Remember when your teachers told you every story had a beginning, a middle and an end? Well, they missed a bit.
I don’t have time, in flash fiction, to build up all the characters a disaster movie would visit at the beginning (the screw-up anti-hero, his ex-wife, the wise elder who’s doomed to die, the young person who hates the anti-hero but will eventually become reconciled with him, the comic relief, the unrequited love interest, the bull-headed person in authority who hampers the anti-hero’s efforts to save the world and, of course, the villain who causes it all through action or arrogant inaction…see? I REALLY love my disaster movies!).
nstead, I’m going to have to concentrate on quickly establishing my flawed character, what he thinks he wants, what he actually needs, his wise-cracking character and his long-suffering assistant/love interest. Then I’m going to wreck his life — quickly — which is fine, cos his life was a wreck anyway. Then I’m going to threaten the last people he cares about, just like we practiced earlier this week.
Finally, I’m going to really concentrate on the climax. I only have up to 1000 words, so I’m not going to be able to go the full Bruce-Willis/Sharknado here, but I’m going to put everything on the line and do my best to pull at the reader’s heartstrings.
FInally, I’m going to spend 100 words or fewer wrapping up.
- Before you even start writing, imagine a killer climax
- This mean you’re going to have to know your character and his/her problem before you start writing.
- You’re also going to have to think of a few complications you might throw at your character.
- How can you show the reader why this matters? (Disaster movies usually do this by having the main character’s best friend tell point it out in a conversation, wherein the anti-hero shrugs and makes a witty, self-deprecating joke.)
- Don’t be afraid of the cheese factor. This is an exercise, not your last shot at literary immortality (and even if it was, someone got paid to write Sharknado, after all!)
- Concentrate on your climax. Everything is at stake, but you don’t have to be writing a disaster movie to make this dramatic. How will your hero change to get out of this problem? If he’s a ranging drunk, can he put down the bottle? If she never talks back to anyone, does she finally stand up for herself? If she’s living under an oppressive regime, can she put three fingers to her lips in a gesture of defiance and have that gesture returned by the crowd (no, wait, that’s been done. But see how totally silent, non-violent act, can be electrifyingly dramatic?)
You have a maximum of 1000 words.