Rebelling with Tchaikovsky

The concept of time off: I don’t seem to have it. But I keep looking for it, and maybe one day I’ll succeed.

After having not blogged since before Thanksgiving, I find I’m equal parts short on time and rebellious toward my editorial calendar. In case you’ve yet to hop on the latest fad, editorial calendars are these things writers are supposed to make so we know what to write on which day. Which means we have to figure that out weeks in advance.

Which, if you know me at all, you’ll understand this is simply not the way I operate. But I keep trying anyway, because I’m really good at feeling inadequate when I can’t do the stuff everybody says I’m supposed to do.

Which seems to mirror my screenwriting life at the moment, because after forcing myself to slog through yet another outline in preparation for my second draft, I now find myself passionately opposed to writing the script that goes with it.

They say women are mysterious, and I am proof.

I heard this quote from Tchaikovsky last night (composer of fantastic works such as the Nutcracker Suite), and I think we would have gotten along:


Then he also said:

If we wait for the mood, without endeavouring to meet it half-way, we easily become indolent and apathetic. We must be patient, and believe that inspiration will come to those who can master their disinclination.”
― Pyotr Ilyich Tchaikovsky

So this is me, attempting to meet the mood halfway. Against my will, against my better judgement, but with a little bit of hope… I’m sitting down to write and it might get ugly.

And it most certainly bears no resemblance to my editorial calendar.

Receiving Critique

Whether they’ve been asked for it or not, most people when confronted with a creative work of obscure origins will give an emphatic opinion about it. I’ve experienced this multiple times, and so have you.

“I thought it would be better.”

“Maybe change the beginning so it takes place in Africa.”

“Make it funny.”

All of which are actual notes that I have received from real people who read my writing.

Thankfully, I’ve also been blessed with readers who give notes that are actually helpful. The thing is, between the helpful stuff and the unhelpful thoughtless stuff and the amazing completed stuff there lies a Great Wasteland of Indecision.

Today I would like to consider some strategies for crossing that wasteland and coming out the other side – as a better writer with a better script. I want to consider these strategies today, because today I am a lonely writer plodding through the parched, pathless sand. And I need to remember what the heck for.

So in no particular order, I give you these…

Possibly Helpful And At The Very Least Completely Innocuous Thoughts:

4 Strategies for Implementing Script Notes | Traveling Screenwriter

1. Be indecisive and okay with it

When I’m fresh off a rough draft high, it’s tough to hear that it’s not good enough. Even though I know this, I’ve been anticipating it even before Fade Out, it’s still a thing to be processed emotionally and intellectually. At first, you will have no idea where to go with these constructively critical responses. You will just have to stare at the wall for awhile and let it sink in.

I don’t know if anyone can relate to this, but when I finish a draft or a revision, I honestly feel like it’s the best I can do. So when the inevitable feedback comes, it’s like: I can’t. I can’t make it any better than it is, because this is my best.

But of course you can. I can. It just doesn’t feel that way at first.

2. Try not to listen to the voices of darkness

As if we don’t have enough inner chatter, between characters and plot shenanigans and the angsty inner story every writer is really trying to tell, our doubts and fears want to point out a few things too. It gets super noisy.

So do what you gotta do to boost confidence, quiet unease, and quit comparing yourself to others, but know that the noise will probably never disappear altogether and that’s okay. It’s normal. We all have it.

Of course if you are successful at ditching the voices altogether, then that is really neat.

3. Make two piles

Keep and reject. Of the comments I received on my script, which ones resonated with me (whether I like it or not) and which ones do I completely disagree with?

Some feedback will hit home. I know it’s true, even if I have no clue where to begin implementing it. Other feedback is just not connecting for me, no matter which angle I view it from, and when that happens I think we are totally fine to disregard it.

Or, if you’re like me and just have to believe that everyone in the world sees something useful that you don’t: try to get to the spirit of the critique. If someone feels my protagonist lacks motivation in Act 1, and I can’t seem to add anything that works for me, then maybe something else in Act 1 needs to go.

See, this is why revisions are exhausting. But worth it. Probably.

But whatever changes I make, I know that I as the writer am responsible for them. So I’m not making any changes I don’t feel in my gut are working for me. And I don’t think that’s arrogance, it’s just being real about the story I’m trying to tell. And no one else really knows what I’m shaping in my head – it’s up to me to bring it out and show them.

4. Don’t give up

As I write and rewrite, I have to keep connecting with the core of the story – whatever fascinated me with it in the very beginning. Whether it’s a character flaw or a curious world, I need to keep enthralling myself with that basic element. Otherwise I get lost.

The fun stuff is what keeps me oriented, keeps me telling the story I set out to tell.

And with any luck, after all the critique and deep dark questioning and sweating blood, we end up with an even better, clearer, more compelling version of that idea nugget than we ever thought we could write.

Onward we trudge, faithful screenwriters! For we shall cross the Wasteland of Indecision and reach the Promised Land of a Finished Screenplay. Keep hope alive.

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Giving Critique (Without Losing Friends)

Being a writer, I seem to have befriended a bunch of other writers. We sometimes like to show each other the stuff we’ve written and ask the fabulously flippant yet incredibly dangerous: “What do you think?”

What do I think?

So many things. I think very many things about another writer’s screenplay. But I can’t tell you all the things I’m thinking, because 1: it will be overwhelming, disorganized and completely unproductive and 2: you’ll never speak to me again.

So in the interest of actually helping my fellow writer come up with a better script, I have a few basic strategies that help me craft a useful response. Three, to be precise.


1. Start with the good news. There’s always something encouraging and good about a person’s writing. I don’t mean a trite introductory nicety to delay the inevitable – but a genuine, “these are the things I admire about your style/concept/characters/dialogue and this is what I enjoyed about it,” kind of thing.

Some folks like to comment on each part of the script as they go through it – chronologically so to speak. So as they come across something they like, they note it in order. Even so, I still recommend starting with an overall happy note of feel-good optimism, because even if a script is bad – like, redefining my standard of bad – it still took discipline and courage to write it. And that’s worth commending, even if it smells worse than feet.

2. Look at the big picture. When you tally up all the problems with a script, what are the common themes? Are there any bad moves that snowball into other bad moves? Is there a chicken and egg situation?

It’s a lot easier to think about improving a few major pillars of a story than to try and get your head around a lot of smaller problems. Fundamentally, this is really the writer’s problem not the reader’s – but since I’m giving feedback I may as well make it good.

3. Inspire improvement. It’s tempting to suggest specific changes to solve problems, but I try to avoid this. I’m not writing the script. I’m not rewriting it. I’m just trying to help give some perspective to my friends so they can do the rewriting.

The last thing I want is to take over another writer’s story and start pushing it in a direction they don’t want to go. So rather than offering specific solutions, I’m just trying to inspire better writing. It’s probably not as difficult as I’m making it sound. You know what I mean, right?

Even after all that, I still reread my notes and take a deep breath before I hit send. And usually I get a reply.

Thanking me for my thoughts and expressing eagerness to work on the next draft.

Just as long as you’re still speaking to me.

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In Process

No two writers are the same. Perhaps the process of creativity is one facet of the work world which is continually elusive, never really containable or describable. There doesn’t seem to be a pattern or formula that we can follow to replicate another’s success.

And yet we keep trying.

It seems I’m always comparing myself to other writers and spectacularly popular artists, trying to glean fresh inspiration and awareness from their example. It works up to a point, but there are only so many books to buy, videos to watch, and classes to take before I just have to sit down and face the page on my own.

I’m reading a fantastic book: The Forest for the Trees, by Betsy Lerner. Betsy is a book editor, writing to writers about the magnificent perpelxitude that is a writer’s life.

In a charming style that is so completely relatable, Betsy describes her perception of writers before she chose a profession that would grant her an intimate acquaintance with them – all the zig zaggy foibles, neuroses, and arrogance of them.

Now that she’s seen behind the curtain, those lofty perceptions are gone. But the fact remains that many of us continue clinging to this false perception that other writers are so different, so much more consistent and disciplined, so much more knowledgeable than we are.

We all – every one of us – is in process.

We all struggle sometimes. We all feel highs of elation when a perfect idea comes to us and the story seems to write itself. We all get stuck in the miry clay of creation, with that mysterious shape that could become literally anything. We all wonder if what we’re making will be any good. Or if it will be so good that no one gets it, and our treasured art is going to grace the walls of somebody’s poo palace.

"I may learn to like her. Hang her in my bathroom!" -- Oliver Warbucks

“I may learn to like her. Hang her in my bathroom!” — Oliver Warbucks

Every masterpiece had to start somewhere. There are no straight lines on the graph charting the progress of a creative work – it’s jaggedy and unpredictable. But it’s always an uphill climb.

I’m cultivating a new appreciation for this remarkable, unrepeatable process.

Participating in a writers’ group is a super way to do this. Reading and critiquing the work of my friends (and being read and critiqued myself) allows me to get in on that process, to participate in the despair of a fledgling new script and the exhilaration of watching it morph into something wonderful.

I’ll never forget the first month of my ScreenwritingU class, we had to build a story structure around the germ of a concept for our script, and then share it. As soon as I began reading, my heart sank – how did I get stuck in a class full of terrible writers? This is going to be awful.

Gamely, I considered several offerings from my fellow students and did my best to offer some encouragement and distill my long list of critiques to just a few of the most basic (and – I hope – helpful) suggestions.

Fast forward six months, and I was amazed at how much better everyone’s scripts were turning out!

But you see, it wasn’t that these were bad writers in the first place. They were just in process. They were allowing me to see what they were making before it was finished, before they even knew what it would become.

It’s a sacred privilege, and one that should be embraced carefully.

So if you’re reading this and feeling overwhelmed by the latest amazing book/artwork/movie/performance you’ve compared yourself to, please be reassured. You will get there. We will all get there.


Pitching Your Screenplay

Dear Inktip Pitch Summit,

Your distinguished event is coming up in just over a week, and I’m beginning to sweat. What will happen if I stumble over my words and give a poor presentation? Will I be eaten alive and disgraced forever after?

Sweaty in Palm Beach

Dear Sweaty,

Please don’t fret about your pitch. Some nerves are to be expected, but remember the producers and agents in attendance are regular people just like you, and they just want to hear a good story. 

So simply tell your story and let them react to it. You may find that the simple act of telling it over and over will give you new insights into your characters and make you even more excited to see it brought to the big screen.

Just imagine your star on Hollywood Boulevard… It all begins somewhere!


Dear Inktip,

I’m packing for my trip to Burbank, and am concerned about the dress code. Someone told me people dress up as their characters for the pitch meetings. Should I do that? And where am I ever going to get my hands on a mermaid costume at this late hour?

Finless in Wyoming

Dear Finless,

We don’t know who may have told you to dress like a mermaid, but we highly encourage you to abandon that effort. Simple business casual is preferred.

Of course a pair of seashells is never frowned upon should you wish to save them for the pool.


Captain Jack pitches his script ideas. If a producer doesn’t like it, he’s marooned.

Dear Inktip,

What if I pitch my script and a producer requests to read it? Will I become an overnight success, famous, and rich beyond my wildest dreams?

Dreaming in South Poughkeepsie

Dear Dreaming,



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DIY Writer’s Retreat

Once you start inviting writing gurus to send you weekly emails, you will find yourself facing a number of invitations to part with cash. Some of these money-spending opportunities are extremely helpful, depending on what you need at this point in time and where you are in your career.

One invite that never fails to draw my salivating interest is for writer’s retreats. A week away in a beautiful place with yoga classes and creative prompts, and no responsibilities but to write.

Doesn’t that sound like the definition of bliss?

Chances are, if you’re still in the ‘build’ phase of your writing career, you don’t have a couple thousand bucks to dispense on a week of bliss. Or maybe you do and you’re cheap. Which is basically my situation.

So what’s the cheapster to do when her writing piles up and Puerto Rico beckons? What we always do when we want something without paying for it. Do It Yourself.

No money, no problem. Hole up and write.

No money, no problem. Hole up and write.

With three quarters of a screenplay, a serial or novel, a short story languishing for want of research, a couple Ebooks, and an idea for a kids’ travel book weighing on my creative mind, I’m overdue for some serious writing time. So the plan is to devote three days of this week to writing.

No email. No errands. No cleaning. No phone calls. Just me and my computer and my notebook.

I hesitate to put this plan out there in Internet Land, only because my grand plans have an infamous history of falling apart. Undramatically, but tragically and completely. Leaving me with nothing but a list of good intentions and a guilty conscience.

But I am making an exception for scientific purposes. I’ll state my hypothesis, spend the week in experiments, then report next week with my conclusions. I flatter myself that this process will benefit other writers as well. So if a week away from life as you know it is just not in your budget this year, consider joining me on a DIY Writer’s Retreat.

Important considerations when planning one’s own writer’s retreat:

1. What is my goal?
Yes, writing, but more specifically, which writing. I listed four or five projects above, but no way will I touch all of them in three days. Better to choose one and go hard. The more specific the goal, the better.

I intend to finish the rough draft of my screenplay. That’s basically 40 pages. Just rough, no editing or tweaking. Not even spell-check. Just one pass to stretch it out to a full length.

2. Preparations
If all I’m doing is writing, that means I won’t be able to go grocery shopping. So I’d better do that first.

Depending on your personality, it could be helpful to come up with a rough schedule. For me, it’s hit or miss – a schedule could really help me focus, or it could send me into a panic of lethargy. So I’ll keep it low key: exercise in the morning, do some writing. Take a couple hours’ break for lunch and a book or movie, then write some more.

Nooooo pressure.

I do have a store of inspirational quotes and books and videos in the event that I lose motivation and wake up in the middle of a House marathon surrounded by origami rejects. A little Bret Lott or Anna Quindlen will get me back on the straight and narrow.

3. Go Somewhere
Just because I can’t afford Puerto Rico doesn’t mean I can’t day-trip to San Francisco. Or Phoenix. Or Starbucks.

Again, this is a matter of preference. I enjoy spending time in my little baby apartment, but it can get noisy during the day, what with the children and the skaters and the bird. My neighbor has a bird that squawks hellishly for approximately 2 hours every day.

I’m really good at ignoring stuff.

As long as I have music as white noise, staying home will probably work fine for me. But it could be fun to kick off at a coffee shop, so I can savor that feeling of starting something new and exciting.

4. Soften expectations
As much as I want to spend three days only writing, the bald fact is since starting this blog post, I’ve thought of calendar items for every day this week. Why don’t I write stuff in my calendar? This is a separate, but contributing, problem.

So in reality, it will probably be like 2 days and 3 afternoons. But that’s life. It’s DIY. We make exceptions.

But in the end we have this beautiful thing that we made, and it’s all the more satisfying because it didn’t cost a cent.

Off we go, busy writers. To create and to explore. Godspeed.

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Death and Comedy

A popular saying among writers is, “Dying is easy. Comedy is hard.” Chicken soup for the would-be comedy writer’s soul.

I know comedy is hard. When I think about things that genuinely, truly make me laugh, they are few. And even fewer are intentional – most of the comedy I experience is the day-to-day variety of non sequiturs and slapstick that is all part of the funny world in which we live.

We’re at the rough draft stage in my screenwriting class (yes, that’s still going on), and so far I’m reading what I have and I’m thinking, Yes. This is funny. Only time will tell if the people who live outside my crinkly little brain will agree.

But in keeping with the Philosophy of Screenwriting tips I learned back in November (ie: Brain Training), I recognize the importance of learning and growing in all aspects of writing. So let’s look at three entertainers that are never not funny. Will we spot a theme?

The “good parts” version, from William Goldman

1. The Princess Bride (the movie and the book)
A family favorite from early childhood. I don’t even remember not loving this movie. Flip to any page in the screenplay, it’s funny.

Check out this conversation between The Man in Black and Fezzik. The Man is in pursuit of his hijacked honey, who has been secreted away by a super smart guy that left his goons to deal with their pursuer – one of whom is Fezzik, played by Andre the Giant.

THE MAN IN BLACK is racing up the mountain trail. 
Ahead is a bend in the trail. He sees it, slows. 
Then he stops, listening.

Satisfied by the silence, he starts forward again and as he
rounds the bend -- a rock flies INTO FRAME, shattering on a
boulder inches in front of him.

                                            CUT TO:


He moves into the mountain path. He has picked up another
rock and holds it lightly.

             I did that on purpose. I don't
             have to miss.

                         MAN IN BLACK
             I believe you -- So what happens

             We face each other as God intended.
             Sportsmanlike. No tricks, no
             weapons, skill against skill alone.

                         MAN IN BLACK
             You mean, you'll put down your
             rock and I'll put down my sword,
             and we'll try to kill each other
             like civilized people?

             I could kill you now.

He gets set to throw, but the Man In Black shakes his head,
takes off his sword and scabbard, begins the approach toward
the Giant.

                         MAN IN BLACK
             Frankly, I think the odds are
             slightly in your favor at hand

             It's not my fault being the
             biggest and the strongest. I
             don't even exercise.

What’s funny?

The situation, the dialogue, and the characters. First, you have this huge fellow with hands as big as the boulders he’s throwing, reasoning with a comparatively tiny hero. I love Fezzik’s character – gentle giant, not too bright, but he gets to say some really funny lines. “I don’t even exercise.” I die.

2. Jim Gaffigan
Always. Always funny. One of the few comedians who is – maybe I’m just picky. What am I saying, I’m horribly picky. I feel an apology to the entire population of humorists is in order. But that just serves to underscore how truly excellent Jim is.

Probably best known for his hot pockets bit, this man could draw belly laughs from Mister Spock. If I could summon a genie to reassure me that some day I’d be half as funny as Jim, I’d be so excited.

What’s funny?

Too much to mention. The voices (“Sincerely, Water Chestnut the Third”), the profound explorations of a topic we universally love… even vegetarians. Yes, vegetarians love bacon. Perhaps that’s part of the irony that makes bacon funny. Thanks to modern health studies, we’re all convinced bacon is so bad for us and yet we love it so completely.

3. Hyperbole and a Half
Leave it to Allie to make anything funny. Literally anything, even extremely unfunny things – like Depression. I didn’t think it was possible, but I was shaking with repressed giggles by the end of this read. I’ll just give an excerpt:

It’s weird for people who still have feelings to be around depressed people. They try to help you have feelings again so things can go back to normal, and it’s frustrating for them when that doesn’t happen. From their perspective, it seems like there has got to be some untapped source of happiness within you that you’ve simply lost track of, and if you could just see how beautiful things are…

But people want to help. So they try harder to make you feel hopeful and positive about the situation. You explain it again, hoping they’ll try a less hope-centric approach, but re-explaining your total inability to experience joy inevitably sounds kind of negative; like maybe you WANT to be depressed. The positivity starts coming out in a spray — a giant, desperate happiness sprinkler pointed directly at your face. And it keeps going like that until you’re having this weird argument where you’re trying to convince the person that you are far too hopeless for hope just so they’ll give up on their optimism crusade and let you go back to feeling bored and lonely by yourself.

And that’s the most frustrating thing about depression. It isn’t always something you can fight back against with hope. It isn’t even something — it’s nothing. And you can’t combat nothing. You can’t fill it up. You can’t cover it. It’s just there, pulling the meaning out of everything. That being the case, all the hopeful, proactive solutions start to sound completely insane in contrast to the scope of the problem.

It would be like having a bunch of dead fish, but no one around you will acknowledge that the fish are dead. Instead, they offer to help you look for the fish or try to help you figure out why they disappeared.

The problem might not even have a solution. But you aren’t necessarily looking for solutions. You’re maybe just looking for someone to say “sorry about how dead your fish are” or “wow, those are super dead. I still like you, though.”

What’s funny?

It takes guts to talk about your life and put all the dark parts out there, but also make fun of it at the same time. And it resonates with us, because we all wonder about ourselves and we all need to be given permission to laugh about it.  It’s like a communal, “Wow, life really sucks sometimes but maybe it will get better.”

Plus those cartoons, enchantingly drawn in possibly the crummiest computer art program ever designed are classic.

So now looking at my three funny things, I am noticing a pattern.

1. People (or rather characterizations of people)
The face made, the voice, the accent, the quirky turn of a phrase. So many characteristics that will tap those funny bones. Case in point: I hate puns. Despise them. Find them Unfunny. But when my DAD drops a pun on an otherwise perfect afternoon, I can’t help laughing. Because my dad is funny, even if his jokes aren’t.

2. A fresh take on a common problem
We’re all in this together. It’s fun to explore the crazy situations we find ourselves in and invent new responses we all wish we had the guts to give. You all have friends and family that who make you laugh in spite of your best efforts to resist. Every family has a punster or inappropriate potty humorist. Maybe it’s you.

3. Silly
When it comes right down to it, I can’t help being drawn to the ridiculous. The random and unexpected observations of people in books, movies, and real life are often the funniest. I even like potty humor, mostly because I know I shouldn’t.

So I’ve been working on this post for precisely 70 minutes, which I’m pretty sure is not enough time to explore this topic in depth. Feel free to respond below with funny stuff. It’s good to laugh.

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The Making Of A Scene

A screenplay is just a bunch of scenes strung together. Anyone who says otherwise has clearly not read this blog post.

To completely oversimplify it, you write some scenes to set up your story, then you write a BUNCH of scenes to complicate your story and make everyone think the lead character is screwed, and finally you put a few more scenes to rescue the lead and end your story satisfyingly. That’s whatcha call a 3-act structure.

Needless to say, your scenes need to be incredible. So incredible that the thought of writing them completely cripples you with fear and self-doubt.

But when you’re taking a class, you got these things called deadlines. So you figure a way to skirt around the inevitable mental obstacles. I’d like to share mine with you, if you don’t mind.

Step 1: Take the “What Do I Care About?” Quiz

Question: What do I care about less, the possibility of writing a crummy scene, or the certainty of falling behind in my work and hating my own guts tomorrow morning?

If you chose ‘writing a crummy scene’ then proceed to Step 2. If you chose ‘hating my own guts’ then go ahead and put on sweatpants because it’s gonna be a Ben&Jerry’s-in-bed kind of day.

Step 2: Do a dance

Seriously. It will help you loosen up and make you feel a little more creative. Music is optional. If you must take six minutes to scoot through your playlist for something suitable, then skip it.

Step 3 (and most important): Think

Do you know what this scene is about? If not, think about it a little. Feel free to let your thoughts come out on the page, so you can read what you’re thinking and save any thoughts that might otherwise get away from you.

Say you need to write something about your lead character, John. John is about to do four hundred hours of community service, but something has to come right before that. Once you have some sort of idea of the transition you want to make, move along to Step 4.

Step 4: Outline

Just three lines: Beginning, Middle, End.

John tells Peggy he is really looking forward to community service. Peggy’s boyfriend Butch appears and gets the wrong idea. John gets a black eye and has an epiphany about the relationship between observational conclusions and underlying realities.

I have to say, employing this step in my writing process has been so freeing. It gives me a bony structure on which to drape the eloquent folds of my action and dialogue.

Step 5: Expand

Put in the stuff people say or do, and tada! You have a scene.

Just add like fifty more, and you’re all done.

The end result might be brilliant, it might be terrible, but that is what editing is all about. At least you have something! And really, I believe the motivational power of ‘something’ is really quite synergistic.

I’ll end with this piece from my new favorite artist, Ceslovas Cesnakevicius, because I think it is cool and adventurous. And I love elephants.

Art by Ceslovas Cesnakevicius

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4. Kristen & The Wolf meets Progress

Remember the scene in Pirates of the Caribbean that shows The Interceptor in a raging storm and howling winds, and Mr. Gibbs asks Jack why he’s smiling? Remember what Jack says? I do (and not just because I’ve seen Pirates 50 times).

“We’re catching up.”

It’s enough to put a grin on the grimmest outlook. Making progress is fun, no matter what else is going on.

As of two weeks ago, I was beginning the next module in my screenwriting class (covering subtext – fascinating stuff) and bemoaning how far behind I’d gotten. I totaled it up – 22 missed assignments. Yikes.

22 lessons, from 6 different modules.

So I made a plan. In a nutshell, the plan involves food, sleep, and writing. And I’ve been working that plan. And as much as it hurts to say no to outside interests that would drag me away from those core activities, I have to smile when I see all the tracks I’ve made in this whirlygig storm of activity.

As of today: 7 down, 15 to go. Oh yeah.


4. Kristen to the Rescue (conclusion)

Kristen froze mid-air, filled with a mix of glee and dread. She had never encountered an animal of this scale before – what should be done? No answers presented themselves except to carry on.

So Kristen, vine in hand, climbed and slipped and fell her way back to solid ground. “I’m coming!” she called into the pit. She tried to secure one end of the vine like she’d seen on TV, but the woody fibers did not respond well to the clumsy knots she attempted. They simply fell apart as soon as she let go.

But it was okay, because Kristen had a Plan B. Taking a firm stance on the edge of the pit, she wrapped the vine around her waist and dropped the other end into the pit. “Go ahead,” she called, “take the other-”

Before she could finish, the whatever-it-is had taken hold of the vine and Kristen found herself on the bottom of the ditch. Right next to Ron. We’ll call him Ron because as soon as Kristen looked up at him, he hollered out, “Ron! ROOOOON!”

Aside from a little shock, Kristen was none the worse for her unexpected trip south. She got to her feet and gazed up at the sasquatch who was staring at her with equally frank curiosity, the crushed threads of the vine smooshed between his fingers.

Taking his lead, Kristen shouted her name, “KRI-stennn!” and stuck out a hand. Ron shifted his weight and Kristen jumped away just in time to avoid his enormous foot stamping down in her general vicinity. “Watch it!” Kristen shouted back, “I’m just a small person!”

Ron seemed to register this somehow, and countered with a mighty swat from his less enormous (but still quite large) hand. Kristen’s hair fluttered around her as she ducked what would have been a crippling blow and stationed herself behind a large rock at the edge of the pit.

“GENTLE!” Kristen hollered with all her might. Beside her foot was the pine cone she’d tossed down moments ago. She lobbed it at Ron’s arm and it connected with a soft, hairy pat. “SOFT!”

Ron did nothing in response to this and Kristen, sensing his confusion ventured out from behind the rock. One hand out in a calming ‘stay’ position, she eased toward him and rested it on his knee. Perhaps this was not the most appropriate place to touch a sasquatch on first meeting, but it was all she could reach. And patting someone’s feet is just weird.

Aside from a low growl, Ron gave no indication of what he made of this. Before she could explore it further, Kristen heard voices above.

They were too far away to distinguish words, but they did not sound friendly. Ron heard them too, and shuffled his feet restlessly, filling his lungs to protest but Kristen shushed him and patted his knee reassuringly. Taking hold of some roots protruding from the earth, she again undertook to climb.

She got about halfway – high enough to look Ron in the eye and again hold a finger to her lips reassuringly – when a scruffy white face appeared over the edge of the pit. “Why… what are you doing down there, wee thing?”

Before Kristen should answer, the face had moved away. She could hear him hollering to a companion with words that only made sense sporadically: “girl,” “ditch,” and “gun.” Kristen froze to the spot, her brow furrowed in thought.

“…caught ourselves a Bigfoot alright,” a voice was saying, returning to the ditch. Kristen strengthened her grip and looked back up. Two faces now presented themselves, and the other one with glasses was talking. “Whew boy, what a sight he is! Don’t you be afraid little girl, we’ll make sure he leaves you unharmed.”

“I’ve already made sure of that!” Kristen screamed up at them.

“Just calm down sugar, we’ll have you out in a jiffy.” The white beard was saying as his companion disappeared again.

Kristen was perfectly calm. What were these jokers talking about? She looked at Ron and they shrugged. A strange metallic sound met their ears, which Kristen didn’t understand. It seemed to anger Ron, though, and he immediately became restive.

Kristen knew why when the man with glasses reappeared, leveling a rifle down at Ron. Ron roared his name, stomping his feet in protest. The noise was deafening, but Kristen clung to her hand holds and screamed, “Nooo!” But the man with glasses raised his gun and took aim.

Without thinking, Kristen simply flung herself off the wall and between Ron and the gun. Ron reached up to catch her, but the trigger had already been pulled, the bullet tearing through Kristen’s shoulder and lodging in the opposite wall of the ditch.

“You shot a little girl!” “What made you do such a thing, you deranged child!” “Aw Reuben, we’re in trouble now!”

Kristen lay in Ron’s hands, too much in shock to feel pain, but triumphant never the less. The next hour was a blur as the hunters worked to raise her out of the pit and tend to her wounds. She realized vaguely that night was falling and a fire was being made. Beans were coaxed down her throat and Ron was silent as she mentally willed him to keep quiet while the hunters were preoccupied with nursing her.

The next morning Kristen’s shoulder was bound and throbbing, her arm in a sling.

The ditch was empty.

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