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Compose a piece of writing in the short story (fiction) genre that draws the reader in and maintains his/her/their interest while concentrating on your use of the elements and techniques of short story and your growth as a writer. 
Format
Your story should be approximately 4-10 pages in length (double-spaced text in a size 11 or 12-point font). It should include a heading at the top left of page 1, a creative title, and numbered pages. 
Required Elements
Your short story must contain evidence of the incorporation of the following literary elements:
PLOT Most short stories follow a traditional structure of initial 
incident, rise of action, climax, denouement and resolution. ]
CONFLICT Person vs. person/society/nature/self/fate. Conflict should be 
evident. You MUST have some kind of conflict! More than one conflict is okay, but no conflict is not okay. Readers should be able to identify the protagonist and antagonist of the piece.
SETTING Time, place, culture, weather, etc. should be clearly identified 
and adequately detailed as it pertains to the story. There should be a clear “sense of place.” 
CHARACTERS The extent to which your characters are defined or developed in 
your story depends on what purpose they serve in your story. Use enough description and voice so that readers can distinguish between characters and understand them. Balance character development with action. 
THEME Your story should ultimately be a reflection on some issue or 
idea that you’ve given some thought to prior to and while writing. Do not confuse  theme with “moral” or “purpose.” You do not have to have a moral to your story.
POINT OF VIEW The story must be told from a clear and justifiable point of view 
(1st, 2nd, 3rd limited or 3rd omniscient). Shifts in point of view should be limited if used at all.
STYLE What is the tone of your writing? 
The opening sentences/paragraph should draw the reader in, and the closer should satisfy. 
Dialogue, if used, should add to the creation and development of character and further serve the story’s plot without substituting for action or narrative.
Writing conventions should be controlled and accurate. 
Write me a short story about a young orphan boy in the old city of Hyderabad, India who lives at the mosque. He would go to the quietest street in the loudest bazaar in the city of old Hyderabad to stand in the crowds and listen to Ali bhai, the old man who told his tales. Ali bhai was the best storyteller in all of Hyderabad and his stories captivated everyone. Ali bhai never told the same story twice but he swore that all of them were true. He once told the story of a bharatnatyam dancer who became known as the queen of gold by dancing for the maharaja. The dancer enchanted him so he would give her piles of gold. At night she would cover herself from head to toe in a burqa and secretly go into the trading and merchant center of the city to conduct her business. It was illegal for women to have their own businesses so she had to find someone she could use to create a business under. That was when she met Ali bhai’s great great grandfather who decided to help her but he didn’t know that the dancer would turn out to be evil. She poisoned the maharaja’s mistress so that only she remained. He was so bewitched by her that he married the dancer despite her not being of noble blood. She quickly gained infamy and  the maharaja would build enchanting and beautiful marvels of architecture and give lavish gifts to his new wife. One day she vanished, so the maharaja did everything he could to find her but couldn’t so he grew insane and took his own life. Ali bhai ends his story by saying that the dancer was actually a jinn and the day she disappeared she entrusted her gold business to alli bhai’s great great grandfather who inherited her gold businesses. and that when she was at the height of her prime she sold so much gold that it still circulates the markets to this day and those who buy her gold will be blessed with overwhelming wealth. 
In reality Ali bhai is a lying spindler who wants people to buy his gold but the little boy is captivated by Ali bhai’s tales so he vows to grow up and be able to buy the gold. Boy gets fooled by the old man. The little boy grows up and becomes a successful businessman and comes back to old Hyderabad to see that the city is not as bustling as it used to be and confronts the old man of being a spindler, fraud, and just wants people to buy his gold. The Old man vanishes like the jinn in his story leaving behind a gold bangle. The little boy who is now grown up, takes the bangle and returns the old town to its former glory and he is labeled as the king of gold.

In all cases, the project should be focused on researching and
analysing textual responses to issues and problems related to nature or
environment, and to showing an understanding of the social, cultural, political
or some other agreed related factor of debate related to ecocriticism
In all cases, the final submission must meet the Unit Learning
Outcomes, demonstrating skills of (1) critical analysis, (2) research, (3)
critical reflection, (4) as well as demonstrating professionalism and
(5)awareness of context.
include- 
Abstract or summary, including research
question  and rationale (250 wc)
Literature Review (500 wc)
Analysis/report (1, 250 wc)
Appendices, such as images, graphs and
other media (if necessary, not counted in wc)
Bibliography (not counted in wc)
My overall research question-   How is the film Moana ecofeminist?
my three subtopics to include-
How
is moana eco feminist
What
eco-feminism messages to children are there and how is it edcuating, how does it
help them?
How
is ecofeminism and moana related to post-colonial issues/race? 
And then a conclusion.
Please make the project 2000 words but add the bibliography at the end which is not included in the word count.
Need to reference three academic sources and some non-academic- (HAVARD STYLE AND INCLUDE IN A BIBLIOGRAPHY AT THE END OF THE ESSAY FOR ALL SOURCES .)
academic source to reference in question 1 is-Françoise
d’Eaubonne book ‘feminism or death’ . reference the fact she coined the term ecofeminism in 1974, what it means. 
And then find another academic source that is more recent that gives another definition of ecofeminism. 
also for question 1 reference this- Moana (2016):
Negotiating Patriarchy from the Ecofeminist Perspective Pattarapong Kongwattana.
then for the non- academic sources to reference when explaining how the film moana is ecofeminist- picture of mount te fiti as a woman.
Reference for question 2- Please find me an academic source to help with childrens animation helping with their understanding of ecofeminism, or if it does not help. 
reference for question 3- Find an academic source that taps in to the representation of moana for indigenous peoples to further research the post-colonial issues in this film and relate this back to ecofeminism and post-colonial issues. 
in the 500 word literary review -Keep
academic sources in literature review.
How
are they forming your study.
What
do they help you understand
Explore
non academic sources.
Which
has provided more insight 
Then conclude all research and link back to the main research question for the whole project- how is moana ecofeminist.
Please do three seperate paragraphs for each subtopic. But can link them together.
THESE ARE SOME OF MY NOTES TO HELP BUT ONLY PICK RELEVANT ONES.
question 1
Eco-feminism-
French writer Françoise d’Eaubonne coined the term
ecofeminism in 1974. In her book Feminism or Death,
D’Eaubonne argued that with the planet in women’s hands, everyone will
thrive. And in moana, with her country in her hands, everyone does thrive
as she saves her country and her people.
Ecofeminism
suggests that the patriarchy is the driving source behind the degradation of
the planet and exploitation of women — issues that are inextricably linked and
cannot be resolved without dismantling oppressive masculine power
systems. Moanas dad, a man, was the driving source behind the dedregation
of their country and exploited moana because he wouldn’t let her be near the
water, and did not trust her to explore to try and save nature. This could be
because she was a woman, and could not be trusted as much as a man maybe for
not being as strong or emotionally capable, as it is most likely if moanas
character was a boy, that he would be allowed to venture out in to the unknown.
This
is why it is so important to notice that the person cheering moana on, telling
her to be at one with nature, to help it, and shows her that nature is on her
side and not a threat to her is a woman, her grandmother. This highlights how
important unity is amongst women
Moana
is safe-guarding her planet through the help and encouragement of another
woman, proving to children that women can make a difference without the help
and dominance of a man.
ecofeminism hasn’t been without criticism and pushback
throughout the years, with some rejecting the
movement’s centering on white feminism and a lack of inclusivity. 
Now there’s a renewed effort to
reclaim the term and affirm the role of women of color in leading the charge as
the threat of climate change intensifies.
“Ecofeminism addresses the extractive male-dominated
system in which profits are prioritized over safeguarding the planet,” Palmer
said. “It advocates for caring for our natural world, connecting with it, and
building a relationship with nature. This is an essential approach to saving
our woodlands, and biodiversity across the world.”
Palmer wants to see communities of color more
represented in decision-making spaces. 
Ecofeminism
offers a framework to promote the empowerment of women
“I
consider ecofeminism not as a movement that comes and goes, but as an ideology
that must be adopted to give back the rights to women and to allow them to
stand up openly for nature and their survival,”
“Ecofeminism
addresses the extractive male-dominated system in which profits are prioritized
over safeguarding the planet,” Palmer said.
“Ecofeminism
addresses the extractive male-dominated system in which profits are prioritized
over safeguarding the planet,” Palmer said.
“I see it as a responsibility, and I think everyone
should also see it as a responsibility, that we protect the planet that houses
us to carry the weight and not to depreciate or further exploit,” she said.
GAIA
THEORY
Q2- WHAT ECO OR JUST  MESSAGES TO CHILDREN ARE THERE, HOW IS IT
EDUCATING?
Men
shouldn’t be excluded from ecofeminism. This film is for kids, and if it gives
the impression that men cannot be involved it will create gender inequality
towards men in young kids and that is not what you want to teach children.
The man in moana who helps her, the guy by her side is
a character added to make sure the feminism is not coming on too strong, as
that would discriminate men, and would be putting a bad light on what rights
feminists fight for. This character is added to help unity and show that men
should help women as much as they can to help women with the inequalties they
face. This point is backed up by this quote-
“Any
person who fights for the protection of the environment by seamlessly
integrating the instrumental role of women can be qualified as an ecofeminist.”
-shows
children that men can be feminists/ eco feminists too, the guy who is helping
moana.
This
film is trying to spread the message across that men can protect the rights of
women and nature and it is seen as heroic.
A strong message to kids- “Everyone is welcome in the
movement to see that we have a world that protects the rights of women and
girls, to try to see how we can all develop without any form of violence.”
“Everyone is welcome in the movement to see that we
have a world that protects the rights of women and girls, to try to see how we
can all develop without any form of violence.”
Men
shouldn’t be excluded from ecofeminism. This film is for kids, and if it gives
the impression that men cannot be involved it will create gender inequality
towards men in young kids and that is not what you want to teach children. The man in moana who helps her, the guy by her side is
a character added to make sure the feminism is not coming on too strong, as
that would discriminate men, and would be putting a bad light on what rights
feminists fight for. This character is added to help unity and show that men
should help women as much as they can to help women with the inequalties they
face. This point is backed up by this quote-
“Any
person who fights for the protection of the environment by seamlessly
integrating the instrumental role of women can be qualified as an ecofeminist.”
-shows
children that men can be feminists/ eco feminists too, the guy who is helping
moana.
This
film is trying to spread the message across that men can protect the rights of
women and nature and it is seen as heroic.
“Everyone
is welcome in the movement to see that we have a world that protects the rights
of women and girls”
Educates
children on different cultures and people from polynesian islands so they grow
up with more knowledge that people live different lives, having exposure to
this at a young age prevents prejudices.
question 3.
French feminist Françoise d’Eaubonne stated that the disenfranchisement and oppression of
women, people of colour, and the poor are intrinsically linked to the
degradation of the natural world, as both arose as a result of patriarchal
dominance.
Moana
is a person of colour from the polynesian islands. The polynesian islands holds
so much history meaning the islands dealt with many post colonial issues (
which includes the struggle of race, emigration, childhood, loss of power and
loss of culture. Polynesian cultures have
been radically altered by Western colonialism. One of the
largest issues critics have with “Moana,” they said, is that it
perpetuates the stereotypical image of the Pacific as an exotic tropical
getaway. They argue that it continues American colonialism of the region. “In
Hawaii, the impact of the American occupation is something nobody wants to see.
Ecofeminism
is related to issues of race as many ecofeminists  want to see communities of colour more
represented in decision-making spaces as it 
offers a framework to promote the empowerment of women. Especially women
of colour who have…
A
postcolonial ecofeminist perspective would involve the coming together of
postcolonial ecocriticism and ecofeminism into one analytical focus, where it
would be necessary to recognize that the exploitation of nature and the
oppression of women are intimately bound up with notions of, race.
Postcolonial and feminist theorists state that women are oppressed by both patriarchy and the
colonial power
there
is a connection in how one treats women and the environment and all feminized
and naturalized entities.
To
explain the women–nature relationship, especially in the polynesian context, it
is important to consider the material realities of women (and men) that are
directly related to their status as members of post/neocolonial societies.
The
movie was criticised as having represented multiple ethnic groups as one
culture.
Another
argument raised is the perpetuation of the Pacific as “an exotic getaway”,
serving to ignore the after-effects of colonialism and American occupation
which brought poverty, illness, and high rates of incarceration — a part of
their history considered just as important and impactful as the story of the
voyagers.
In
another article, this was described as a ‘wilful ignorance’ on the part of the
writers and the movie of colonial and post-colonial situations in Polynesia
which include settler colonialism, genocide, and also ‘environmental
destruction caused by militarism, climate change, and corporate industries like
tourism, fishing, logging, and agriculture.’
Thus,
Moana began to be viewed as a Westernized retelling of an ancient and honoured
story and attacked with “charges of distasteful representation, cultural
appropriation, and crass commercialization of Islander culture and tradition”.
Native tribes take a stand at Standing Rock against fossil
fuel development and oppression of indigenous peoples, Moana is also a movie metaphor about indigenous rights. 
Moana also expresses the revival of
traditional Polynesian seafaring methods that was launched in the 1970s by the
Hawaiian voyaging canoe Hokule’a. This movement proved that ancient Polynesians
purposefully and scientifically sailed to and settled islands across the vast
stretches of the Pacific by using the stars, ocean currents, winds, etc., to
chart their courses. This systematic wayfinding technique gave the lie to the
racist canard that Pacific Islanders were not intelligent enough to have
crossed the ocean by design and had only discovered their far-flung islands
randomly and by chance. The 1970s’ resurgence of traditional Oceanic voyaging
contributed to a Pacific Renaissance of culture that inspired ethnic pride
among colonized peoples at Hawaii, Tahiti and beyond, and Moana taps into this proud legacy.
reminder of structure- 
Abstract or summary, including research question  and rationale (250 wc)
Literature Review (500 wc)
Analysis/report (1, 250 wc)
Appendices, such as images, graphs and other media (if necessary, not counted in wc)
Bibliography (not counted in wc)