Writer Advice: Flash Fiction Contest

  • Writer Advice: Flash Fiction Contest

    Lynn B. Goodwin is the creator and producer of Writer Advice.

    Writer Advice’s Flash Fiction Contest 2019 Submission Information

     Writer Advice seeks flash fiction of 750 words or less.

    “Open our eyes. Help us see the world as your characters do.”

    Finalists receive responses from all judges.

    Everyone receives a detailed response from award-winning author B. Lynn Goodwin.

    What is Flash Fiction? 

    For Writer Advice, it is a story of 750-words or less that has a protagonist, a conflict, a setting, excellent use of language, and an ending that we didn’t predict when we read the first line. We enjoy stories with a discovery, complex characters, lovely language, and a tone that rings true. 

    PRIZES: First Place earns $150; Second Place earns $75; Third Place earns $40; Honorable Mentions will also be listed.

     Submission Details

     The contest closes on June 1, 2019

  • Submit. Yay or nay?

    Excerpt from “Submission Control” article about submitting your writing to publications, in the March/April 2019 issue of Writers Digest magazine, by Dinty W. Moore.

    Sending your work to literary magazines puts you at the whim of editors—but there’s more in your power than you may realize.

    Every few months, ask yourself why you’re doing this [writing]. If writing, waiting, and facing rejection make you truly miserable, maybe you should stop.

    But if you don’t want to stop, if writing is necessary, like breathing, then change your way of thinking. The long wait, the long odds, the sometimes inscrutable aesthetic taste of the editorial staff: You have to put all of that aside and write new poems, essays and stories.

    And that’s a good thing.

    Because the more you write, the better you get.

    Dinty W. Moore is the author of the memoir Between Panic & Desire, the writing guide Crafting the Personal Essay and other books. He is the editor of Brevity, a journal of flash nonfiction.

  • Spring is . . . Prompt #419

    Spring is . . .

     . . . The true harbinger of spring is not crocuses or swallows returning to Capistrano, but the sound of the bat on the ball. — Bill Veeck
     
    . . .
    The world is mud-luscious and puddle-wonderful.E.E. Cummings

     . . . a heart full of hope and a shoe full of rain.

    Your turn . . .

    Spring is . . .

    Just Write!

  • Revision Is Your Friend. Really.

    Guest Blogger Rachael Herron writes about one of my favorite topics: Revision:

    I’m in the middle of revision of a book, and I’m swimming in the water I love.

    What I adore about revision is this: I know the world. I invented it, after all! When I open the document, I’m right in the middle of something I understand. It’s much easier, for me, to drop in for hours and rest on the page. It’s also easier to come out of, to shake off.

    First drafts remain torture for me. Many writers love first drafts, and I can admit that sometimes, the writing of new words is glorious.

    You surprise yourself with a turn of phrase that you’re pretty sure is genius and has probably never been said before. The plot bends and a tree you wrote about comes to life and points a branched finger in a direction you never saw coming. Inspiration flows, hot and heavy.

    But maybe I’m just more of a down-to-earth gal. I love falling in love, but I love remaining in love more. Give me a passionate kiss before you take the trash out—that’s happiness to me. I like the comfort of What I Know. I like to tuck my feet under the thighs of my manuscript as we cuddle on the couch. I love knowing my manuscript likes the lights on till sleep-time, even though I prefer to read in the dark.

    Revision is both comfortable and exciting, like a sturdy marriage. Oh, I love the word sturdy. It’s prosaic, but it’s so me. My legs are sturdy. My emotions are, too. I love my books to be sturdy enough to lean on.

    And lean on them, I fall into them, really. Revisions are getting in the bed you made out of words and pulling up the covers. Then you roll around, making those words better, cleaner, more focused.

    Revision is when the REALLY big ideas show up. Then you have to move parts around, like those flat puzzle toys you slid pieces around on to make a picture, to make those new ideas fit. You might have to pry out some pieces and manufacture new ones. But then you click one piece left, and another one right, and suddenly, you’re looking at it. The whole picture. Your book.

    Ahhh. I’m reveling.

    Note from Marlene: I love Rachael’s enthusiasm about revision. If you dread revising, here’s a positive way to look at it: It’s an opportunity to look at your writing with new eyes; a prospect to improve your writing; to be sure your writing is clear, concise; to make sure you are saying what you really want to say.

    Best wishes with your revision projects.

    Rachael Herron is the internationally bestselling author of more than two dozen books, including thriller (under R.H. Herron), mainstream fiction, feminist romance, memoir, and nonfiction about writing. She received her MFA in writing from Mills College, Oakland, and she teaches writing extension workshops at both UC Berkeley and Stanford. She is a proud member of the NaNoWriMo Writer’s Board.

    Links to other guest posts on The Write Spot Blog by Rachael Herron:

    Keeping the spark alive

    The biggest failure    

    Reviews for Rachael Herron’s books on The Write Spot Blog. Type “Rachael Herron” search box for reviews about her books.

  • Birdland Journal ready for your writing.

    Birdland Journal offers a home for fiction, flash fiction, poetry, and creative non-fiction from established and emerging writers.

    The theme for this issue is “A Matter of Character.” Take this where you want to. Besides a character in a story, how about considering the character of a people or place? Take character out of the box. It might be a person, or an animal or an inanimate object.


    Deadline: April 15, 2019

    Open to Northern California residents only.

    Previously published material not accepted, including publication in any venue: print, web, and personal blogs.

  • One slice of the point of view pie

    There are many articles and books about point of view. The following is an excerpt from a talk given by author Jim Dodge.

    Narrator – Who tells the story.

    The most used pov: First person and third person.

    There are three types of first person point of view.

    First person direct.

    First person indirect.

    First person objective.

    First person direct: Protagonist carries conflict and is usually involved.

    Direct – “it happened to me.”

    When narrator carries conflict = direct perception.

    This is the most difficult point of view to work with – has to be compelling voice to hold readers’ interest.

    If you can pull it off, it’s powerful.

    Stories move in time and space.

    Problems with first person point of view: person has to be “everywhere” to get information.

    First person indirect: Reflective, or indirect: narrator does not carry conflict. Narrator is a character and in a relationship with the protagonist.

    Problem with this pov is that you can’t report what happened unless narrator was there.

    Examples: Herman Melville’s Moby Dick – you would have to be in the boat to tell the story.

    One Flew Over the Cuckoo’s Nest – you would have to be in the insane asylum

    Arthur Conan Doyle’s Sherlock Holmes series uses the buddy pov narration for these detective stories.

    Setting plays in it.

    In this pov, the narrator and protagonist are joined at the hip, a close friendship.

    The point view is not from the main character.

    The idea is that “someone else could tell the story.”

    For example, Watson tells Sherlock Holmes’ story.

    Split point of view – Two or more narrators. They can tell the story from their point of view in a strict rotation, in a sequence, or randomly.

    First person objective: The third type of first person pov is detached and tells the story like a transcript of the events that happened. The narrator never discloses anything about what the characters think or feel, remaining a detached observer.

    The Laughing Man by J.D. Salinger tells the story from an unnamed narrator.

    Second person point of view: You.  Rarely used, common in poetry.

    Third person pov: He/she/it/they.

    It’s easy to move in space and time to tell the story when using third person. This is the most flexible point of view.

    Omniscient narrator: Has attributes of God. Omnipotent: all powerful, present everywhere. Knows anything and everything about characters.

    Omniscient narrator has full access to any character at any time (past, present, future).

    Omniscient narrator can comment on what characters are doing and on their patterns of behavior, movement, thoughts.

    Your turn: Decide on a subject and write from an objective point of view. Describe the scene as a camera would record it. Write what the camera lens sees and hears (if it’s a video camera, or a phone recording). Describe the scene like a screenplay. You can’t write what the characters are thinking (the camera can’t see or hear this).

    You can show the characters’ emotions with body language and physical gestures (what can be seen) and with dialogue (what can be heard).

    Need a topic to write about? Choose one of the prompts on The Write Spot Blog.

  • Natural Bridge invites submissions

    The editors of Natural Bridge invite submissions of poetry, fiction, personal essays, translations, and art.

    From the Natural Bridge submission page:

    Because we are tied to the academic calendar, we will not read between May 1 and August 1.

    Submit through Submittable

    There is a $3.00 charge for non-subscribers to submit. This is not a reading fee, but helps maintain the submission service and website. This fee is waived for current subscribers.

    We will continue to accept submissions free of charge through snail mail.

    Submissions sent by email will not be read.

    A few Guidelines.

    We do not accept previously published work. This includes self-publication and work that appears online.

    Poetry submissions should be limited to one manuscript of up to six poems at one time. Poems should include the author’s contact information on every page, be clearly titled, and be paginated if longer than one page.

    Prose submissions should be limited to one story or essay at a time. Subsequent pages should be numbered and include the author’s name.

    We are currently interested in art in JPEG format. Submit up to 5 pieces for consideration. Most of our art is printed in black and white at this time.

    Please submit to only one genre at a time.

    As with most literary journals, it is recommended that you view a copy of Natural Bridge before submitting.

    Upon publication, the author will receive two copies of the issue with his or her work and a one year subscription as payment.