Take Your Time with Flash Fiction

Writing short fiction doesn’t have to be frantic…

Last week I talked about giving yourself the opportunity to slow down, make mistakes, and write just because you enjoy it.

This week I’m going to encourage you to put that into practice by writing some flash or micro fiction.

I know, it seems counterintuitive. Surely short fiction will be faster than novel writing. 

Ha!

Haven’t you heard the often-quoted saw, “I would have written you a shorter letter but I didn’t have the time”?

There is an art to brevity.

There is craft in knowing what to cut.

This week’s challenge

Give yourself the gift of working on a single story, told in 100, 500, or 1000 words, this week. 

  • Take the time to find a character you’re intrigued by.
  • Spend time finding an issue that you can get passionate about.
  • Wallow in the possibilities of how you can bring this character to that moment.
  • Meander through the opportunities for change, that exist for your character.
  • Write the vivid moment.
  • Stare at your prose and find ways to sculpt it so that it is spare where it can be and lush where it needs to be.

Come back to your story every day this week and ask yourself 

  • “is this the right opening line?
  • “Would they say it exactly like this?”
  • “Is that the most powerful visual I could use?”
  • “Does this last line hook the reader’s brain so they are thinking about my story for the rest of their week?”

Give yourself the gift of time and space to craft an exquisite morsel. 

Even if you are the only person who ever enjoys it, aren’t you worth the effort?

Does Your Writing Cut The Mustard?

The first restaurant I worked in was an American-style family restaurant – pretty exotic for the southwest coast of Scotland in the 80s, a place festooned with fish’n’chip shops, where ‘chicken tenders’ sounded like a new language.

One of my jobs was to set out bowls of condiments before the customers came in…and not just salt, pepper, vinegar, and the two sauces known to us (red and brown), but things like ‘hamburger relish (it was green! Who had ever heard of such a thing?!) and three types of mustard: one classic yellow, one fancy ‘Dijon’, and one totally alien grainy concoction that I fell in love with.

Tonight, I opened a jar of that grainy mustard and its tangy smell transported me back 38 years, to the service corridor between the kitchen and dining room of my first job, when mustard was an exotic new experience.

It reminded me of a truth in writing: we spend so much time in our own heads that we take for granted the way we think, the way we talk, and the way we write.

Sometimes, when we show our work to someone else they are thrilled by a throwaway phrase or a description that took no effort at all…because it’s normal to you.

Sometimes we need other writers to push us to try the mustard, when we’re accustomed to always reaching for the salt and vinegar. 

And yes, this is my fancy way of letting you know that Critique Week is coming up, and that if you would like to get some fresh eyes on your writing you should consider joining us.

But more than that, it’s my way of encouraging you not to take your own writing for granted. It might be the new flavor someone else is looking for!

Keep writing,

Julie

P. S. I’ll be opening up registration for this round of Critique week, soon. Get on the waitlist here.

7 Myths About Revising your Writing

If you want to improve your writing you know you have to revise your writing. But, in my work with writers I encounter a lot of resistance when it comes to revision.

Some of this resistance comes from myths around the best way to revise and edit your own writing.

I’m here to bust seven of those myths.

For more, listen to the companion podcast episode

1. Revision is all about seeing where you’ve failed

It’s not. 

As I talked about last week, seeing where you’re succeeding can be just as important, if not more than seeing what’s not working. You don’t want to cut out your best lines!.

It can be helpful to get other people to look at your work, both for a fresh pair of eyes on a project we may be too close to, and because we do tend to be a little hard on ourselves. 

Experienced writers tend to have a well-developed sense of what’s working in their writing as well as what’s not…but it’s not flawless and we all need a little feedback from time to time.

And when you DO find something that needs to be reworked (let’s not call it a ‘failure’) work on celebrating. 

  • Seeing what’s not working gives you an opportunity to fix it. 
  • Going back to older stories and noticing what’s not working, is a measure of how far your skills have advanced. 

So celebrate!

2. You must walk away from your work for two weeks, before you revise

Continue reading “7 Myths About Revising your Writing”

On Revision by Tony Conaway

This post came as a response to a question I posed about revision: how you approach it and how you feel about it. This answer was so good, I asked Tony if I could repost it here. Thanks Tony!

I have no trouble revising my work. I usually want it to be as good as possible.

I have no problem revising my fiction. My problem is deciding when to STOP tweaking it.

I revise to catch errors, of course.

I revise to catch overused works and sentence structure. (No semi-colons allowed, and few colons.)

I revise to even out the pacing. (One scene may resolve too quickly. Another may get more space than the scene deserves.)

Continue reading “On Revision by Tony Conaway”

Writing Flash Fiction Gems – Small, Precious, and Slower Than You’d Think

What Is Flash Fiction?

There are, of course, as many definitions of Flash Fiction as there are writers.

Flash Fiction image

Continue reading “Writing Flash Fiction Gems – Small, Precious, and Slower Than You’d Think”

Let’s Talk About Flash Fiction

In which I encourage you to write Flash Fiction and tell you about an upcoming online workshop.

Flash Fiction chat, April 10, 2017

Posted by Story A Day on Tuesday, April 11, 2017

The online workshop will happen on April 22, 2017 from 4 PM until late.

There are 10 tickets for full workshop participants (writing exercise, critique and discussion) and 40 reduced-price tickets for audience-only attendees.

Sign up now