Flash Fiction Chronicles

The house is quiet, and smells of my favorite jasmine candle. Outside, Texas is thundering rain on the roof and windows. I can write for hours like this. I like to think maybe today, I will get the chance to do so. The honest truth is this thunderstorm will pass in about twenty minutes, the house will be alive with voices sooner than later, and my candle will burn out. Then it’s back to the perfectly non-ideal writing environment, but you know what? I’ll still write. Nothing can keep me from it.

My inner self drives me to write, not my outside circumstances. The voices in my heart gather from experiences, and drive my fingers to pick up that pen and paper and scribble like a mad woman. Various emotions, thoughts, memories, take on a personality and demand a life of their own. I let my muse write whatever it wants. This is where magic and power lies. If I handcuff my muse to a turkey platter and demand it write turkeys, it will write turkeys, but the turkeys, unlike Edward, won’t sparkle. Powerful writing is dependent upon you giving boundless freedom to your muse to roam and develop.

Life. So much simple life eats up our time, just the normal things you need to do to get through a week, a month– jobs, commuting, dating, spouses, children, family members, family issues, friends, neighbors, college, illness, loved one’s deaths, car accidents, doctor appointments /dentist / hair appointments, church, holidays, yard work, paying bills, getting a second job to pay the bills, and oh yeah, having fun –that when you have a spare second, that moment in the evening when the world is quiet, dark, and you are left with your own thoughts, a glass of wine on your desk, and a blank computer screen, it’s so easy to let the negative voice come out.

It discourages you because: another reject, there are those ‘other writers’ that are better than you, you don’t get grammar, what the heck is a ‘sympathetic character’? Or is it ‘pathetic character’? Are you supposed to be outlining plots or do you go all willy nilly all over the place- omg, does your writing suck? You feel like it sucks. Is this just a pipe dream? Your spouse/ girlfriend/ boyfriend/mother/preacher/brother/best friend/ co-worker thinks your writing is lame and childish – who reads anyway? What if the preacher finds out your character said the F word, and he thinks you are the one really saying the F word, but you really honestly don’t say the fucking F word, but he might think you do…

On and on and on these thoughts go until your glass of wine is gone, and you wonder what the preacher would think if he knew you just drank a glass of wine, and then you remember you have to take your grandmother to chemo tomorrow. You feel tired, drained, discouraged.

What happens next is what separates the people who succeed from the people who don’t. It’s not about genes, money, health, good looks, or ‘natural talent’. It’s what happens with that very next breath and decision you make. You either:

1) Stand up, drop your glass in the sink, brush your teeth, flop in bed exhausted – another day done and gone. You will rise tomorrow, none the closer to anything. In fact, you are falling backwards from your dream because you lack the motivation to move forward.

Or

2) You tell all your doubts to go hell heck. You sit down and force those thousand or five hundred words. If you are writing a novel and the muse wants to write it – write it. If you are worried about grandma’s chemo because the nurse can never find her frickin’ vein and you know its going to hurt when the nurse inserts the needle, fishes around, draws it out, stabs it in again – you write a story about that anger, that fear. You just write it. And then, if you are writing flashes or shorts, you submit it – even if you think it sucks and it probably does. Doesn’t matter. You do it anyway. Someone will publish it. You keep writing, day after day. Night after night. And when you are done writing, you read.  You read because you need to keep that creative tank filled with how the pros do it. You do it and you keep on doing it. You’re more exhausted than you would have been without writing and reading, but it’s okay, because you are working your dream, what you want.  No one can take that from you. No one.

And this is what I’ve been doing.

I hope this speaks to you. I hope this causes you to ditch those doubts, fears, fatigue, and just go for it. Magic beans, golden pens, or supportive friends aren’t going to fulfill your dreams as a writer. Only you can do that, butt in chair, writing away when the whole world is sleeping or falling apart around you.

Decide not to let outside circumstances be a barrier to your muse. Let your inner voice speak, and write it – no matter what. Trust you to be you. This is your life, your dream. The only way to make it as a writer is to jump in heart and soul. That sounds so cliché’, huh? Sometimes the truths in life are cliché’. Deal with it.

My muse wants cheesecake. So far, the ingredients can be difficult to come by, but it tastes great, and it just keeps getting better.

Jodi MacArthur serves imagination raw on an open flame. Bring your fork to www.jodimacarthur.blogspot.com. Published online and in print, she is working on her first novel, Devil’s Eye.

These observations about the submissions received in the String -of-10 Contest sponsored by this site are more about me and my reading experience than about any one entry. However, I am sharing them with you so that if and when we sponsor a fresh new contest, those who read this and enter will be at a distinct advantage.

1)Titles
All fiction stories benefit from a well-thought out title. A title should reflect the overall story if possible. One classic rule says that a title should be the character’s name (Antony and Cleopatra, Ethan Frome, Moby Dick) or the setting (Howard’s End, Mill on the Floss, Our Town), both character and setting (The Old Man and the Sea, Alice’s Adventures in Wonderland), or they reveal theme, in abstraction (Sound and the Fury, War and Peace, From Here to Eternity) or suggest theme in a specific object or event (The Golden Bowl, Light in August, The Sheltering Sky), or character or setting that reflect theme (The Heart is a Lonely Hunter, Paradise Lost, The Grapes of Wrath).

Titles should enhance the story, add to it in some way, yet not telegraph so much that there is no surprise left at the end. Specific ambiguity? Is that possible? I think so. This is even more important when writing short fiction. Whenever there is a word limit as in this 250-word contest, every word MUST count. The title gives the writer another way to set up, entice, and pay-off the reader, and title words are FREE, above and beyond the word count of the work itself. So use a title. Writing isn’t just random thoughts. It’s thinking carefully about all the ways you can help the reader have an emotional response to your story.

2. Surprise
Many stories lack surprise and surprise is what jolts a reader into having an emotional response. I don’t mean just a twist ending either. Surprise is more than that.

First, surprise comes to the reader when a setting is specific and interesting. When there is no setting established at all, the reader is left in a blank empty space, and readers, like Mother Nature, abhor a void. A writer can engage a reader with a few small details that create a unique place in which the story can exist.

Second, surprise comes to the reader when a character is unique. When there is something different than we expect about the person, his attitude, his way of speaking, even his appearance. A wise teacher once told me (and our class) to always do something unique to a character, give him a headache, a limp, a funny haircut that reflects in some way who that person is. Actually he used “a toothache” as an example, and I watched a movie in which the character had a toothache throughout and that toothache paid off in the end in his own behaviour. I thought aha, Gordon’s toothache! Dang. I can’t remember what it was, something by Russell Banks I think.

Third, surprise –and delight–happen when the language is full of vivid specific detail, images that pop off the page, clear and precise and visual.

Fourth, surprise happens when an ending provides both the unexpected and a sense of the inevitable. The reader might guess from the title, the specific character traits of the hero, the dangerous setting, that the story may end badly, but the reader should not know the exact details of that ending (I am thinking here of The Old Man and the Sea here or Of Mice and Men).

It is in the details that the reader will be surprised and satisfied because though the writer may have promised an unhappy ending, he ends it with epiphany or an unthought-of-sadness. The twist must NOT be the pulling out of a gun that the reader didn’t know a villain had, but rather the pulling out of the gun the reader knew he had, and then decides not to fire.

So yes, twist the ending, but don’t create surprise with a non-sequiter. Classic rule from Master Chekov: If there is a gun on the mantle in the beginning, use it by the end. And the reverse is also true, if you are going to use a gun in the end, put it on the mantle in the beginning, but do it all subtly because…

The real surprise should come with the revelation of the human spirit. We need to know the person, the character a little before we can appreciate the surprise. Can it be done in 250 words? Yes.

3) Cliched story plots
Third and last observation for today. It’s hard for a new writerto know what a cliched plot is. Everything feels new to him because he hasn’t written before. But what’s new to the writer isn’t necessarily new to the reader, especially an editor. Therefore if you are going to write about illness, revenge, execution, suicide, dead mothers, boy meets girl, Martians landing on the earth, and football quarterbacks, etc, then it is important to pay attention to the details of your story and create unique characters, unusual settings, screwy attitudes, a strong identifiable voice, anything that lifts the cliched plot above the mundane. Most of the time this means a lot of writing practice and thoughtful revision. Reading every line, every word, and doing the revision without overworking it. Not easy, but it comes with working at it every day, just like playing the basoon.

The classic belief in storytelling is that there are only 5-12-24 actual plots in the world, and that’s true on some levels. It’s what the writer brings to a cliched story that makes it good. This has been proven over and over by Will S, Charlie D, John S, Edith W, Charlotte B, Tommy Hardy, Margaret A, Carole S, Willie F, and even Stephen K.

This post by Gay Degani is reprinted here from her Words in Place Blog.

I may have mentioned that I’ve been wading through the slush pool over at Every Day Fiction since February.

It’s been an interesting experience, one every writer should try for a time. It doesn’t take long to realize that editors show real restraint when they call the unsolicited manuscript stack “slush”.

But I don’t want to talk about bad writing this time around. I want to discuss a pitfall that claims too many writers, regardless of ability. God knows I’ve stepped into this sort of trap myself, from time to time.

The over-used concept.

If you read much fiction, you know what I mean. Stories about planning the perfect crime. Making a deal with the devil. Murdering a spouse. Picking up a hitch-hiking ghost.

The list goes on and on.

I don’t mean to suggest that something fresh can’t come out of such an idea. It can, it does, but here’s the thing. Authors who take an over-used concept and make it work manage it with style, because their every word sings, rather than straight story-telling technique.

An editor that buys such a story is doing so because they have said, “Damn, look at the way she (or he) makes those words sit up and speak.” Not, “Wow, what a great story!”

So, a word to the wise.

If you want freshness in your flash fiction, look for the true details of life, the small events that draw emotion from your readers because they touch upon what is real. But if you just must write about a character that tries to outwit Old Nick or offers a ride to long-dead lovers, make certain that your story can carry the tune.

Right up to the very last note.

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K. C. Ball grew up in Ohio, with her nose in a book, and now lives in Seattle, a stone’s throw from Puget Sound.

Her flash fiction has appeared on-line at Every Day Fiction, Boston Literary Magazine, Fear & Trembling, Every Day Weirdness, Flashshot and Moon Drenched Fables, as well as in print in Murky Depths #8 and the 2008 Best of Every Day Fiction anthology.

Her most recent flash, At Both Ends, is set to appear in Flash Fiction Online in June and one of her longer pieces, Coward’s Steel, won 3rd place in the Hubbard Foundation’s 1st Quarter, 2009, Writers of the Future competition.

K. C. is a staff reader for Every Day Fiction and blogs about writing at A Moving Line or whatever may strike her fancy at Now Playing in Seattle.