# data[].attributes.body
Flashback, Flash-forward, Symbolism, Tone, Allusion, Irony

# data[].attributes.body
First, "Remake" this Padlet. DO NOT EDIT THIS PADLET.  Enter your name and the title and author of your novel.  Then, SHARE your Padlet with me (TMichaud@rochester3a.net).
Check the sharing permissions under SHARE.  Scroll down to "Change Privacy" and set to "Secret."  You may want to bookmark this Padlet so that you have easy access to it.

Using this Padlet, you will collect evidence from your mystery novel that will help you write your essay.  In addition to listing your evidence, you will want to note what it is and why you are citing it.  Don't rely on your memory weeks from now when you begin to use your evidence and you can't remember why you listed it.  An example is in the second post under this column.

Remember, this is your prompt for the essay-
Analyze specific ways in which the author elicits feelings of terror and horror within the reader. Based on this analysis, how do terror and horror impact the novel as a whole?

Much like we are practicing the analysis of horror and terror in class through the author's writing, you will be doing the same here with your novel.

# data[].attributes.body
-What do the characters say?
-What do the characters do?
-How do the characters react to each other?
-What do the characters look like?
-What do the characters think?

# data[].attributes.body
Exposition, Conflict, Rising Actions, Climax, Falling Actions, Resolution

# data[].attributes.body
Similes, Metaphors, Personification, Hyperboles, Idioms

# data[].attributes.body
Evidence for Figurative Language
Personification from "A Vine on a House"

"...a long vine that covered half the front of the house and dangled its branches from the edge of the porch abvove them was visibly and audibly agitated, shaking violently..."
"...the vine was violently agitated while under the closest scrutiny..."

These two quotes personify the vine.  Giving them human-like characteristics makes the vine seem mysterious.  At the end of the story, the reader learns that the vine could be a representation of the wife, Mrs. Harding.  While a  shaking and agitated vine may not seem that important, knowing that Mrs. Harding may have been murdered by her husband makes the vine, her earthly representation, that much more ominous.  Perhaps the vine is shaking violently because Mrs. Harding, although dead, is traumatized by her own death.

# data[].attributes.body
"Sorry I kept you waiting. I slept in."
"Did you sleep okay?" Mae asks.
"Yeah. Took me a while to fall asleep, but once I did, I was out. Didn't wake up at all." (Page 107)

The night before, in Elise's dream, she witnessed the sight of her best friend chowing down on what could  be a human corpse. The next morning, Julie claims she slept uninterrupted, but I believe this foreshadows to this event taking place in reality, and not in a dream.
--
"Did you find her?" she asks.
I turn around and realize she's not talking to me. She's talking to another staff member who looks equally flustered. (Page 109)

On this day, the manager cannot locate a resident. If my presumption is correct about Julie feasting in the night without her knowledge, then this missing woman could possibly be "the limp thing" she fed on last night.

# data[].attributes.body
"The thing looks up at me, and it's Julie, but it's not Julie. Hideous mouth open, red, red, red, red. Even in the dim light, I can see the red. Pointed teeth. Rows of them, like a shark's, things hanging between." (Page 100)

The simile acting as a comparison between Julie's gaping mouth and that of a shark paints that picture of the horrific sight that is "not Julie." Also, some repetition in there. The point has been gotten across when the reader pictures the  pit of gore, filled with several sharp teeth and bleeding red.
--

# data[].attributes.body
The purpose of its seclusion is unclear. It's not a place trying to hide from the world. It's not quiet. I stands among the trees, screaming. It's a sprawling storybook estate. Aggressively whimsical. Cloying. A pastel Frankenstein's monster.

The setting is a perfect getaway... to get murdered. The place is secluded and quite peculiar. Who knows what on earth could go on within this resort?

# data[].attributes.body
"She's eating the meat raw."

Tristan, wife of Julie-who is best friends with the protagonist is described as eating raw meat late at night. It's a disgusting and horrific image to perceive.

# data[].attributes.body
"From then on, she was eating meat. A lot of meat. At the store she would fill up the cart with ground beef and steaks, sausages, pork, and ribs."

Julie, who has seemingly ditched vegetarianism after the two years she has gone missing, has become a ravenous carnivore.
--

# data[].attributes.body
"This hotel is amazing, Lise...I was thinking about how perfect it would be for a girls' trip, but I thought it could never happen because of Julie. Now she's back and it's just ... I don't know. It's like fate."

Elise's friend Mae has arranged for their friends to get together at a fancy resort with separate rooms. This kicks of the story by putting the characters together and getting ready to introduce the main conflict.
--

# data[].attributes.body
"You'll talk to her now?" Molly asks me.
"Mm."
"You need to."
"I know, Molly. I'm going to."

Molly and Elise desperately want to find out some truth about Julie and their is a small conflict among the friends of working up the right time to do it, or to do it at all.

# data[].attributes.body
"...but Molly can barely look at me. And when she does, it's like I'm disgusting to her."

Julie is without a doubt a strange a grotesque version of her former self. Her physical health fluctuates from healthy to cadaverous. Molly is evidently turned off by this fact and is creeped out, as she should be.

# data[].attributes.body
She leans forward, puts a hand on my knee. "The more you love someone...we hate everyone we really love."

Julie delivers a short monologue about how loving someone cause hate to fester because you become vulnerable to them and they could hurt you. Julie feels like an intimidating character delivering such an unsettling speech.

# data[].attributes.body
When she took a step toward the figure, it dropped on all fours and scuttled into the bush.

Rachel is quite good at using choice words to reverse-personify, if that's even a thing. She can make humanoid creatures come off as animal like and not docile.

# data[].attributes.body
She didn't know what they were, not exactly, but she knew she was one of them.

Julie has been abducted by a tribe of shadowy humanoid creatures. This flashback highlights how disturbing it is to imagine a society of shadow creatures in the forest who steal people and transform them into one of them.

# data[].attributes.body
I try a few other handles along the hall. Locked, locked, locked, locked, locked.

Rachel Harrison likes to use repetition and in this case, Elise is trying to escape from the threat and the repetition seems to spell out a hopeless fate for Elise, which intensities the urgency of her escape and the reader wonders if she has a chance of making it.

# data[].attributes.body
There's a mural of a windmill...It's not the ideal place to hide for my life.

# data[].attributes.body
But friendships are mercurial...I would take a day wiping up Mae's vomit over any day without her.

# data[].attributes.body
"We've always been on the same page...We've always known we were special."