble in the first panel, the reader can interpret that Garfield's throwing the ball for fun. As soon as the Odie, the dog, is spotted, the game of catch is determined.  So redundancy killed the humor because all the interpreting work, in a reader's role, is done already, leaving  the reader no reason to linger on the story.  

For more on Garfield, look up Eric Burns who Malki referred to as the one who noted Garfield's redundancy.  Malki has more posts on newspaper comic strips in Comic Strip Doctor. 

In my comic strip project, "The Affair," I intended to state what the reader is less likely to determine on his/her own.  Click the image for a full view.

I never describe the affair mentioned in the title because the reader can interpret the Jack's  interest in the Queen from his shortened distance. If I state that the Jack moved closer to the Queen, then text would be redundant.  Instead I narrate the actions and feelings of the other characters which cannot be easily determined from the visual. The minor characters get their story in the captions because the main story is visible enough.


The next time a story seems to be about nothing check if you, the reader, have interpreting work to do.  


For writing, this minimalistic style is more difficult because the information is all text.  The easier cases are dialogue and description.  Do the character's repeat too much of what the narrator states?  Inner dialogue, thoughts, typically do not need to be repeated in conversation.  Having someone read your story can help to determine what can be assumed and what cannot.

Can you think of an example of this minimalistic style or a story that could use it?