#Our part of District 12 nicknamed the Seam is usually crawling with coal miners heading out to the morning shift at this hour.

[mollywog]

I wonder if Katniss ever thinks about her life if she’d been born after the rebellion and her father had worked at the medicine factory instead of the mines.

[writingquestionsanswered]

How do I explain the way my magic system works early on in my story without it seeming like a data dump? I want my readers to understand where I’m coming from, but I know it’s better to show it, so how do I strike a balance between the two?

Explaining Magic System without Info Dump

It’s important to understand that not all “telling” qualifies as an “info dump” or a “data dump.” Where writers get into trouble is when all or most of the information about a particular element comes out in a multi-paragraph wall of text, unbroken by any dialogue or action. That’s a true info dump, and that’s what you have to avoid.

But sometimes it’s necessary to deliver a lot of information in ways that require some telling rather than showing. In those cases, what works best is to break the information down into “bite-sized” chunks that can be delivered in a paragraph or two, and then embed those chunks in scenes where something else is happening. One of the best examples of this is the opening chapter of The Hunger Games. Suzanne Collins had a lot of information to deliver in that chapter. In addition to introducing the protagonist, the people close to her, and the general setting, she needed to establish Katniss’s corner of this oppressive, dystopian world, and start to show just how bad things were there. Instead of doing a several page info dump just explaining all of this, she broke it down into bite-sized chunks and embedded them in a scene where other things are happening. The paragraphs of information show up between moments of dialogue and action, and whenever possible, there are elements of showing as well as just telling.

For example, near the beginning of chapter one, Katniss starts describing District 12, but she’s also walking to meet Gale in the woods, so we’re not just in her head being lectured while she exists in some unknown space. We’re seeing her home through her eyes and learning about it as she walks through it. She says:

Our part of District 12, nicknamed the Seam, is usually crawling with coal miners heading out to the morning shift at this hour. Men and women with hunched shoulders, swollen knuckles, many who have long since stopped trying to scrub the coal dust out of their broken nails, the lines of their sunken faces. But today the black cinder streets are empty. Shutters on the squat gray houses are closed. The reaping isn’t until two. May as well sleep in. If you can.

Our house is almost at the edge of the Seam. I only have to pass a few gates to reach the scruffy field called the Meadow. Separating the Meadow from the woods, in fact enclosing all of District 12, is a high chain-link fence topped with barbed-wire loops. In theory, it’s supposed to be electrified twenty-four hours a day as a deterrent to the predators that live in the woods–packs of wild dogs, lone cougars, bears–that used to threaten our streets. But since we’re lucky to get two or three hours of electricity in the evenings, it’s usually safe to touch. Even so, I always take a moment to listen carefully for the hum that means the fence is live. Right now, it’s silent as a stone.

She’s not just telling us the streets are empty today. We’re seeing it through her eyes as she walks the streets. She’s telling us about her home while she’s on the move, noticing closed shutters on houses, passing a few gates, listening for the hum of the electric fence.

You can do the same thing with virtually any bit of data. You can also alternate how the data is delivered. Sometimes it can be your narrator or POV character delivering the information. Some other time it can be another character telling your protagonist the information. Your protagonist might witness something happening, either from afar or through their own actions. They might read something in a book or on a sign, or otherwise observe the information. Training sessions can be great for explaining magic systems, too, whether your character is learning or teaching another character.

I hope that helps!

[porchwood]

THG Reread: Interesting Tidbits from Ch 1

Disclaimer: I’ve never taken part in any official THG reread/discussion and I essentially read the book in isolation, so anything I say in these posts may well have been discussed and dismissed years ago.

When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and crawled in with our mother.

I find it interesting that Prim leaves Katniss to find comfort with their mother, especially since Katniss seems to see herself as Prim’s sole protector and provider. Are Prim and Mrs. Everdeen closer than Katniss realizes (having such an abrasive relationship with her mother as she does) or is it simply that Mom will always be Mom and in a moment of terror most children prefer the embrace of their mother over a sibling?

Also: sleeping directly on a rough canvas-covered mattress? Are bed sheets are that great a luxury in the Seam? :(

I swing my legs off the bed and slide into my hunting boots. Supple leather that has molded to my feet. I pull on trousers…

So she gets out of bed and puts on her boots, then her trousers... So...girl’s a firefighter, right? :D

(Sorry for the crummy pics. Apparently the Tumblr presence of the Emergency! fandom is microscopic at best - I guess that happens with a ‘70s show :P - so these are screenshots I made from the S1 DVD, because yes, I’m that big of an Emergency! fangirl and you can never have too much Johnny Gage!)

It gives “girl on fire” a whole new meaning!! ;D

All merriment aside, we know that fire was a constant danger in the Seam, with its “old wooden homes embedded with coal dust,” so it’s entirely possible that residents slept with trousers and boots in readiness at the bedside, to be stepped into at a moment’s notice for a rapid escape if needed.

I…tuck my long dark braid up into a cap…

This has been discussed in previous rereads so it really isn’t news, but I’d love to see more Katniss-in-a-cap popping up in fics and fanart. THG opens in summertime and she’s still wearing the cap, so it was definitely a staple of her wardrobe! (And it brings us a little closer to the girl-disguised-as-a-boy trope, which is one of my all-time faves! :D)

(Behold this adorable @ghtlovesthg rendering!)

Our part of District 12, nicknamed the Seam, is usually crawling with coal miners heading out to the morning shift at this hour…

Somehow I had always (erroneously) assumed that there was just one twelve-hour shift that all the miners worked (ex. 6am-6pm). Since artificial light would be required inside the mines anyway, I suppose they could work around the clock with no regard to the sun and stars. Folks who live in/near coal mining communities: do they generally operate 24 hours a day or is there some arbitrary cut-off point in the evening? (I’m sorry I’m so ignorant about this!)

Most of the Peacekeepers turn a blind eye to the few of us who hunt…

Has anyone else figured out who these mysterious additional hunters are??

I watch as Gale pulls out his knife and slices the bread. He could be my brother. Straight black hair, olive skin, we even have the same gray eyes. But we’re not related, at least not closely.

First off: it truly befuddles me that Katniss’s hair color is stated on page 8 of THG (though, interestingly, never explicitly afterward) and yet it’s unusual - maybe even rare - to find fanart or even fics that depict her with black hair. Why is that? I was in love with her long black hair from moment one (truly black hair is unique, at least in my part of the world, and so striking to boot) so I probably belabor it a bit in my own writing, but it’s such an exquisite feature, why would you not?

Secondly: “He could be my brother.” That feels significant, and not merely in the “we look alike” sense. I’ve been working on a post about how Gale came into Katniss’s life in a very significant fashion after her beloved father’s death and she was drawn to him because of certain (I would venture to say striking) commonalities, but as I was wrapping it up last night (and sharing various details with my favorite sounding-board @ghtlovesthg), I realized there was a whole - vitally important - flipside to my theory that absolutely cannot be overlooked. So I might not get that finished till we’re on CF or even MJ. (No spoilers just in case someone pips me at the post - pun inadvertent ;) - but I think it’s pretty cool!)

And thirdly, because I can’t resist: I headcanon that Gale and Katniss are cousins through their great-great-grandfather (Galen Greenbrier, if anyone cares :D), who had two daughters (Aisling and Elspeth), who each had a daughter (Wren and Ashpet), who had Hazelle and Jack (Mr. Everdeen), who begat Gale and Katniss, respectively. Ergo: related but “not closely,” per canon. :)

With both of us hunting daily…

I’d always thought Gale and Katniss only hunted a few times a week, with Sundays being their largest haul/best trading day. (“Usually we devote all of Sunday to stocking up for the week.”) I know Twelve is an unusually permissive district at this point in time, but if two Seam kids were sneaking back and forth under the fence every single day and (forgive me) flaunting the fact by selling game in town (and when did they do this? before school, after, both?), surely, inevitably, the Peacekeepers would have been obliged to do something about it. Or were there some trips where Gale and Katniss only brought back enough for their own families, making their illegal activities not quite so blatant?

Cross-referencing with Catching Fire, I find Katniss saying, “Back when we were in school, we had time in the afternoons to check the lines and hunt and gather and still get back to town to trade” - exactly what time did they get out of school and how late were they doing these trades (not to mention, when did anyone get homework done)?? - but she also says it’s “an hour-and-a-half trek” just to check the snare line. I guess it isn’t impossible, but it seems a much more extensive (and time-consuming!) arrangement than I would have thought they could get by with, even in Twelve.

We easily trade six of the fish for good bread…

Like the rest of you, I’m trying to figure out who’s selling this “good bread” at the Hob. For some odd reason, at one point I thought maybe the bakery’s day-olds were sold there, à la:

They could potentially sell said day-olds at less of a discount than merchant clientele would demand but the reduced prices would be low enough for some Seam clientele to afford, and of course, even day-old bakery bread would be superior to homemade tessera bread (and therefore: “good bread”). 

I’m not sure where I got the “bakery outlet” idea (I think it was all the early canonverse fics where Katniss ran into Peeta in the Hob, so I figured he was running a day-olds stall or something) but having been away from it for awhile, I actually kind of like it! :)

You become eligible for the reaping the day you turn twelve.

I’m going to wax exceedingly about reaping ages in another post, but for the moment: I presume this rule means that anyone who turns twelve between reaping days becomes eligible for the subsequent reaping, correct? So if we arbitrarily set the reaping at, say, June 1, someone whose birthday is on June 2 wouldn’t be eligible till the following year. (Which would be especially terrible for your 18-yr-old reaping: being a day away from 19 and freedom, of a sort, but still having to go through one last reaping.) Now I think of it, it’s possible Career districts took advantage of this. Highly invested parents in a Career district could have planned their pregnancies with the intent of a late summer birth (i.e., a month or two after reaping day) so the resulting children would have the advantage of extra months up on other tributes in their same age group.   

On the flipside of this: Prim, whose birthday is in late May, would be an especially young tribute, since she’s only just turned twelve (think school kids with summer birthdays who don’t turn the “right age” for their grade till 1-3 months after school is out), and similarly Katniss, whose birthday is May 8, would be on the young side of the group of sixteens. 

“Pretty dress,” says Gale.

Madge shoots him a look, trying to see if it’s a genuine compliment or if he’s just being ironic. It is a pretty dress, but she would never be wearing it ordinarily. She presses her lips together and then smiles. “Well, if I end up going to the Capitol, I want to look nice, don’t I?”

Now it’s Gale’s turn to be confused. Does she mean it? Or is she messing with him? I’m guessing the second.

Gaaah, so much going on here! I can’t decide if I want to make a proper Gadge post, so in the meantime, here’s some food for thought:

1) Why does Gale remark on her dress? Really - give me suggestions, because I’ve been turning it over in my head. If it’s meant to be ironic and she gives him sarcasm in reply (as seems to be the quintessential Gadge dynamic :D), it’s odd that he would be confused and not have a volley/riposte/etc of his own on deck. I mean, Katniss doesn’t seem to know (or at least, doesn’t clarify in her narration) whether or not it’s a compliment -

2) Which is interesting, because she guesses straightaway that Madge is “messing with him” in reply. ;)

3) Gale gives Madge what outwardly seems like a compliment and this is what ensues. One might surmise they’ve done this before... :D I mean, if there was no precedent, Madge would’ve just said “thank you” and exchanged money for berries. Since the mayor is such a valuable customer (being one of very few who can afford their asking price for strawberries), it’s interesting that Gale would antagonize Madge and risk losing the strawberry trade - not to mention bringing up the subject of tesserae at the mayor’s back door on reaping day! Does he take similar potshots at other merchants or is it just Madge? Is he irked (even threatened) by Katniss’s friendship with Madge? (I love that Katniss immediately defends Madge in the face of Gale’s tesserae rant. ♡) Does he feel like he can sound off at her (with impunity) because she’s Katniss’s friend? Or is he secretly crazy about her and resigned to the fact that he’ll never get her but the reminders of the impassable gap between them still incense him? Sorry, my hand slipped there for a sec. ;) 

Gale knows his anger at Madge is misdirected.

I didn’t recall this line from previous reading and it just makes me happy. :)

To my surprise, my mother has laid out one of her own lovely dresses for me. A soft blue thing with matching shoes. [...]  For a while I was so angry, I wouldn’t allow her to do anything for me. And this is something special. Her clothes from her past are very precious to her.

I’d never caught the “matching shoes” bit before! Do you suppose Katniss means dyed [blue] to match/covered with matching fabric (so that’s what they do at the shoe shop!) or simply that they go well with the dress? And if she means that the shoes literally match the dress: is this a particularly special dress (hence particularly special shoes) or is it customary for merchant girls to order shoes to match their dresses?

And further: why this year? It doesn’t sound like Mrs. Everdeen has offered one of her apothecary-era dresses before, which could have been due to Katniss’s repeated rebuffs, but still: why offer one of those very precious dresses this year? Did she have a feeling about this reaping? Or is she starting to see Katniss as a young woman, not just an angry, resourceful child? (Coupled with the fact that she subsequently puts Katniss’s hair up, the latter makes a lot of sense.) 

On a sidenote: Has anyone written meta on the significance/usage of braids in Twelve? (Notwithstanding WTM: Ch 13 and all that Mellark bridal braids/braid coils/engagement hairpin business.) Ex. Does a girl "graduate” from pigtails to a single braid around puberty and then to a crown braid as a young woman/wife, or does she/her mother simply style it however she feels on any given day? I’m just now realizing that I consistently picture reaping day!Prim in pigtails because of the film, but it doesn’t state in the text how her hair is styled, so it might be in a single braid or held back at the temples with a clip or even worn loose.

The square’s surrounded by shops, and on public market days, especially if there’s good weather, it has a holiday feel to it.

I’m really curious about “public market days,” since the Hob seems to be Twelve’s primary market - or at least, has become so in fanon - but Katniss makes a clear distinction between them (“Make only polite small talk in the public market. Discuss little more than trades at the Hob, which is the black market where I make most of my money”). Is this public market like a farmer’s market or a craft fair - or a bit of both? Is it simply the “merchant version” of the Hob? How often are they held? Who gets to sell at this market, and what sort of wares are we talking about? (Is it just merchants bringing their product outside, like a sidewalk sale?) Does the Capitol/Justice Building collect a fee from everyone wanting a stall/booth/table?

Edit: While looking up details for a different post, I found this passage:

Gale and I went to the market on the square so that I could buy dress materials [for Prim].

So apparently they sold fabric and notions in the public market? (Not at, say, a mercantile/general store?) I’m wholly confused now!

[katamount]

Our part of District 12, nicknamed the Seam, is usually crawling with coal miners heading out to the morning shift at this hour. Men and women with hunched shoulders, swollen knuckles, many who have long since stopped trying to scrub the coal dust out of their broken nails, the lines of their sunken faces.

Suzanne Collins, The Hunger Games, chapter 1 

I like how Collins plays with gender stereotypes in the trilogy, particularly with some of Peeta’s traits. And I appreciate that she’s equal opportunity here, mentioning that both men and women are miners in District 12, but Ripper may be the only (former) female miner mentioned in the books. Except maybe Bristel, whose gender seems to be unspecified. (Baby Name Guesser reports that Bristol is 2.13 times more likely to be a girl’s name.😆) Aside from female miners and Purnia serving as a Peacekeeper (in addition to one of the Peacekeepers who comes to the Everdeens’ home in CF being a woman), gender roles seem pretty traditional in 12. 

We don’t know how many women are miners in 12, but I wonder if Mrs. Everdeen ever considered it, given the dire straits her family was in. (In chapter 1 of Catching Fire, we learn that Hazelle ruled the mines out: “The explosion that killed my father took out her husband as well, leaving her with three boys and a baby due any day. Less than a week after she gave birth, she was out hunting the streets for work. The mines weren’t an option, what with a baby to look after, but she managed to get laundry from some of the merchants in town.”) But maybe Mrs. E wasn’t young/strong enough to do it. And who would’ve looked after Prim? My impression is that Mrs. E is a little delicate for that sort of work — and she has a higher calling (though not necessarily a remunerative one) as a healer. And of course they know as well as anyone how dangerous mining is. 

Hmmm... does anyone remember any female miners in the movie? I don’t, but I think there were female laborers in the industrial sabotage scenes in Mockingjay. 

[johnmanciniwrites]

Rhythm and Rhyme

Kinds of Parallel Modifiers

“Lolita, light of my life, fire of my loins. My sin, my soul.”

                                                                       --Vladimir Nabokov, Lolita

Nabakov loved his modifiers. They account for much of what is appealing about his lushly elegant prose. Remember that silken sinister Old Azureus? Well, the same parallel sophistication can be found in all of his novels, especially that first sentence of Lolita, which begins with a string of appositives—phrases that define this unusual creature, Lo-lee-ta.

Think of it like this: You could modify your car with a new paint job or sound system or, say, a special air intake filter. You could make modifications to your wine cellar, your kitchen, maybe even your leg. Similarly, you can also modify parts of your sentences. Make sense? Here are your options: 

Kinds Modifiers

There are roughly five different modifiers in your toolbox: adjectives/adverbs, appositives, resumptives, summatives, and free modifiers. They’re just words, phrases or clauses that describe or clarify the meaning of a word, phrase or clause.

The most obvious modification you can make is adding detail to a noun or verb. The amount of detail you pile on--and where you pile it--determines what the grammar nerds will determine it should be called. But it doesn’t really matter what you call it, just as long as you know how and when to use it.

If our goal in writing is to give as clear a picture as possible (it usually is), then we should be as specific as we can and modify for detail. To modify is to specify. A modifier adds color to objects and actions, detail and specificity of tone. An adjective or adverb creates a certain mood. Consider the difference between “The snow fell.” and “The powdery snow fell silently to the ground.” All that powder and silence is altering the atmosphere, bringing it into sharper focus to give us a clearer, more precise mental image.

Any adjective or adverbial phrase, prepositional phrase—or subordinate clause of any kind—is a modifier. It adds information, provides detail. The different names we give them depend on where and how they fall in the sentence. For instance “free” modifiers can often move around, adding variety, changing emphasis (and sometimes meaning) to your sentences, while “summatives” will always arrive at the end, summarizing the preceding clause.

You might open with a modifier (initial): 

Tossing her hamburger on the table, she ran into the bathroom. 

You could squeeze one into the middle of a sentence (medial): 

The final episode, an excrutiating melodrama, lasted a full two hours. 

Or just end with one (final): 

She looked around Arby’s, her eyes reflecting her hunger.

When it comes to editing for clarity and style, you’ll want to use the appositive to join simple sentences to make a complex one.

“Norman Mailer’s first novel was The Naked and the Dead. It was a best-seller.”

becomes...

“Norman Mailer’s first novel, The Naked and the Dead, was a best-seller.”

See how that works? It just renames “novel.” Simple, right? Here are a few more examples of appositives, italicized for emphasis:

There were some ducks swimming on the lake, black forms on silver ripples.

                                                                       --Bruce Chatwin, In Patagonia

His velour pullover is open to his sternum, and the exposed chest is precisely the complexion of new Play-Doh, the substance from which Gunther sometimes seems to be made.

                                                                -- Ralph Lombreglia, “Men Under Water”

Florida was made for running; Roy had never seen anyplace so flat. Back in Montana you had steep craggy mountains that rose ten thousand feet into the clouds. Here the only hills were man-made highway bridge—smooth, gentle slopes of concrete.

                                                                         -- Carl Hiaasen, Hoot

Our part of District 12, nicknamed the Seam, is usually crawling with coal miners heading out to the morning shift at this hour. Men and women with hunched shoulders, swollen knuckles, many who have long since stopped trying to scrub the coal dust out of their broken nails, the lines of their sunken faces.

                                                                 -- Suzanne Collins, The Hunger Games

Off shore a number of dolphins were at play among the waves, primordial shapes suspended in translucent faces—such were the wonders of the Tijuana River Valley where sights and sounds all but obliterated from the southern half of the state might yet be found—God’s script, written among the detritus of two countries.

                                                                  -- Kem Nunn, Tijuana Straits

It’s a matter of subordinating detail--the stuff that doesn’t call for its own sentence. The appositive is the easiest to use, most often by joining simple sentences and eliminating boring verbs (is, are, were). Instead of saying Lolita is the light of my life. She is the fire, etc., you just add a comma, and viola, a modifier is born. 

Next up: I’ll get into the use of resumptives, summatives, and free modifiers, and you too will learn how to unlock the power of your sentences, impress your teachers and bore the hell out of people at parties! Until then..                                   

[readbookywooks]

PART I "THE TRIBUTES"

1. When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim's warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course, she did. This is the day of the reaping. I prop myself up on one elbow. There's enough light in the bedroom to see them. My little sister, Prim, curled up on her side, cocooned in my mother's body, their cheeks pressed together. In sleep, my mother looks younger, still worn but not so beaten-down. Prim's face is as fresh as a raindrop, as lovely as the primrose for which she was named. My mother was very beautiful once, too. Or so they tell me. Sitting at Prim's knees, guarding her, is the world's ugliest cat. Mashed-in nose, half of one ear missing, eyes the color of rotting squash. Prim named him Buttercup, insisting that his muddy yellow coat matched the bright flower. He hates me. Or at least distrusts me. Even though it was years ago, I think he still remembers how I tried to drown him in a bucket when Prim brought him home. Scrawny kitten, belly swollen with worms, crawling with fleas. The last thing I needed was another mouth to feed. But Prim begged so hard, cried even, I had to let him stay. It turned out okay. My mother got rid of the vermin and he's a born mouser. Even catches the occasional rat. Sometimes, when I clean a kill, I feed Buttercup the entrails. He has stopped hissing at me. Entrails. No hissing. This is the closest we will ever come to love. I swing my legs off the bed and slide into my hunting boots. Supple leather that has molded to my feet. I pull on trousers, a shirt, tuck my long dark braid up into a cap, and grab my forage bag. On the table, under a wooden bowl to protect it from hungry rats and cats alike, sits a perfect little goat cheese wrapped in basil leaves. Prim's gift to me on reaping day. I put the cheese carefully in my pocket as I slip outside. Our part of District 12, nicknamed the Seam, is usually crawling with coal miners heading out to the morning shift at this hour. Men and women with hunched shoulders, swollen knuckles, many who have long since stopped trying to scrub the coal dust out of their broken nails, the lines of their sunken faces. But today the black cinder streets are empty. Shutters on the squat gray houses are closed. The reaping isn't until two. May as well sleep in. If you can. Our house is almost at the edge of the Seam. I only have to pass a few gates to reach the scruffy field called the Meadow. Separating the Meadow from the woods, in fact enclosing all of District 12, is a high chain-link fence topped with barbed-wire loops. In theory, it's supposed to be electrified twenty-four hours a day as a deterrent to the predators that live in the woods  -  packs of wild dogs, lone cougars, bears  -  that used to threaten our streets. But since we're lucky to get two or three hours of electricity in the evenings, it's usually safe to touch. Even so, I always take a moment to listen carefully for the hum that means the fence is live. Right now, it's silent as a stone. Concealed by a clump of bushes, I flatten out on my belly and slide under a two-foot stretch that's been loose for years. There are several other weak spots in the fence, but this one is so close to home I almost always enter the woods here. As soon as I'm in the trees, I retrieve a bow and sheath of arrows from a hollow log. Electrified or not, the fence has been successful at keeping the flesh-eaters out of District 12. Inside the woods they roam freely, and there are added concerns like venomous snakes, rabid animals, and no real paths to follow. But there's also food if you know how to find it. My father knew and he taught me some before he was blown to bits in a mine explosion. There was nothing even to bury. I was eleven then. Five years later, I still wake up screaming for him to run. Even though trespassing in the woods is illegal and poaching carries the severest of penalties, more people would risk it if they had weapons. But most are not bold enough to venture out with just a knife. My bow is a rarity, crafted by my father along with a few others that I keep well hidden in the woods, carefully wrapped in waterproof covers. My father could have made good money selling them, but if the officials found out he would have been publicly executed for inciting a rebellion. Most of the Peacekeepers turn a blind eye to the few of us who hunt because they're as hungry for fresh meat as anybody is. In fact, they're among our best customers. But the idea that someone might be arming the Seam would never have been allowed. In the fall, a few brave souls sneak into the woods to harvest apples. But always in sight of the Meadow. Always close enough to run back to the safety of District 12 if trouble arises. "District Twelve. Where you can starve to death in safety," I mutter. Then I glance quickly over my shoulder. Even here, even in the middle of nowhere, you worry someone might overhear you. When I was younger, I scared my mother to death, the things I would blurt out about District 12, about the people who rule our country, Panem, from the far-off city called the Capitol. Eventually I understood this would only lead us to more trouble. So I learned to hold my tongue and to turn my features into an indifferent mask so that no one could ever read my thoughts. Do my work quietly in school. Make only polite small talk in the public market. Discuss little more than trades in the Hob, which is the black market where I make most of my money. Even at home, where I am less pleasant, I avoid discussing tricky topics. Like the reaping, or food shortages, or the Hunger Games. Prim might begin to repeat my words and then where would we be? In the woods waits the only person with whom I can be myself. Gale. I can feel the muscles in my face relaxing, my pace quickening as I climb the hills to our place, a rock ledge overlooking a valley. A thicket of berry bushes protects it from unwanted eyes. The sight of him waiting there brings on a smile. Gale says I never smile except in the woods. "Hey, Catnip," says Gale. My real name is Katniss, but when I first told him, I had barely whispered it. So he thought I'd said Catnip. Then when this crazy lynx started following me around the woods looking for handouts, it became his official nickname for me. I finally had to kill the lynx because he scared off game. I almost regretted it because he wasn't bad company. But I got a decent price for his pelt. "Look what I shot," Gale holds up a loaf of bread with an arrow stuck in it, and I laugh. It's real bakery bread, not the flat, dense loaves we make from our grain rations. I take it in my hands, pull out the arrow, and hold the puncture in the crust to my nose, inhaling the fragrance that makes my mouth flood with saliva. Fine bread like this is for special occasions. "Mm, still warm," I say. He must have been at the bakery at the crack of dawn to trade for it. "What did it cost you?" "Just a squirrel. Think the old man was feeling sentimental this morning," says Gale. "Even wished me luck." "Well, we all feel a little closer today, don't we?" I say, not even bothering to roll my eyes. "Prim left us a cheese." I pull it out. His expression brightens at the treat. "Thank you, Prim. We'll have a real feast." Suddenly he falls into a Capitol accent as he mimics Effie Trinket, the maniacally upbeat woman who arrives once a year to read out the names at the leaping. "I almost forgot! Happy Hunger Games!" He plucks a few blackberries from the bushes around us. "And may the odds  - " He tosses a berry in a high arc toward me. I catch it in my mouth and break the delicate skin with my teeth. The sweet tartness explodes across my tongue. " -  be ever in your favor!" I finish with equal verve. We have to joke about it because the alternative is to be scared out of your wits. Besides, the Capitol accent is so affected, almost anything sounds funny in it. I watch as Gale pulls out his knife and slices the bread. He could be my brother. Straight black hair, olive skin, we even have the same gray eyes. But we're not related, at least not closely. Most of the families who work the mines resemble one another this way. That's why my mother and Prim, with their light hair and blue eyes, always look out of place. They are. My mother's parents were part of the small merchant class that caters to officials, Peacekeepers, and the occasional Seam customer. They ran an apothecary shop in the nicer part of District 12. Since almost no one can afford doctors, apothecaries are our healers. My father got to know my mother because on his hunts he would sometimes collect medicinal herbs and sell them to her shop to be brewed into remedies. She must have really loved him to leave her home for the Seam. I try to remember that when all I can see is the woman who sat by, blank and unreachable, while her children turned to skin and bones. I try to forgive her for my father's sake. But to be honest, I'm not the forgiving type. Gale spreads the bread slices with the soft goat cheese, carefully placing a basil leaf on each while I strip the bushes of their berries. We settle back in a nook in the rocks. From this place, we are invisible but have a clear view of the valley, which is teeming with summer life, greens to gather, roots to dig, fish iridescent in the sunlight. The day is glorious, with a blue sky and soft breeze. The food's wonderful, with the cheese seeping into the warm bread and the berries bursting in our mouths. Everything would be perfect if this really was a holiday, if all the day off meant was roaming the mountains with Gale, hunting for tonight's supper. But instead we have to be standing in the square at two o'clock waiting for the names to be called out. "We could do it, you know," Gale says quietly. "What?" I ask. "Leave the district. Run off. Live in the woods. You and I, we could make it," says Gale. I don't know how to respond. The idea is so preposterous. "If we didn't have so many kids," he adds quickly. They're not our kids, of course. But they might as well be. Gale's two little brothers and a sister. Prim. And you may as well throw in our mothers, too, because how would they live without us? Who would fill those mouths that are always asking for more? With both of us hunting daily, there are still nights when game has to be swapped for lard or shoelaces or wool, still nights when we go to bed with our stomachs growling. "I never want to have kids," I say. "I might. If I didn't live here," says Gale. "But you do," I say, irritated. "Forget it," he snaps back. The conversation feels all wrong. Leave? How could I leave Prim, who is the only person in the world I'm certain I love? And Gale is devoted to his family. We can't leave, so why bother talking about it? And even if we did. even if we did. where did this stuff about having kids come from? There's never been anything romantic between Gale and me. When we met, I was a skinny twelve-year-old, and although he was only two years older, he already looked like a man. It took a long time for us to even become friends, to stop haggling over every trade and begin helping each other out. Besides, if he wants kids, Gale won't have any trouble finding a wife. He's good-looking, he's strong enough to handle the work in the mines, and he can hunt. You can tell by the way the girls whisper about him when he walks by in school that they want him. It makes me jealous but not for the reason people would think. Good hunting partners are hard to find. "What do you want to do?" I ask. We can hunt, fish, or gather. "Let's fish at the lake. We can leave our poles and gather in the woods. Get something nice for tonight," he says. Tonight. After the reaping, everyone is supposed to celebrate. And a lot of people do, out of relief that their children have been spared for another year. But at least two families will pull their shutters, lock their doors, and try to figure out how they will survive the painful weeks to come. We make out well. The predators ignore us on a day when easier, tastier prey abounds. By late morning, we have a dozen fish, a bag of greens and, best of all, a gallon of strawberries. I found the patch a few years ago, but Gale had the idea to string mesh nets around it to keep out the animals. On the way home, we swing by the Hob, the black market that operates in an abandoned warehouse that once held coal. When they came up with a more efficient system that transported the coal directly from the mines to the trains, the Hob gradually took over the space. Most businesses are closed by this time on reaping day, but the black market's still fairly busy. We easily trade six of the fish for good bread, the other two for salt. Greasy Sae, the bony old woman who sells bowls of hot soup from a large kettle, takes half the greens off our hands in exchange for a couple of chunks of paraffin. We might do a tad better elsewhere, but we make an effort to keep on good terms with Greasy Sae. She's the only one who can consistently be counted on to buy wild dog. We don't hunt them on purpose, but if you're attacked and you take out a dog or two, well, meat is meat. "Once it's in the soup, I'll call it beef," Greasy Sae says with a wink. No one in the Seam would turn up their nose at a good leg of wild dog, but the Peacekeepers who come to the Hob can afford to be a little choosier. When we finish our business at the market, we go to the back door of the mayor's house to sell half the strawberries, knowing he has a particular fondness for them and can afford our price. The mayor's daughter, Madge, opens the door. She's in my year at school. Being the mayor's daughter, you'd expect her to be a snob, but she's all right. She just keeps to herself. Like me. Since neither of us really has a group of friends, we seem to end up together a lot at school. Eating lunch, sitting next to each other at assemblies, partnering for sports activities. We rarely talk, which suits us both just fine. Today her drab school outfit has been replaced by an expensive white dress, and her blonde hair is done up with a pink ribbon. Reaping clothes. "Pretty dress," says Gale. Madge shoots him a look, trying to see if it's a genuine compliment or if he's just being ironic. It is a pretty dress, but she would never be wearing it ordinarily. She presses her lips together and then smiles. "Well, if I end up going to the Capitol, I want to look nice, don't I?" Now it's Gale's turn to be confused. Does she mean it? Or is she messing with him? I'm guessing the second. "You won't be going to the Capitol," says Gale coolly. His eyes land on a small, circular pin that adorns her dress. Real gold. Beautifully crafted. It could keep a family in bread for months. "What can you have? Five entries? I had six when I was just twelve years old." "That's not her fault," I say. "No, it's no one's fault. Just the way it is," says Gale. Madge's face has become closed off. She puts the money for the berries in my hand. "Good luck, Katniss." "You, too," I say, and the door closes. We walk toward the Seam in silence. I don't like that Gale took a dig at Madge, but he's right, of course. The reaping system is unfair, with the poor getting the worst of it. You become eligible for the reaping the day you turn twelve. That year, your name is entered once. At thirteen, twice. And so on and so on until you reach the age of eighteen, the final year of eligibility, when your name goes into the pool seven times. That's true for every citizen in all twelve districts in the entire country of Panem. But here's the catch. Say you are poor and starving as we were. You can opt to add your name more times in exchange for tesserae. Each tessera is worth a meager year's supply of grain and oil for one person. You may do this for each of your family members as well. So, at the age of twelve, I had my name entered four times. Once, because I had to, and three times for tesserae for grain and oil for myself, Prim, and my mother. In fact, every year I have needed to do this. And the entries are cumulative. So now, at the age of sixteen, my name will be in the reaping twenty times. Gale, who is eighteen and has been either helping or single-handedly feeding a family of five for seven years, will have his name in forty-two times. You can see why someone like Madge, who has never been at risk of needing a tessera, can set him off. The chance of her name being drawn is very slim compared to those of us who live in the Seam. Not impossible, but slim. And even though the rules were set up by the Capitol, not the districts, certainly not Madge's family, it's hard not to resent those who don't have to sign up for tesserae. Gale knows his anger at Madge is misdirected. On other days, deep in the woods, I've listened to him rant about how the tesserae are just another tool to cause misery in our district. A way to plant hatred between the starving workers of the Seam and those who can generally count on supper and thereby ensure we will never trust one another. "It's to the Capitol's advantage to have us divided among ourselves," he might say if there were no ears to hear but mine. If it wasn't reaping day. If a girl with a gold pin and no tesserae had not made what I'm sure she thought was a harmless comment. As we walk, I glance over at Gale's face, still smoldering underneath his stony expression. His rages seem pointless to me, although I never say so. It's not that I don't agree with him. I do. But what good is yelling about the Capitol in the middle of the woods? It doesn't change anything. It doesn't make things fair. It doesn't fill our stomachs. In fact, it scares off the nearby game. I let him yell though. Better he does it in the woods than in the district. Gale and I divide our spoils, leaving two fish, a couple of loaves of good bread, greens, a quart of strawberries, salt, paraffin, and a bit of money for each. "See you in the square," I say. "Wear something pretty," he says flatly. At home, I find my mother and sister are ready to go. My mother wears a fine dress from her apothecary days. Prim is in my first reaping outfit, a skirt and ruffled blouse. It's a bit big on her, but my mother has made it stay with pins. Even so, she's having trouble keeping the blouse tucked in at the back. A tub of warm water waits for me. I scrub off the dirt and sweat from the woods and even wash my hair. To my surprise, my mother has laid out one of her own lovely dresses for me. A soft blue thing with matching shoes. "Are you sure?" I ask. I'm trying to get past rejecting offers of help from her. For a while, I was so angry, I wouldn't allow her to do anything for me. And this is something special. Her clothes from her past are very precious to her. "Of course. Let's put your hair up, too," she says. I let her towel-dry it and braid it up on my head. I can hardly recognize myself in the cracked mirror that leans against the wall. "You look beautiful," says Prim in a hushed voice. "And nothing like myself," I say. I hug her, because I know these next few hours will be terrible for her. Her first reaping. She's about as safe as you can get, since she's only entered once. I wouldn't let her take out any tesserae. But she's worried about me. That the unthinkable might happen. I protect Prim in every way I can, but I'm powerless against the reaping. The anguish I always feel when she's in pain wells up in my chest and threatens to register on my (ace. I notice her blouse has pulled out of her skirt in the back again and force myself to stay calm. "Tuck your tail in, little duck," I say, smoothing the blouse back in place. Prim giggles and gives me a small "Quack." "Quack yourself," I say with a light laugh. The kind only Prim can draw out of me. "Come on, let's eat," I say and plant a quick kiss on the top of her head. The fish and greens are already cooking in a stew, but that will be for supper. We decide to save the strawberries and bakery bread for this evening's meal, to make it special we say. Instead we drink milk from Prim's goat, Lady, and eat the rough bread made from the tessera grain, although no one has much appetite anyway. At one o'clock, we head for the square. Attendance is mandatory unless you are on death's door. This evening, officials will come around and check to see if this is the case. If not, you'll be imprisoned. It's too bad, really, that they hold the reaping in the square  -  one of the few places in District 12 that can be pleasant. The square's surrounded by shops, and on public market days, especially if there's good weather, it has a holiday feel to it. But today, despite the bright banners hanging on the buildings, there's an air of grimness. The camera crews, perched like buzzards on rooftops, only add to the effect. People file in silently and sign in. The reaping is a good opportunity for the Capitol to keep tabs on the population as well. Twelve- through eighteen-year-olds are herded into roped areas marked off by ages, the oldest in the front, the young ones, like Prim, toward the back. Family members line up around the perimeter, holding tightly to one another's hands. But there are others, too, who have no one they love at stake, or who no longer care, who slip among the crowd, taking bets on the two kids whose names will be drawn. Odds are given on their ages, whether they're Seam or merchant, if they will break down and weep. Most refuse dealing with the racketeers but carefully, carefully. These same people tend to be informers, and who hasn't broken the law? I could be shot on a daily basis for hunting, but the appetites of those in charge protect me. Not everyone can claim the same. Anyway, Gale and I agree that if we have to choose between dying of hunger and a bullet in the head, the bullet would be much quicker. The space gets tighter, more claustrophobic as people arrive. The square's quite large, but not enough to hold District 12's population of about eight thousand. Latecomers are directed to the adjacent streets, where they can watch the event on screens as it's televised live by the state. I find myself standing in a clump of sixteens from the Seam. We all exchange terse nods then focus our attention on the temporary stage that is set up before the Justice Building. It holds three chairs, a podium, and two large glass balls, one for the boys and one for the girls. I stare at the paper slips in the girls' ball. Twenty of them have Katniss Everdeen written on them in careful handwriting. Two of the three chairs fill with Madge's father, Mayor Undersee, who's a tall, balding man, and Effie Trinket, District 12's escort, fresh from the Capitol with her scary white grin, pinkish hair, and spring green suit. They murmur to each other and then look with concern at the empty seat. Just as the town clock strikes two, the mayor steps up to the podium and begins to read. It's the same story every year. He tells of the history of Panem, the country that rose up out of the ashes of a place that was once called North America. He lists the disasters, the droughts, the storms, the fires, the encroaching seas that swallowed up so much of the land, the brutal war for what little sustenance remained. The result was Panem, a shining Capitol ringed by thirteen districts, which brought peace and prosperity to its citizens. Then came the Dark Days, the uprising of the districts against the Capitol. Twelve were defeated, the thirteenth obliterated. The Treaty of Treason gave us the new laws to guarantee peace and, as our yearly reminder that the Dark Days must never be repeated, it gave us the Hunger Games. The rules of the Hunger Games are simple. In punishment for the uprising, each of the twelve districts must provide one girl and one boy, called tributes, to participate. The twenty-four tributes will be imprisoned in a vast outdoor arena that could hold anything from a burning desert to a frozen wasteland. Over a period of several weeks, the competitors must fight to the death. The last tribute standing wins. Taking the kids from our districts, forcing them to kill one another while we watch  -  this is the Capitol's way of reminding us how totally we are at their mercy. How little chance we would stand of surviving another rebellion. Whatever words they use, the real message is clear. "Look how we take your children and sacrifice them and there's nothing you can do. If you lift a finger, we will destroy every last one of you. Just as we did in District Thirteen." To make it humiliating as well as torturous, the Capitol requires us to treat the Hunger Games as a festivity, a sporting event pitting every district against the others. The last tribute alive receives a life of ease back home, and their district will be showered with prizes, largely consisting of food. All year, the Capitol will show the winning district gifts of grain and oil and even delicacies like sugar while the rest of us battle starvation. "It is both a time for repentance and a time for thanks," intones the mayor. Then he reads the list of past District 12 victors. In seventy-four years, we have had exactly two. Only one is still alive. Haymitch Abernathy, a paunchy, middle-aged man, who at this moment appears hollering something unintelligible, staggers onto the stage, and falls into the third chair. He's drunk. Very. The crowd responds with its token applause, but he's confused and tries to give Effie Trinket a big hug, which she barely manages to fend off. The mayor looks distressed. Since all of this is being televised, right now District 12 is the laughingstock of Panem, and he knows it. He quickly tries to pull the attention back to the reaping by introducing Effie Trinket. Bright and bubbly as ever, Effie Trinket trots to the podium and gives her signature, "Happy Hunger Games! And may the odds be ever in your favor!" Her pink hair must be a wig because her curls have shifted slightly off-center since her encounter with Haymitch. She goes on a bit about what an honor it is to be here, although everyone knows she's just aching to get bumped up to a better district where they have proper victors, not drunks who molest you in front of the entire nation. Through the crowd, I spot Gale looking back at me with a ghost of a smile. As reapings go, this one at least has a slight entertainment factor. But suddenly I am thinking of Gale and his forty-two names in that big glass ball and how the odds are not in his favor. Not compared to a lot of the boys. And maybe he's thinking the same thing about me because his face darkens and he turns away. "But there are still thousands of slips," I wish I could whisper to him. It's time for the drawing. Effie Trinket says as she always does, "Ladies first!" and crosses to the glass ball with the girls' names. She reaches in, digs her hand deep into the ball, and pulls out a slip of paper. The crowd draws in a collective breath and then you can hear a pin drop, and I'm feeling nauseous and so desperately hoping that it's not me, that it's not me, that it's not me. Effie Trinket crosses back to the podium, smoothes the slip of paper, and reads out the name in a clear voice. And it's not me. It's Primrose Everdeen.

[mollywog]

director's cut on forts, ⭐ for your choice!!

Hey!

I’m working on a new chapter as we speak: Elevator - inspired by @triassictriserratops’s post

Katniss and Peeta detour to the medicine factory. As I was trying to imagine the logistics of the building, I was thinking about:

By this time Gale will have clocked in at the mines, taken the stomach-churning elevator ride into the depths of the earth, and be pounding away at a coal seam. I know what it’s like down there. Every year in school, as part of our training, my class had to tour the mines. When I was little, it was just unpleasant. The claustrophobic tunnels, foul air, suffocating darkness on all sides. But after my father and several other miners were killed in an explosion, I could barely force myself onto the elevator. The annual trip became an enormous source of anxiety. Twice I made myself so sick in anticipation of it that my mother kept me home because she thought I had contracted the flu.

And:

Our part of District 12, nicknamed the Seam, is usually crawling with coal miners heading out to the morning shift at this hour. Men and women with hunched shoulders, swollen knuckles, many who have long since stopped trying to scrub the coal dust out of their broken nails, the lines of their sunken faces.

At the end of the day - work is work, but it has me thinking about the past and present primary industry of the district etc. etc. etc.