Analysis of 'Our Violent Ends' by Benedikt and Marshall (Short Story)

Another device could be the use of imagery. Benedikt and Marshall may create vivid pictures of the violent scenes or the build - up to them. They could describe the blood - red sky during a battle or the cold, hard look in a character's eyes before they commit a violent act. Also, the use of contrast, like the calm before the storm, could be used to heighten the impact of the violent ends.

No way. 'Violent Ends' is pure fiction. It's crafted to draw you into a made-up world, not to recount real-life happenings.

In a 'beginnings and ends short story', the beginning is like the doorway into the fictional world the author has created. It has to be inviting. A dull beginning may lose the reader immediately. For example, starting with an interesting dialogue can draw the reader in. The end is the destination. It can be abrupt if it's for a certain effect, like leaving the reader with a shock. However, it can also be a more gradual conclusion that allows the reader to exit the story world smoothly. The choice of how to start and end a short story depends on the genre, the theme, and the author's intended effect on the reader.

Alan Marshall's short stories often depict the Australian outback and the lives of ordinary people there. His works are known for their vivid descriptions of the landscape and the strong sense of place. For example, in some of his stories, he might describe the vast plains, the unique wildlife, and how the people interact with this environment. His characters are usually simple yet full of life, facing various challenges in their daily lives.

The 'Our Lady of Peace Short Story' could potentially be about a spiritual or religious journey related to the concept of peace. It might tell the story of a community or an individual who discovers the true meaning of peace through the figure of Our Lady. For example, it could be set in a war - torn area where the appearance or the idea of Our Lady of Peace brings hope and change to the people there.

The short story 'Not Our First Mistake' might be about a series of errors or misfortunes. It could center around characters who have a history of making mistakes and are now facing the consequences of yet another one. Maybe it shows their growth or lack thereof as they deal with this new situation.

The 'Our Lady of Fatima Short Story' is a tale that has deep roots in Catholicism. The apparitions were said to have occurred in 1917. The story tells of how three shepherd children, Lucia, Francisco, and Jacinta, had these encounters with the Virgin Mary. Their experiences led to a series of events that not only had a great impact on the local religious life but also became a significant part of the global Catholic community. It has inspired countless pilgrimages to Fatima, and the story continues to be passed down through generations, strengthening the faith of many believers.

A 'violent delight' in Twilight fanfiction could be the power struggle within a vampire coven. The intense desire for power and dominance among the vampires can be seen as a form of 'delight' in the chaos it creates. This can lead to a 'violent end' such as a split in the coven or a full - out war. Or, the forbidden love between a vampire and a werewolf, which is a 'violent delight' due to the long - standing feud between their species, might end violently when their respective groups find out and try to force them apart.

Yes, some of Jessica Hawkins' romance novels might have violent ends. In many romance novels, including hers, conflict is a key element. This conflict can sometimes escalate to a point where it has a violent conclusion as a way to heighten the drama and the stakes for the characters.

Another well - known violent detective is James Bond. Bond is a spy who often takes on detective - like roles. He is extremely violent in his approach, using high - tech weapons and his martial arts skills to take down enemies. His stories are filled with action - packed scenes of him fighting off bad guys in very violent ways.