Sloppers, Med-Jacks, Track Hoes and Maze Runners

Speaking as the resident dude around here I can tell ya, boys love putting themselves into tribes. When I was a kid we gathered our buddies, gave ourselves a cool sounding name, and then established rigidly observed rules and hierarchies. The tribe could have been based around anything. Kids who play Dungeons and Dragons, kids who play tennis, kids who live on this block but not that block. The reason for the tribe wasn't really important, it was belonging to one that was. This behavior starts super early and for boys ends sometime around, well, never.

There are a lot of reasons for this, some good, some not so good. I think it has alot to do with that early struggle to establish an identity, to find a place and create a sense of safety and belonging. All good things of course until later when it edges into High School cliques, to exclusion and rigid hierarchies. Harmless play calcifies into Us. vs. Them. A shame.

I was thinking alot about this while reading Maze Runner. Just like in Lord of the Flies which partially inspired this book, the boys in Maze Runner very quickly ordered themselves into tribes of Sloppers, Med-Jacks, Baggers, Track-Hoes and at the top of the pile, the ones with the hardest job and the most prestige, Maze Runners. Newt says that all this order helps keep them sane in a terrible situation, and I'm sure that's true, but I did found myself struck by the seeming rigidness of the system and the council that called the shots. Did anybody elect these people? Can a Slopper dare to dream that he'll one day be a Maze Runner? Or is that once you're in your group your future is set? My feeling is that you're kind of stuck and I think some, I guess typically American, part of me is troubled by that.

Obviously this isn't exactly a driving force in the book but it's one that really got me thinking. It seems to me that this kind of tribal determinism plagues us everywhere we look (look no further than any High School lunch room) and it's often reflected in YA novels. Sometimes it's questioned, sometimes it just is.

What's your take on this? What do you think Dashner is saying with the groups portrayed and the governing structure in the book? Do you think the way the book ends is a comment on it? Do things change?

Also, what's your experience with High School tribalism? Do you think we can ever be without it? Should we try?


Jeff Hirsch
The Long Walk Home
Coming from Scholastic, Fall 2011


Find me at jeff-hirsch.com and @jeff_hirsch

The Maze Runner - Ramping up the tension

Wow! I almost felt like I was running the maze, escaping Grievers myself. From the first few paragraphs, James Dashner grabs hold of you and doesn't let go, dragging you, pulling you and pushing you from one catastrophe to another. In The Maze Runner, the tension isn't just ramped up - it never stops.

Most novels give a person a break, a quick stop to catch your breath - but not this one. There is barely page that doesn't force you to turn to the next one, often it's a paragraph that demands you read the following one.

How does Dashner do this? Unanswered questions! All of the characters are in the dark, including Thomas. From the very start, when he comes out of the box and asks, "Where am I?" he is continually asking (or being asked) questions that only lead to other questions...

"You ain't never seen her before?"
"Could it hear him? Smell him?"
"Settles what?"
"Tricked?"

In thinking of other thrillers that I've read, of course, they all have unanswered questions - but, The Maze Runner seems particularly rife with them. And, since everyone seems to be working on clean slate memories -- there's obviously something that has done this to everyone. Unlike other stories where the mystery becomes clearer as the main character unravels clues - things seems to become more muddled in TMR as more questions surface.

I can only think of a couple of other books that, for me, were full of heart-thumping and/or non-stop action that occasionally made me have to set down them down just so I could catch my breath.
Deathly Hallows was like that for me and
an adult book called The Charm School by Nelson DeMille.
Oh, I think I could put Hunt for Red October by Tom Clancy.

How about you? What books keep you on the edge of your seat non-stop until they careen to an unexpected end?




The Maze Runner & the Evolution of Language

All this week we're going to be talking about THE MAZE RUNNER, the NYTimes bestselling dystopian by James Dashner.

Today, I'm going to talk about the language Dashner uses. In the first chapter, it's evident that Dashner developed a new slang language for his characters.

For me, this is very realistic. The base of change in language is slang. It's the first thing to change, and typically has the most dramatic change. In my day, something awesome was "cool." My students said it was "beasting." My parents called it "groovy."

And, of course, there are curse words. I think the potency of curse words evolve. In the Middle Ages, "zounds" was rather harsh, but "piss" was common. A Victorian lady wouldn't stand to hear anything as offensive as "damn." Whether you think it's right or wrong, "WTF" is certainly doing it's part to make the "f-word" more acceptable in daily use.

Language evolves based on location, too. When I took my students to England, I warned them that "Sorry," implied you'd passed gas, and to not use it when you bump into someone on the Tube. And the two-fingered peace sign means something completely different in England.

What Dashner did so well with his evolution of language was create words based on past words. "Shuck" seems to have replaced the obvious rhyme, and "clunk" is another word for, erm, poo. And while the new language may be a bit off-putting at first, it does have a logical progression for why it exists. Shuck has the rhyme--our words do tend to evolve based on sound--but clunk seems (to me) to have been the sound of, well...I imagined metal bed pans or similar...

When writing works of the future, I do think it's important to consider language. In my own novel, I altered slang and dialect to differentiate between the people from the past and the people from the future. It's based on what we currently have--with a few new words thrown in.

Another good thing to think about in language isn't just slang and curses words. It's also catch phrases. We all use crutch phrases when we talk--some people overuse "like" or "just" or "you know." In THE MAZE RUNNER, a common phrase the characters use is "good that." It's equivalent to everything being kosher or being agreeable with something.

This is also, by the way, a feature that I loved about FIREFLY. In Joss Whedon's world, English and Chinese speaking cultures became strongholds, so many Chinese words (particularly curse words) slipped into daily English language. This blend of two languages is likely. Consider how easily Spanish, Yiddish, and French words have integrated into our daily use.

FIREFLY (have you noticed how much I love that show?) also uses a progression of language. "Gorram" and "rutting" have obvious root words in our own language.

When we work on stories about the future, I think it's important to also consider language. It shouldn't overwhelm the story, but, much like a pinch of salt can make a dish perfect, a touch of language can make the story sing.

So, are there any stories you can think of that use a new type of language?

Unpredictability Factor

Okay, so we've been talking scary this week. Horror. Ghost stories. All that jazz. I am so out of my element in this, because dude you guys, I am the biggest wimp on the planet. I do not like scary things. At all.

I do not like haunted houses. I do not like horror flicks. I do not, dare I say it? I do. I do not like Halloween. *ducks* *hides* There are many reasons for my almost-hatred of Halloween, but one of them is the fact that I do not like being scared. On purpose. For fun.

That is so not fun to me.

I do, however, really enjoy suspense. Tension. Think THE SIXTH SENSE and SIGNS and THE FORGOTTEN and KNOWING (especially KNOWING).

I like smart suspense in movies and books that take me on a twisty road I can't anticipate. I like that. I like going, "No WAY!" at the climax. I like being right there, on the edge, but I'm not into the blood/guts/gore/jumping out from behind a bush with a chainsaw type of scary.

I do enjoy reading ghost stories and the like, but as I said earlier, for me, it's more about the twist, the unpredictability than the actual fear factor. What about you? What gets your heart racing?

My Kind of Horror

Okay. I’m going to seriously date myself with these next words.  I used to rush home after school to watch one thing:

Dun dun dun .... (Cue atmospheric music.)

Dark Shadows.

And, before you say it. No, I’m not that old.  I watched Dark Shadows in syndication in the mid-to-late 70’s.


Dark Shadows was a Gothic soap opera (how could you not love the concept?) that originally aired weekdays on ABC from 1966-71.  Even though it was dark and atmospheric (and vastly different from any other soap opera at the time), the first  year of the show was a little slow. Young governess goes to spooky New England mansion to work for rich eccentrics with a troubled son.  A touch of Jane Eyre and Wuthering Heights.  Yet it was admittedly dull, which is probably why the first year wasn’t syndicated until the 1990’s.

Things really pick up, though, when Cousin Barnabas shows up at Collingwood (the Collins family mansion)—and turns out to be ...dun dun dun ...a vampire. At this point, the show became wildly popular, and next thing you know, ghosts, werewolves, monsters, witches, and every kind of paranormal being start popping up in the story lines.  The denizens of Collingsport, Maine even dabble in time travel and parallel universes.

My favorite part, though, was how the writers stole shamelessly from the classics. Story arcs were ripped right out FRANKENSTEIN, H. Rider Haggard’s SHE, Henry James’ TURN OF THE SCREW, Tennessee Williams’ THE MENAGERIE, and Oscar Wilde’s PICTURE OF DORIAN GRAY.

Let me give you an example of a story arc. (This was one of my favorites.) In 1969, young David Collins is being harassed by the ghost of Quentin Collins. So, cousin Barnabas—temporarily cured of his vampirism--uses the I Ching to travel back to 1897, where he meets the very much living Quentin, who was cursed by gypsies—something to do with Count Petofi’s hand, I forget—and is now a werewolf.  Barnabas has a painter do a portrait of Quentin, which cures his lycanthropy ala the Picture of Dorian Gray.  The painting of Quentin turns into a wolf at the full moon. Incidentally, Quentin doesn’t age at all and therefore can’t become a ghost to haunt David in the future. Still following me? His work done, Barnabas I-Chings it back to 1969—only to find an ancient race of Lovecraftian beings waiting to nab him. Begin new story arc.

That’s my kind of horror. Camp. Literate. Byzantine. And just plain fun. (Did I mention the dreadful camera work and silent-screen-worthy acting?)

Here's a little taste:



You thought I kidding about the I Ching, didn't you? And did I forget to mention Barnabas goes back to being a vampire in 1897 because he was one back then.

I’m not the only one who still loves Dark Shadows.  (Actually there are lots of fans and conventions even now.) Earlier this year on BBC’s Jonathon Ross Show I saw two of my favorite collaborators announce what one of their next projects would be after Alice in Wonderland.  Tim Burton and Johnny Depp are working on… (dun dun dun)…a Dark Shadows movie.   (It should come out after Depp does Pirates 4.) Yes, that means Johnny Depp will play Barnabas Collins. The last I read, the screenplay will be written by Seth Graham-Smith of zombie book fame. How's that for a combination?

Any other Dark Shadows fans out there? How about the '90's revival starring Ben Cross? He was certainly a better looking Barnabas, but the remake just kind of missed the point of the original. Sometimes it's really good to be bad.

The Lincoln House Ghost

This all happened back when I was an undergrad at James Madison University. It was my sophomore year, which turned out to be my last year there though I'm not sure I had decided that at the time of this story.

I was studying theater and the program wasn't quite as rigorous as I had hoped. Also I had no friends. Seriously. No friends. It takes me awhile to get comfortable with new people, something I've made peace with at this point, but back then I hadn't and it just made me uncomfortable and standoffish, which pushed people even further away. I was far from home for the first time in my life, unhappy and isolated.

Who knows, maybe that even played into what happened that night.

The picture above is of Lincoln House. It was torn down in 2006 to make way for a shiny new state of the art theater center, but back then it was the theater department's costume shop. Like most theater departments, JMU took a multidisciplinary approach to theater and that Fall it was my time to do a tour of duty on the costume crew.

That night, we were at the theater integrating costumes into a show for the first time. We were kind of overstaffed so I was standing around backstage with not much to do until the costume designer threw me a set of keys and asked if I would take the van over to the shop and pick up a load of costumes someone had forgotten in the drier.

If you've ever been involved in college or high school theater you know what it's like back stage leading up to a performance. The place is packed with the high energy collisions of attractive and creative young people. There's flirting to do, cigarettes to be smoked, parties to plan. An astonishing amount of backrubs. Faced with that sort of thing at a painfully introverted time in my life I was more than happy to leave.

It was early evening when I climbed into the van and started it up. The street between the theater and the costume shop was empty, lined with the shadows of trees. A rapidly fading sunset was on the horizon, all orange and yellow. It was short trip to the shop, not more than a few minutes. When I got to Lincoln House I pulled the van around to the back and walked up the drive to the front door.

That's when I remembered that the costume shop was haunted.

I don't remember who was supposed to be haunting it, or why, only that it was. No big surprise though, is it? I mean, look at the place. Of course there are stories that it's haunted. It would be more shocking if there weren't.

By the time I climbed the small hill out of the parking lot the sun was gone and it was fully night. Still and empty all around. If you look at the picture above, I would have been walking from the bottom left corner up and around to the front of the house. You can also see in the picture that on the left side of the house, a gable sits peaked at the roofline with its one window looking into the house's attic.

I knew the building was empty, the entire crew had left together and locked the place up, but as I walked up that drive I became convinced that if I were to look up at that gable on the roof I would see an old woman standing silently in the window, watching me as I made my way to the front door.

Even as a deep dread settled in my stomach, I dismissed the idea as a product of my over active imagination, and refused to look up and feed into it. I'd get this over with and get back to the theatre.  I took the stairs, fishing for the keys. My hand shook a little as I unlocked the door and felt blindly inside for the light switch.

The light settled into what would have been a parlor back when the place was built. Old ladies would have gathered there in the afternoons to drink tea and play bridge, but now it was crowded with dress forms and piles of fabric. Racks of hats and lines of shoes. Directly ahead of me was a narrow corridor that led back to what would have been the kitchen, but was now the room where they dyed fabrics. Beyond that lay the laundry room.

To my right a large mahogany staircase wound up into the darkness of the second floor and, beyond that, to the attic. I stood there for a moment looking at. The heavily polished wood shone. The bannister curved like a collarbone, graceful and smooth.What would happen if I followed it up, I wondered. Part of me wanted to, felt drawn to it and whatever I'd find at the top.

I pushed that aside and made my way through the debris in the parlor and into the corridor. It was cramped inside, not much wider than my shoulders and on either wall were corkboards covered with a forest of index cards, sketches and scraps of fabric, each one secured at the top with a pushpin.

I reached into the kitchen, fumbling until I hit the light switch. There was nothing inside but an old table covered in spatters of paint and dye. Piles of fabric. Two windows sat above the stained sink, closed and painted shut. I crossed the kitchen in two big steps and made it to the laundry room. I didn't even bother to turn on the light. I darted in, threw the squat drier open and grabbed the warm pile that lay inside.

As I stepped back into the kitchen something cold brushed against the skin of my arm.

I stopped dead in my tracks. The house was quiet. Still. My skin prickled.  I felt it again, like a cold wind blowing from the laundry room out towards the parlor. I turned and looked up. There were two windows, both high up on the wall of the laundry room. Each one was shut tight and locked. There was no door. No gap in the wall or crack in the ceiling.

Was I imaging it? Where was this coming from?

The wind blew again, lightly, and then I had it. I had left the front door open and it was simply drawing air out of the house, creating what seemed to be wind. I nearly laughed at myself, relieved, and then turned to go, fixing my eyes through the corridor and on to the front door.

It was closed. There was a big window just to the right of it and it too was closed tight. Pinpricks of fear tingled along my arms and back.

The wind kicked up again, stronger this time, crashing into my back and over my shoulders.Who cared where it was coming from? I just wanted out.  I blundered past the Ritt stained fabrics and into the corridor. As I did a sound, like playing cards being shuffled, was at my back. It grew louder, like it was gaining on me. I was halfway through the corridor when the it overtook me and I watched, horrified, as the loose corners of those hundreds of scraps of paper rose in the wind and began slapping fitfully against the corkboard. Convulsing. For a split second I saw them not as notecards but as a flock of birds pinned to the walls, all of them thrashing their bloody wings, desperate to escape.

The wind was howling through the whole house now. Beyond the front door were streetlights, headlights, the lights of the school. All I had to do was make it through that corridor and this whole stupid thing would be over. I would be backstage again, surrounded in tile and linoleum and people.

But I had become convinced that I'd make it through the corridor, but just as I stepped into the parlor I'd see the old woman from the attic descending that mahogany staircase just out of the corner of my eye, moving slow and dreamy, but in the twisted physical logic of dreams, still fast enough that she would catch me at the bottom before I could escape.

I surged forward and my hand found the doorknob. I threw the door open and stumbled down the stairs and along the driveway to the van. The black rectangles of the house's windows rushed past out of the corner of my eye. I had to fight the desire to turn and look. It was like I was standing at the edge of cliff and there was a tiny part of me that wanted to lean forward just a hair too much, that wondered what it would be like to go tumbling down into the darkness and never come back.

I don't remember getting into the van or starting it up. I just remember pulling out of the driveway and onto the road, heading back to the lights of the campus and that theater full of people, all of them dancing on the tips of their toes as they prepared to throw themselves as one into the stage lights.

I thought of them and I thought of how I would go to bed that night, and likely move through the entirety of the next day, without saying a word about what had happened to anyone. After all, who would I say it to?  I was surrounded by people, but I had managed to make myself as fleeting and transparent in their eyes as a sudden breath of wind. A ghost.

So that's my story. 100% true! How about you guys? I know one or two of you must have a good ghost story to share. Let's hear 'em in the comments! Happy Halloween!



Jeff Hirsch
The Long Walk Home
Coming from Scholastic, Fall 2011


Find me at jeff-hirsch.com and @jeff_hirsch

"They're here already! You're next!

Those are the terrified words Dr. Miles Bennell yells into the camera near the end of what I consider to be one of the scariest movies ever - Invasion of the Body Snatchers" (1956.)

I am not a horror movie fan. Honestly - I get too scared! I was the kid at the movies who ducked down under the seats, squinched my eyes shut, plugged my ears & told my friends to let me know when the scary part was over. (It so does not count that I'd peek between the seats!)

Perhaps, because they were filmed in black and white - the movies I saw as a kid seemed more scary than any horror movies today. Actually, those old B&Ws still DO scare me. I mean, what is not to be terrified of from movies like "Invasion of the Body Snatchers?"

How the heck would you feel if if you knew that aliens were taking over the bodies of everyone, and there was no way to figure out who was human and who wasn't? Then, when you finally get away, no one believes you.

The original ending of this movie was to be Miles watching truckloads of pods passing him on the highway. The studio thought things should be a bit more optimistic and changed it, so there was at least a chance that the pod people could be stopped.

Have you seen the 1956 version? Did it scare you? Aside from the hokeyness of this trailer, I've gotta say - it still terrifies me!