Entries tagged with “Gay Degani”.

meg Tuite profile picby Gay Degani

Meg Tuite’s writing has appeared in numerous literary journals. She is the author of two short story collections, Bound By Blue (2013) Sententia Books, and Domestic Apparition (2011) San Francisco Bay Press,and three chapbooks, the latest titled, Her Skin is a Costume (2013) Red Bird Chapbooks. She won the Twin Antlers Collaborative Poetry award from Artistically Declined Press for her poetry collection, Bare Bulbs Swinging (2014) written with Heather Fowler and Michelle Reale. She teaches at Santa Fe Community College, is an editor for Santa Fe Literary Review and Connotation Press and has a column up at JMWW. She lives in Santa Fe with her husband and menagerie of pets. Her blog: http://megtuite.com

Gay Degani: When you’re asked to judge a contest, especially ones that feature prompts, what kinds of things do you hope to find in the entries?

Meg Tuite: I hope to find originality, percussive language, and a story that stands alone with or without a prompt.

GD: What is your approach to reading the stories? Do you go through all of them quickly at first or do you take your time and begin rating them as you first read them? What works for you?

MT: I was blessed that I got to read the beauties that FCC selected for the excellent short-list. I was excited when Jim Harrington sent them to me, so read through all of the stories that evening. I marked my favorites on the next few reads the following day. Then I read them aloud to see how they resonated. I was curious and so underlined how many of the words were used from the prompt and finally, which story encompassed the theme most closely.

GD: What made you decide on the winner? What attributes did you feel it had over the rest? What is its strongest suit?

MT: The story “Options” by Jack Cooper was the winner from the first read, and its outstanding qualities did not fade on rereading over and over. If anything, I found more in it to love. In one paragraph, this writer took me places, had me feeling nostalgic and ‘like stained glass in a Spanish cathedral’ cultivates a fully actualized protagonist who takes us by the hand through his life by the objects and clothes that he has accumulated. And it deepens when the reader finds out that he even questions the validity of his inner being as first-hand: “Any courage he had he owed to innocence and his words to out-of-print books. Even his smile was borrowed from the mirror.” And I have to say, I was blown away when I underlined all ten of the words from the prompt in this piece. Quite remarkable.

GD: What did you like particularly about your second and third choices?

MT: Oh, the beauty of “The Handkerchief Tree” by Martin Chandler is that it’s told through the history of a tree that becomes a ‘tourist attraction’ and the handkerchiefs that adorned it. This story moves us through lifetimes. The protagonist is a pecan tree that stands steady through the demise of a family and all the trees in the fields around it, “from a dirt track into a paved highway, the area around the tree from a green lawn to a paved parking lot.” An exceptional story that used all ten words, as well.

The third place story, “Roots” by Suzan Palumbo, thrums with the beauty of its language and the use of dialogue to tell the story of three generations: “They were separated by the hot wheels and flesh-distorting metal he used at work. Emily held Zaid’s hand, surrounded by wires and tubes, until he let go.”

All three of these stories are thematically similar in that ‘loss’ inhabits each one.

GD: What advice would you give writers who enter contests?

MT: Make sure to read the guidelines. Jim told me that he had to disqualify quite a few because they didn’t use enough of the word prompts or they went over the word limit.

Read your work aloud before sending it. You will discover places in the story that sound stilted or errors that you might not catch if you haven’t.

Even if you’re just submitting to a magazine you should always read the guidelines and no matter what, listen to the cadence of your work. I always read my work out loud.

GD: What are you working on?

MT: I just finished a few stories that will be published in future anthologies and have been working on a novel for decades or was that just years?

Thank you so much for the opportunity to guest judge this contest for Flash Fiction Chronicles, Jim, Gay, and the staff of FFC. I love FFC and all that you bring to the writing community.


Gay Degani

Gay Degani‘s suspense novel What Came Before is available in trade paperback and e-book formats. She is FFC’s founding editor. You can find a list of her other work at Words in Place.


by Gay Degani

“There are two ways to become a better writer, in general: write a lot, and read a lot. There are no other steps.” – Leo Babauta

So often new writers (and experienced ones too) find themselves hanging out by the refrigerator, flipping through television channels, or cleaning out closets, all because they don’t know what to write or if they’ve starte

gay deganifor WCB choice 3

d, where to take their stories. Eventually most find a way to break through, but I want to suggest something less fattening than eating ice cream and more useful than Wheel of Fortune.  Although I admit these two things might lead to an idea, and I know cleaning closets worked for Eminem, but choosing to study a story you admire is more likely to get your head filled with ideas and ways to make them work than anything else.

Back when I was teaching, I discovered a somewhat old-fashioned essay by Mortimer J. Adler in English 1A textbooks called “How to Mark a Book.”  At first I thought students would be put off by the author’s style, yet reading it for the first time, I knew I had to assign it. Adler offers one of the most essential tools for learning: how to have a conversation with the author of any text.  Not only did I have to make sure the kids in my class used this tool to learn to write, but I would need to incorporate it into my own discipline.

What Adler professes is that reading must be active, not passive and the best way to do that is to read with a pencil in hand, and underlining key ideas, scribbling questions and thoughts in the margins, using a “star, asterisk, or other doo-dad” to return to paragraphs for rereading, numbering sequences, circling phrases, and using white spaces to outline.  He claims that by marking a book a reader becomes an alert participant, his thought processes are triggered, and his ability to remember reinforced.

It’s obvious that marking a book helps students to study, prepare for tests, and carry what they’ve learned with them longer, but how did this help me as a writer?  How does it help you?

Writing a story whether flash or longer can be a daunting task.  We wonder when we sit down at the keyboard how other writers do it day after day, piece after piece.  Adler’s essay gives a way to discover how to find out, how to have a conversation with the author of something we admire.

He teaches us not to deconstruct in the literary analysis kind of way, but in the “how did he/she do that” kind of way.

Let me repeat Adler’s three reasons to question a text.

  1. Staying alert
  2. Thinking
  3. Remembering

Staying Alert

Normally when we read—especially the first time through—we read for the story, taking in language and meaning as we do so.  This is most often done passively for pleasure, but as  students of writing, we need to go back with all our faculties engaged with a pencil or pen in hand,  circling this image, that phrase, underlining words that suggest a theme. asking ourselves, how did the author paint that picture, how do I know this character is angry, why do I feel like crying?  Questioning “why and how” helps writers to understand what choices the author has used to put us into the story.  We need to be alert to do this.


When we are alert to everything in the text, we are thinking, asking questions, wondering.  We notice specific words and realize how an old man “shambling” is different from an old man “strolling.”  How we can picture exactly a pine or a palm when those specific words are used instead of “tree.”  Also more complex issues are untangled.  Why do we know one character is conflicted and another one is unaware?  We are forced to look at dialogue, adjectives, subtle hints that build to an awareness of state of mind.  When we read for pleasure, we may notice these things, but when we underline them, put an asterisk next to a paragraph, and go back through, puzzling and studying, we are engaged in learning.


Memory is reinforced when we are questioning a text.  Because we are alert and writing things down, outlining the structure, exploring the dialog, we are aware that these are things we want to remember and the act of engagement boosts memory.  Next time we are trying to convey a character in just a few words because the word count is 100 or 500 or 1000, we will remember that word choice is essential, that every word used MUST convey some meaning and consequently, we are less likely to settle on first thoughts.  We will remember our pleasure at discovering how another writer stirred us and we will want to create that emotion in our own readers.

In her book, Reading Like a Writer, Francine Prose calls this “close reading.” She says this changed for her when one of her high school teachers asked the class to compare the theme of blindness in Oedipus Rex and King Lear.  “We were supposed to go through the two tragedies and circle every reference to eyes, light, darkness, and vision.” (p. 4)  Of the experience she says, “I felt as if I were engaged in some intimate communication with the writer, as if the ghosts of Sophocles and Shakespeare had been waiting patiently all those centuries for a bookish sixteen-year-old to come along and find them.” (p. 5)

Mortimer Adler and Francine Prose have helped me become a better writer by suggesting I turn to the stories I love and examine them more closely, that I become an active participant in reading rather than a passive one, assuming with this mindset, I will better absorb the skills needed to write.  Some of that, of course, eventually does happen, but why wait?  That carton of rocky road will still be in the freezer tomorrow and the television isn’t going anywhere.


Gay Degani has published fiction on-line and in print including her short collection, Pomegranate Stories. She is founder of EDF’s Flash Fiction Chronicles, a staff editor at Smokelong Quarterly, and blogs at Words in Place. She’s had three stories nominated for Pushcart consideration and won the 11th Annual Glass Woman Prize. Her novel, What Came Before, is live in serialized format at Every Day Novels. It’s also available from Barnes & Noble and Amazon.



by Gay Degani

Caroline Hall, Winner of String-of-Ten 6Caroline Hall, this year’s String-of-Ten Six First Place Winner with her story, “Snowman Suicide,” was raised by English majors during the Nintendo generation. Now a teacher-on-hiatus, she has attended ten schools and worked at seven. She is a compulsive hiker and a New Englander who says “wicked awesome” and used the same window fan until it caught fire.  She writes short stories and flash fiction.

[NOTE: The story appears today at Every Day Fiction.]

Gay Degani: I’d love to know what your first reaction was to the list of words: LITTER-ENTRANCE-SAFE-SPIRITUAL -SPOTLIGHT-BOOKMARK-CATASTROPHE-RAZOR-FAULTY-ULTIMATE and the aphorism: “I prefer the errors of enthusiasm to the indifference of wisdom,” from Anatole France.  How did you approach the prompt?

Caroline Hall: My immediate response was that a number of the words on the list–razor, faulty, ultimate, and catastrophe—seemed to cluster together naturally.  To my mind, they grew organically from the concepts of depression and suicide.  I also knew I wanted to use the word “spiritual” because I love it!

When I looked at the list, the word “razor” practically glowed. A few years ago, I had surgery for a bizarre and not-so-threatening cancer.  After I was declared “fine,” I got strangely depressed.  I spent a lot of time in doctors’ and therapists’ waiting rooms that year.  I wrote a poem about waiting rooms and the endless string of medical appointments.  In the poem, I described patients with eyes like pills and mouths like razor blades.  Forty or fifty drafts later, the poem still didn’t work.  But when I saw the word “razor” on the list of words for the String-of-10 competition, I knew the setting and mood of “Snowman Suicide” instantly.  I was glad to get the chance to resuscitate the image and pleased that the story was much better than the original poem.

For me, writing “Snowman Suicide” was about balancing passive and active.  As a patient, you spend a great deal of time passively waiting, and I wanted to capture that feeling.  But I’ve also met a lot of people who fight back against their illnesses and circumstances with spunk and humor.  I wanted to make sure that some of their creativity, intelligence, and strength appeared in the story.

GD: You mentioned your goals for this story included balancing passive and active, so what other elements do you keep in mind when you are working on a piece of writing?  Characters you’ve touched on, what about structure and theme?  What do you handle these?

CH: My successful stories usually begin with an object—in this case, a snowman.  Characters start out being me and evolve as they interact with the object.  They develop slowly, which makes for some embarrassing drafts.  But getting to know and—sometimes— slowly fall in love with my characters is a joy.  Sometimes, it surprises me which characters I fall in love with and how big an impact they have on my life. Workshops and readers are helpful for clarifying the conflict in stories, for finding spots that don’t make sense or feel true.

I studied English and am a closet Classics geek, and my tendency was—and still is—to write Latinate or Victorian-style prose.  My first stories were designed to be analyzed rather than read. Finally, I realized that I could have a vital message, but that didn’t matter if readers needed a pot of coffee to survive the first paragraph.

As a result, I work hard at paring stories down to their cores.  I started writing flash fiction by accident; flash fit the funny clumps of time I squirreled away for writing better than longer stories did.   It was a happy accident.  Forcing myself to adhere to strict word limits has made my sentences stronger and leaner.

GD: You mention “paring down.”  I’m wondering what you look for when you edit your work.  What are your go-to moves?

CH: I spent a few years writing terrible poetry, so my main rule is “if it sounds the way your poetry sounded, it needs to go!” I love alliteration and repetition, but I have to make sure they don’t hijack the story or become distracting.  I’ll turn clauses into phrases.  In early drafts, I tend to stack adjectives and details.  I’ll have three or four when I need one.  In the first paragraph, my snowman initially went through five different diagnoses; three was enough.

GD: As I said in my interview with Jim Harrington, what drew me to this story, was a lot of things: “The title, the first line, the humor, the surprise, its clarity. ‘Snowman Suicide,’ who wouldn’t want to read that story?”  All this makes me want to read more of your work.  Can you tell me where to find other stories of yours and what you are working on now?

CH: “Snowman Suicide” is my first published work.  I wouldn’t have it any other way.  Earlier, I mentioned that my friends from the mental health community—if you can call it that—inspire me constantly with their intelligence, wit, candor, and kindness.  I am proud, grateful, and honored to know them and to have a chance to represent them in this story.  I hope I’ve done them justice.


gay 2Gay Degani has published fiction on-line and in print including her short collection, Pomegranate Stories. She is founder of EDF’s Flash Fiction Chronicles, a staff editor at Smokelong Quarterly, and blogs at Words in Place. She’s had three stories nominated for Pushcart consideration and won the 11th Annual Glass Woman Prize. Her linked-story novella is part of Pure Slush’s 2014- A Year in Stories anthology and her her serialized novel, What Came Before, is currently online at Every Day Novels.

 Beginning today, FFC plans to publish book reviews for collections of (primarily) flash fiction on a quarterly basis. Each post will contain one or two reviews of around 500 words each. At this time, we will not review self-published or vanity press volumes. Go to our About/Submit page for further details.

Flashes of War, by Katey Schultz

reviewed by Andreé Robinson-Neal

Loyola University Press has released a book of short and flash fiction by new writer Katey Schultz. What makes Flashes of War different is that each of her 31 fiction stories relate to the Iraqi and Afghan conflicts. Schultz is able to capture the mood of war in a gritty and realistic way through her use of military slang and acronyms as well as through local colloquial language and description of the customs and practices of everyday citizens that, when combined into each story, guide the reader from rural America to downtown Baghdad.

The author describes herself as someone who makes sense of the world through storytelling. She developed the book by comparing her own experiences growing up and living in the United States to the experiences of American, Afghan, and Iraqi men, women, and children in the Middle East. An examination of the unique language associated with war and the power she felt was contained in those words led her to further exploration through images, films, and nonfiction texts.

Schultz has never been to war but her ability to capture the nuances of wartime experiences are somewhat jarring. Her descriptions and imagery carries the reader into the environment:

 We walk home slowly that night, passing the ball in short punts across the narrow streets. Hadir likes to aim for the base of streetlights, aligning the ball so it will bounce in my direction and set me up for the next, easy pass. A few stray dogs linger behind, limping and skinny. They’d probably eat Hadir’s soccer ball if we left it. Nights like this, I can almost forget our dim-lit city was the center of a warzone. (Into Pure Bronze)

Each story includes a furtiveness and energy that is both uncomfortable and accessible. There are many topics covered, including US immigration issues (The Ghost of Sanchez), intercultural affairs (Pressin’ the Flesh), relationships and connections (The Waiting: Part I, The Waiting: Part II), and coping (Home on Leave, Getting Perspective). Schultz is able to create tensions regarding the complex nature of war (My Son Wanted a Notebook) in an effort to transport readers into the many worlds of war.

Although this is Schultz’s first published book, she has other writing and writing-related credits to on her resume. Visit http://www.kateyschultz.com/ to learn more.


 Pomegranate, by Gay Degani

reviewed by Rumjhum Biswas

Pomegranates are luscious, sweet and tart and carry within each seed the brightness of rubies. Given these qualities, it is necessary to linger over pomegranates when you eat ’em. Pomegranate, Gay Degani’s chapbook of short and very short fiction demands a similar exercise. Take a look at the very first line of the title story:

“When I was seven I was stolen by gypsies.”

One crisp sentence is all. And, the reader is already plunged into the story. This story is one of the longer pieces in the collection. The narrative of the girl’s life in captivity and the long distance mother-daughter relationship has the staccato rhythm of a van lurching down a country road. The story, like the fruit, leaves behind a layered aftertaste. You are not sure where you can go with it. The story lingers in your mind, and almost unconsciously you find yourself reading it again.

The eight stories in this collection explore the relationships of women incisively, cutting straight to the point, like a sharp knife piercing one’s jugular. Gay Degani conveys her stories through sentences that are sharp enough to continue to surprise even during the second reading. It’s as if she has pulled the canvas so tight across its frame that the scenes and characters want to jump right off. The human foibles and emotions depicted in her stories pull and pull until the muscles of your heart feel taut. Whether it’s about a woman driving home to meet her dying father – Dani Girl’s Guide to Getting Everything Right, or a woman with a dysfunctional life on her way to the airport to pick up her very organized mother – Listing Lisa,  a basketball crazy young girl’s last and tragic vision – Rim Shot, two sisters with their terrible secret – Spring Melt, a mother’s grief so intense that it has turned ice-cold – Monsoon, a wedding guest’s relationship with her mother-in-law – Hawaiian Hairdo, a scene at a writing workshop – Chair Girl, or a kidnapped girl’s feelings for the husband her captors got for her and her subsequent reunion with her mother – the title story Pomegranate, Gay Degani’s stories have something more to say even after they have been read. Her narrative is quick, but like the juicy pomegranate fruit that drips and runs the minute you bite into it, and you have to be ready to deal with a sticky hand, these stories, too, stick to the mind long past reading. And then, there’s that tight feeling, even after you’re done, much like the lingering astringent aftertaste of pomegranates.

You can read Pomegranate by ordering direct from Lulu, or at Amazon.com.

by Gay Degani and Jim Harrington

logo for short story month 3We asked writers and readers to help us compile a list of favorite short stories in honor of Short Story Month 2013. Our goal was 150. With the assistance of many wonderful friends, we not only met that goal, we blew past it to a total of 161! Thanks to everyone who participated start making a list of your favorites for our 2014 list.

View the list here

and happy reading!