Rhoticity Chicken: The Final Cluckfrontation


The skies darkened over the Coop of Justice. Inside, Rhoticity Chicken—a rooster of unparalleled enunciation—perched on his golden roost, adjusting his crimson cape. His mission was simple: to defend the final R in English against the insidious forces of vowel decay.

Audio: NotebookLM discusses this topic.

Across the barnyard, his greatest nemesis, Non-Rhotic Chicken, cackled from atop his weathered soapbox. “Togethah, my feathah’d comrades,” he declared, wings outstretched, “we shall ERASE the intrusive ‘R’ from this land. Wintah, summah, law and ordah—it shall all flow smoothly once more!”

A murmur rippled through the coop. Some hens clucked nervously. Others nodded, spellbound by his seamless vowel transitions.

But then, a mighty R echoed through the barn like thunder.

“NEVER!”

Rhoticity Chicken flapped into the air, his chest puffed out with impeccable articulation. “You shall NOT take the final ‘R’! I have defended it from the creeping shadows of elision for YEARS, and I shall not fail now!”

From the shadows emerged The Trilled Chick Henchmen, a gang of feathered mercenaries trained in rolled Rs. They trilled menacingly, their Spanish and Italian inflections rattling the walls of the barn.

“Señor Rhoticity, your time is up,” rasped El Gallito, the leader of the henchmen. “Your crude American Rs will be smoothed away like an old dialect in the sands of time. Trill, my hermanos!”

They rolled their Rs in unison, a sinister wave of phonetic force blasting toward Rhoticity Chicken. He staggered, his own hard R wavering against the onslaught of linguistic variation.

But he clenched his beak and stood firm.

“No,” he declared, eyes blazing. “You can roll your Rs, you can drop them, but you will NEVER take away my right… to pronounce… HARD R’s!”

With a mighty CROW, he unleashed his ultimate attack:

THE RHOTIC RESONANCE

A shockwave of perfectly articulated, non-trilled Rs blasted through the barn. It swept across the land, restoring all lost R’s to their rightful places.

Non-Rhotic Chicken gasped as his vowels stiffened. “No—NOOOO! My beautiful syllabic flow—GONE!” He clutched his throat as a long-forgotten ‘R’ slipped back into his speech.

“I… I… can’t… say cah anymore… I… I just said… car.”

The barn fell silent.

Defeated, Non-Rhotic Chicken collapsed into a pile of feathers, mumbling in fully articulated rhoticity.

The Trilled Chick Henchmen scattered, their rolling Rs faltering into incoherent babbling.

Rhoticity Chicken stood victorious. He fluffed his cape, took a dignified breath, and proclaimed:

“Justice. Honor. Pronunciation.”

And with that, he flew into the night, ready to defend hard R’s wherever they were threatened.

THE END…?

Whisper of Wings

There’s a park outside London where the trees keep secrets and the air hums with untold stories. Nigel, a chap with calloused hands and a life measured in paycheques, stumbles upon a moment that’ll unravel him. A purse, unguarded on a bench, whispers temptation. He’s no thief, just a man cornered by circumstance.

The park, draped in the solemnity of dusk, watches as Nigel succumbs. He lifts the cash, a weight heavier than coins, and returns the purse to its owner, an elderly lady scattering crumbs for birds, her gaze lost in yesterdays.

It begins as a murmur on the wind. “I know what you’ve done,” whispers a disembodied voice. Nigel whirls around, searches the empty park in vain. He shakes off the words as a trick of his fraying mind.

But the voice persists, insidious as poison, relentless as the tide. Nigel wanders the park’s paths, and the leaves hiss with recrimination while shadows seem to lean in, heavy with judgment.

Reality blurs, the line between guilt and madness thinning. Nigel confides in a mate over a pint, his voice taut with fear and disbelief. “I’m hearing things in the park, a voice saying ‘I seen what you done.’ But I can’t find where it comes from.” His words trip over themselves.

The whispers follow Nigel everywhere, rustles of feathers echoing each accusation. His desperation cresting, Nigel finally flees the park. But even as he runs, the voice pursues, wings beating in the darkness over his head.

In his panicked flight, Nigel fails to see the lorry barreling down the street. It connects with a sickening crunch, leaving his broken body splayed on the pavement.

“I know what you’ve done,” it declares, Nigel’s crime given feathered form. A final cosmic jest, as this guardian of the park delivers justice for his misdeed.

Quoth the parrot, “Nevermore.”


Sometimes you just get in the mood to write a short piece of nonsense. In this case, I liked the theme of a paranoid person haunted by a talking parrot. From there, I wanted to capture elements of Edgar Allen Poe’s Telltale heart and (obviously) The Raven with a bit of Dostoyevsky’s Crime and Punishment.


As usual, creating cover art is an adventure. I asked Dall-E to render an image of the elderly woman on a park bench with a wooded background and a parrot perched in a tree behind.

It decided on this. It was hilarious to me, so I kept it. NB: I did not ask for it to be rendered on a faux book cover. smh

Dall-E’s first take before I asked for the revision described above.

Dialogue: Virtual Writing Workshop

So this happened…

I attended an online writers workshop yesterday evening via Meetup.com. It was a small group, and we reviewed three works, one of which was Hemo Sapiens: The Unidentified. I got some good feedback and amended my story as result of it.

The advice I got was to connect some elements of the story where a connexion between X and Z was missing a Y, leaving the reader disoriented. In one case, the protagonist was inside her home and taken outside before the doors shut on a van. It wasn’t immediately apparent that she was in the van. There were other such breaks.

I was advised to add descriptions and to earn the use of some words. In particular, I used the word nightmare, and a reviewer said that by the description that she didn’t feel it was deserving of the term nightmare; it qualified as best as a bad dream. I opted to change nightmare to bad dream instead of adding description that would have slowed the pace.

I amended some other more trivial aspects, but I drew the line at dialogue. Some advice was to make some dialogue snippets to be more grammatically correct. In the first place, this would slow the pace—and these were not contemplative moments—, and I don’t feel most people speak grammatically as prescribed — certainly not this character.

The other piece of advice I chose to ignore is the dialogue of Grace, the five-year-old that had originally been a three-year-old. The complaint was that she was one-dimensional, but I saw no benefit fleshing her out in a work of flash fiction, and she was more of a foil and not a fully realised character in this context. Also, I don’t think five-year-olds — and especially three-year-olds are really that deep. Until recently, I had a three-year-old, so I speak from experience. Grace’s dialogue is also well advanced of mine. I’d prefer at making the dialogue feel real over well presented.

What are your boundaries in accepting writing advice?

Hemo Sapiens: The Unidentified

Podcast: Audio rendition of this content

“Sweet dreams, my little star. Tomorrow will be as sunny as your smile,” Emily says, leaning down to kiss her five-year-old, Grace. The room’s dim, nightlights casting soft glows on the walls, filling the air with quiet chatter as other parents do the same for their kids. The air smells like warm milk and laundry fresh from the dryer. 

A hush falls as Emily walks back to her bed. The night’s sacred, a calm oasis in a stormy world. Emily sinks into her bed, her mind dissolving into a haze of comfort as sleep takes her.

The door splinters open, no warning, just a loud-ass bang. Chaos floods in—uniforms, torchlights, boots stomping. 

“Hands up!” someone shouts, too damn close. 

Emily dives over Grace, blocking the light with her body. “Who the fuck are you?”

“Just follow instructions!” comes the muffled reply.

The room’s a shambles—footsteps, radio talk, kids whimpering. It’s like a nightmare, but she’s wide awake. 

Rain mists the courtyard, cold against her fear. Emily’s yanked up, losing her grip on Grace. She scans the place—families clumped together, kids bawling, agents everywhere. More vans pull in, headlights cutting through the rain. 

“What’s your name?” An agent barks.

“Emily. Emily Alpha,” she chokes out.

“Alpha? Like all these?” He waves a hand. “Fucking Alpha reunion here.”

Emily clenches her jaw. They don’t get it. 

“No moving! No talking!” The agent shouts. Silence falls, broken by kids’ sobs. 

“Mummy, I’m scared,” Grace’s voice shakes.

“Me too, baby. Me too.”

“Look, twins?” An agent nudges his mate. Emily passes two women, spitting images of her.

“Twins? Nah. Quadruplets there,” the mate points. 

“Quads? Are you daft? Another pair. What’s happening?”

“Oi, no IDs. And it’s all Alpha and Beta. Science experiment?”

“More like a clone farm.”

Emily’s fists tighten. “Clone farm? Like we’re lab rats?” 

“Mummy, will we be alright?” Grace’s voice is a thin thread.

“We have to be,” Emily murmurs, catching a sibling’s eye. “We just have to.”

The van doors slam shut. Engines growl, drowning out her spiraling thoughts. Darkness inside, darkness out.

Harsh lights sting Emily’s eyes. She’s pushed along a taped line on the floor, Grace following like a lost shadow. Different uniforms—Immigration, Social Services, nerdy lab coats—are buzzing around, huddled over clipboards and tablets.

“Step here, extend your arm,” an agent instructs.

Emily complies, wincing as a plastic tag is cinched around her wrist—like she’s livestock. 

“No IDs, surnames Alpha and Beta, empty blood bags found,” one agent blurts out.

“Bags of blood? Genetic experiment gone rogue?” another questions.

Grace trembles. “What happens now, Mummy?”

“We get through it, love. We have to.”

Emily sits across a metal table, a stern interrogator staring back. “I’m on it.” The interrogator puts down her radio.

“Open your mouth,” she orders, leaning forward intently.

“Why?” But Emily complies.

The woman leans in, eyes narrowing. “Fangs? You a vampire or something?”

Incredulous, Emily screws up her face and rolls her eyes. “Vampire?”

“Check for fangs,” the interrogator radios her team.

“We’ve got more here. Same teeth,” a voice crackles back.

“Blood bags and fangs. It’s getting weird,” the interrogator mutters.

Emily feels her spine chill. “We’re not vampires, not experiments, not whatever you think we are,” she snaps.

Weeks go by, more tests, more questions. Emily steals moments with Grace. “Mum, we’ll be alright, won’t we?”

“I don’t know, love,” Emily answers softly. “But we’ve got each other. That’s something.”

Grace studies her mother’s face.

“Some new people have come here, and they want to learn about us and where we live,” Emily says, stroking Grace’s hair. “So we have to go with them for a little while, so they can ask their questions. But we’ll still be together.”

She lifts Grace’s chin gently. “It may feel strange and scary at times. But I’ll be right here holding your hand. And all your aunties and uncles will be close by too. We’re still a family, no matter what.”

Grace’s lip quivers, eyes wide and watery. Emily kisses her forehead. “I know you’re my brave girl. We’ll get through this together, and soon we’ll be tucked back in our own warm beds. But for today, we’ll have a little adventure together. Okay?”

Grace manages a small nod. Emily squeezes her hand, heart swelling and aching all at once. They didn’t understand yet, but someday they would tell their real story.