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Pulp Fiction is a 1994 film by director Quentin Tarantino, who cowrote the film with Roger Avary. A crime drama with a nonlinear storyline, the film is known for its rich, eclectic dialogue, its ironic mix of humor and violence, and its host of cinematic and pop culture references. The film was nominated for seven Oscars, including Best Picture; Tarantino and Avary won for Best Original Screenplay. It was also awarded the Palme d’Or at the Cannes Film Festival. A major commercial success, it revitalized the career of its leading man, John Travolta, who received an Academy Award nomination, as did costars Samuel L. Jackson and Uma Thurman.

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The film’s title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue. The plot, in keeping with most of Tarantino’s other works, is presented out of chronological sequence. The picture’s self-reflexivity, unconventional structure, and extensive use of homage and pastiche have led critics to describe it as a prime example of postmodern film. Pulp Fiction is viewed as the inspiration for many later movies that adopted various elements of its style. The nature of its development, marketing, and distribution and its consequent profitability had a sweeping effect on the field of independent cinema. A cultural watershed, Pulp Fiction’s influence has been felt in several other popular media.

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After 232 years of independence and 43 presidents, the United States of America has elected its first African American president.

In the past, there have been quite a number of movies with African American presidents.

The first fictional African American president was Rufus Jones played by Sammy Davis Jr., in Rufus Jones for President. It is a 1933 short musical-comedy written by A. Dorian Otvos (Merry Go Round of 1938 (1937), Goodbye Broadway (1938)) and Cyrus Wood (All Girl Revue (1940), Alice in Wonderland (1940)) directed by Roy Mack (Hillbilly Blitzkrieg (1942), Headline Bands (1946)) where an African American child is elected president of the USA. Since the movie is at least 75 years old, it wouldn’t be surprising if many people haven’t heard about it.

The second one, 39 years later, is Douglas Dilman played by James Earl Jones in The Man – Not to confuse with the 2005 movie with the same title staring Samuel L. Jackson and Eugene Levy. It is a 1972 political drama based on a novel with the same title, written by Irving Wallace (The Second Lady (1980), The Celestial Bed (1987). The screenplay was written by Rod Serling (Assault on a Queen (1966), Planet Of The Apes (1968)) and directed by Joseph Sargent (Sybil (2007), Sweet Nothing in My Ear (2008)). Douglas Dilman becomes the first African American president after the president and the speaker of the house are killed.

The third one is Lindberg played by wrestler/actor Tom Lister, Jr. in the science fiction-fantasy movie The Fifth Element (1997) starring Bruce Willis, Gary Oldman, Ian Holm Mila Jovovich and Chris Tucker. This movie wasn’t about his presidential campaign or career, but about saving the world with the help of four stones and the fifth element.

The fourth one is Tom Beck played by Morgan Freeman in the science fiction-drama movie Deep Impact (1998); also staring Robert Duvall, Téa Leoni, Elijah Wood and Vanessa Redgrave. Just like The Fifth Element, the movie wasn’t about his presidential campaign or career, but saving the world this time from a comet. It didn’t do as well as expected in the box office, but a movie with a similar storyline – Armageddon – was released two months later performed much better.

The fifth one is Mays Gilliam played by Chris Rock in Head of State (2003). It was written, produced and directed by Chris Rock; which kind of explains some of the mistakes. This movie is about May Gilliam’s presidential campaign and how he got elected as the first African American of the United States of America. North America. If you pay attention at the end, when it’s announced that he has won the election, you’ll see that a guy who looks a lot like him gets shot. President Obama made his victory speech behind a bullet proof glass. Makes you wonder. May’s running mate was his brother Mitch, played by Bernie Mac (God rest his soul), which makes Mitch Gilliam the first African American Vice President.

The sixth one is Alonzo Camacho played by Terry Crews in Idiocracy (2006). A soldier named Joe Bauers (Luke Wilson) and a prostitute called Rita (Maya Rudolph) take part in a military project which involves getting hibernated for a year. But because the project was canceled, they were forgotten and ended up being awaken 500 years in the future in a world where everybody is stupid. The President is Dwayne Elizondo Mountain Dew Herbert Camacho, porn star and five-time ultimate smackdown wrestling champion. This might be the least popular movie since it wasn’t promoted properly and no official trailers were released. But it did receive good reviews from viewers. I think it’s worth checking.

The seventh one is one of the most popular and favorite fictional president. I’m talking about President David Palmer played by Dennis Haysbert in the series 24.

The eight is President Wayne Palmer, brother of David Palmer, played by DB Woodside in the series 24. We didn’t really get to know Wayne as president because of his “accident” in the sixth season.

There you go, fictional African American presidents on screen. I think that now everybody might be on the look out for a female president. So far, we’ve had Mackenzie Allen played by Geena Davis in Commander in Chief, Caroline Reynolds played by Patricia Wettig in Prison Break, Laura Roslin played by Mary McDonnell in Battlestar Galactica. In 24 Season 7, the president is said to be a woman.

I wonder how a pregnant female president would be like; maybe walking around with nannies, strollers and dirty nappies. Now that would be funny!

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There are many elements that go into making a work of fiction worthy of being read. While each part is essential, there are four elements that are vital in transforming your work from a boring jumble of words to a true work of art.

1.The idea – This is where every great work of fiction begins. Ideas can come from various places. Sometimes an idea will just pop into your head or wander in from your imagination, but more often, something in your life will trigger a story idea. A personal experience is a wonderful source for an idea. Many writers come across new topics while working on a completely different project. Ideas can be gathered from television, newspaper articles, or overhearing a story in the checkout line of the grocery store. Story ideas are all around you, so it’s important to keep a notebook with you to jot them down when they come to you.

2.The plot – There have been many discussions on whether you should choose your plot or your characters first. Personally, I think you should pick your plot. After all, how do you know who your characters should be if you don’t even know what they are doing? The plot is the element that takes your idea and transforms it into a story. It is the part that moves the story from “Point A” to “Point B.” In order for your story to be exciting, your plot needs to be exciting. Think of it as a roller coaster. Up, down. Fast, slow. Twist, turn. Your plot should do all of these. The best plots are those that have the reader experiencing opposite emotions in the same chapter. Happy, sad. Scared, relaxed. Assured, in doubt. Keep the story moving, and your reader will continue to flip the pages. Let the story stall, and your book is likely to wind up on the shelf. That’s how important plot is!

3.Characters – The next thing every good story needs is good characters. Notice I said “good characters” not just “characters.” The character is the person (or sometimes animal) who is living out the story. For the story to be believable, the characters must be believable. Unfortunately, there are many good plots out there that lack realistic characters. The people are dull and lifeless, making it hard for the reader to relate. Make your characters come alive with action, dialogue, and description. Know your character, and help your reader to know him as well.

4.Setting – While this element is not as important as the other three, setting often plays a vital part in a story. Not only does setting tell the reader “where” and “when,” but it can also help set the mood. For example, if your setting is on the field of battle in the middle of the Revolutionary War, there is a mood of fear, sadness, and regret. If your story is taking place in a dark creepy house on a stormy night, you have set it up for the perfect mystery.

While there are many other elements in a work of fiction, these are the most important. Master them, and your story will be worthy of being read and hopefully even being published.

Dana Rongione is a full-time Christian freelance writer living in Greenville, SC. For more information on fiction writing, check out LearnWriteNow.com. While you’re there, be sure to sign up for the FREE Writing Nuggets.

For daily encouragement, visit her blog, A Word Fitly Spoken.

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The weeping, talking trees in Virgil and Dante suggest that the idea of communication with plants is of great antiquity, but only in the sense of transmigration of human souls into plants; the subject is not yet real plant intelligence in its own right.

Then comes the transitional example in the early part of William Hope Hodgson’s The Boats of the Glen Carrig (1907). In the chapter ‘The Land of Lonesomeness’ we are taken to an island in which there is a wailing during the night, and evil trees are prone to wrap their branches round the unwary traveller. The narrative suggests that human souls are somehow sucked into the trees and then beckon for more to join them. The sense of horror is peculiar and powerful. The atmosphere is that of supernatural fear, but the work can marginally count as science fiction.

Then comes the great age of magazine science fiction, and all sorts of portrayals of intelligent plants blossom out into the literature.

Murray Leinster’s ‘Proxima Centauri’, dating from the early years of pulp SF, depicts malevolent space-travelling plants attacking human explorers. A more subtle approach comes from the planet-wide vegetable intelligence in the 1931 story ‘Seedling of Mars’ by Clark Ashton Smith, where humanity is subjugated by the promise of Utopia. Raymond Z Gallun, another vintage 1930s writer, produced a more evocative variation on this theme in ‘Seeds of the Dusk’, where this time humanity is gassed to peaceful death by an alien vegetable invader in the far future. In this last story, the reader is made to feel that the removal of the last degenerate humans is no great loss to the world.

As a change from these threats, in Clifford D Simak’s All Flesh is Grass (1965) we actually enounter a benevolent (though somewhat ruthless) intelligent life in plant form, though the form it takes is that of a planetwide biological computer that works through photosynthesis, and is only outwardly similar to the plant life we know. All Flesh is Grass is one of Simak’s best novels, a joy to read. Proclaiming the brotherhood of all species in his gentle, humane, inimitable style, there is nevertheless nothing soft or flabby about it, and it contains plenty of excitement, menace and that impingement of a strange cosmos upon ordinary life, which is the hallmark of a certain subgenre of science fiction – what one might call the small-town cataclysm.

What of plant civilization considered in itself, without regard to its impingement upon humanity? For this you have to go to Olaf Stapledon, to the 8 pages in Star Maker (1937) in which he narrates the rise and fall of the ‘plant men’ of a small, hot, energy-rich world. The story of the beings he describes is dominated by the tension between their active night-time and their contemplative day-time natures. The balance is eventually lost, and first one, then the other nature predominates, leading to the doom of the plant men and their world. In 40 years of reading science fiction I have never come across anything remotely comparable in intensity to these 8 pages, as far as the theme of plant intelligence is concerned. It is a parable of universal relevance to all cultures, in the stress it lays on the vital importance of fidelity to one’s natural origins.

Robert Gibson is caretaker of the Ooranye Project, creating a fictional giant planet which can be explored on http://www.ooranye.com. The project’s aim is to meld the subgenres of Future History and Planetary Romance, resulting in over a million years of civilization with its own societies, customs, conflicts, triumphs and disasters, politics, philosophies, flora and fauna, empires both human and non-human, and adventures that range over an area ten times that of the surface of the Earth. Lovers of planetary adventure are invited to view the history, comment on the progress of the project, access the tales and keep in touch with the developing destiny of Ooranye.

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