The Practice of Creativity

Posts Tagged ‘fiction writing

As I frequently note on this blog, I am lucky to live in a community (a state even!) known for its writers. Anne Anthony is a writer friend that I know from classes, community shindigs and readings. We often like the same authors and comment on each other’s Facebook posts about writing advice.

I was touched when I read the inspiration for her recent co-edited book: The Collection: Flash Fiction for Flash Memory. It’s an anthology of flash fiction stories for adults who struggle with memory loss.  The inspiration for the book came after her mother passed away last February. As Anne has said, “[her mother] loved to read, but as her memory declined she switched from reading novels to reading short stories. She could have extended her reading life had she known about flash fiction (stories between 500 & 750 words).”

The Collection is not about memory loss (or aging), but it is a fine volume of 60 evocative flash stories that anyone can enjoy.

Anne Anthony is a full-time writer living in North Carolina. She holds a Masters in Social Work from the University of Maryland and a Masters in Professional Writing from Carnegie Mellon University. She’s been published in the North Carolina Literary Review, Dead Mule School for Southern Literature, Poetry South, Tell Us a Story, The Mused Literary Review, and elsewhere.

I figured after editing this major project, Anne would have some insights to share about the wonders and challenges of being a newbie editor. And, indeed she does!

I’m delighted to welcome Anne Anthony to The Practice of Creativity.

On Being a First-Time Editor
By Anne Anthony

I remember watching Mickey Rooney in the film, Babes in Arm, and his excitement when he decided to ‘put on a show’ to prove to his parents and those of his friends that these ‘kids’ could make it to Broadway.

I had a similar exhilaration at the start of the anthology project not because I was trying to prove something, but because I wanted to create a book that my mother would have enjoyed reading. Toward the end of her life, my mother lost the ability to hold on to longer plots of short stories and though she could read, she couldn’t follow a narrative from beginning to end.

Taking a good idea and turning it into an actual book was a journey of discovery for a writer who had never edited an anthology before. From writing the call for submissions, to their screening and review, sending out acceptances and rejections, to editing the stories, I learned five lessons for new editors.

  1. Hold to the Submission Guidelines

I’ve read hundreds of submission guidelines since I first began submitting my work. I try my best to follow those guidelines, but sometimes, I slip up. Once I submitted a flash fiction story to a journal which only publishes creative non-fiction. The editor informed me, kindly and politely, of my misstep and suggested a journal I might try.

So it surprised me when several submissions didn’t follow those guidelines. Many submissions were over or under the 500 – 750-word count limitation, or was a poem, or was clearly a memoir piece. I started yelling at my laptop, “Doesn’t anyone follow directions anymore?” which sometimes scared my old dog sitting at my feet. I gained a better appreciation for editors and their frustrations with submissions.

One writer submitted a strong story about a man encountering a beautiful, but quirky woman on the beach. Their conversation was witty and engaging and the only stumbling block to acceptance was the story’s 1000-word count. I loved the story so much that I took a shot at editing the piece down to 750-words. His response was respectful, Good try but I think the story loses too much at 750; 1000 words is more realistic,” but disappointing. I wished him well and sent him a list of the the top 20 flash fiction journals where he could submit his story. I truly wanted others to read what he’d written.

My advice to writers: pay attention to every detail in the guidelines or your submission will likely not be considered.

  1. Define Acceptance Criteria

The stories accepted met the acceptance criteria established prior to the screening phase of the book project. 1) a well-defined plot 2) strong writing 3) engages the reader from beginning to end.

The 81 stories that didn’t make the cut were rejected for several reasons, the least of which was weak writing. I recall wanting to read more of several stories — like the next 15 chapters. The writing was stellar and sharp, but writing 500 well-written words doesn’t mean you’ve written flash fiction. Some pieces were likely the start of a short story, a scene in a longer novel or novella, but it didn’t have the beginning, middle and end to make it flash fiction.

So, what is flash fiction?

Becky Tuch, the editor of Review Review, explained in one of her posts how ‘deceptively complex’ flash fiction can be.

“Part poetry, part narrative, flash fiction–also known as sudden fiction, micro fiction, short short stories, and quick fiction—is a genre that is deceptively complex. At the same time, writing these short shorts can be incredibly rewarding. Distilling experience into a few pages or, in some cases a few paragraphs, forces writers to pay close attention to every loaded conversation, every cruel action, every tender gesture, and every last syllable in every single word.”

As the editor, I gauged every word, every action written into these short pieces checking for relevance, tightness, connectedness from beginning to end. I asked myself: Is the metaphor used here necessary? Does it tie to the overall theme of the story? Is the writer inserting a metaphor that the character wouldn’t know to include? For example, would a five-year-old child describe a hot sunny day as ‘like lying inside a sun tanning booth?’

If you’d like to read more from Becky’s article, click here: http://www.thereviewreview.net/publishing-tips/flash-fiction-whats-it-all-about

  1. Check the Value of Every Word

The third lesson learned ties closely to lesson two.

Every word matters in flash fiction because of its short length.

While editing the anthology, I searched for places where writers used adverbs instead of strong verbs. Or questioned dialogue tags other than ‘said,’ (think: implored, sniffled shouted, screamed, yelled, well, you get my drift.) I’m a strong believer in the ‘invisibility’ of the dialogue tag — don’t call attention to it and consider eliminating it altogether if it’s clear which character is speaking. A reader should focus on the exchange between two characters and gather the tension or suspense (or whatever emotion is) by showing action.

For example, look at the difference in the two variations of the same dialogue.

Dialogue #1

“You never told me you were a man,” Helen shouted loudly.

“I’d thought you knew,” Billy whispered softly.

Dialogue #2

Helen stared at Billy standing naked in the shower. “You never told me you were a man.”

Billy reached for his bathrobe, “I thought you knew.”

In the first version, the writer uses unnecessary adverbs with dialogue tags which weaken the story. The second version gives the reader context with dialogue and no tags, creating a richer scene.

Colorado author, Eleanore D. Trupkiewicz, offers sound advice in her guest post, Keep it Simple: Keys to Realistic Dialogue (Part II) on Writers Digest.

“Beats of action reveal character emotions and set the stage far more effectively than an overdose of adverbs ever will.”

If you’d like to read more from more of Ms. Trupkiewicz’ guest post, click here:

http://www.writersdigest.com/editor-blogs/there-are-no-rules/keep-it-simple-keys-to-realistic-dialogue-part-ii

  1. Trust Writers to (Mostly) Know Their Stories

Several strong submissions required editing to tighten the writing in certain places. One writer had a terrific story that lead the reader down an unexpected path but in the last paragraph, the story lost its momentum. Our communication about possible changes turned into a delightful exchange when Caren consulted with her fictional protagonist regarding her story which had ended with him saying, “Hmm.”

Here’s what she wrote:

“…I stepped back from the scene for a while and came back and asked, “So Umberto, was that it?”  And he said, to me, “Yes. That was it…Until I heard Genevieve commenting on what had just happened.” I’m not kidding, you, Anne! That’s what Umberto “said” to me! I hadn’t “seen” anyone else in the parking lot until I “asked” Umberto about the ending of his story and Lo and Behold! Another character had shown up! I was surprised but I’m really glad that you inspired me to check back in with Umberto… and Umberto’s glad that I let the story continue a bit further.”

The change Caren made to the ending was brilliant and I truly believe came straight from her fictional character’s mouth.

And though writers know their stories, sometimes they don’t include everything they had in mind. One writer submitted a story about an older jazz musician who returned to the stage for one night. He described the jazz club, the musician, and the indifference of the crowd in such perfect detail that the scene could easily be imagined. But he missed a detail. He never mentioned anyone on stage with the protagonist and then suddenly in the middle of his story, a band appears. His response was telling and underscores the value of a critical eye.

“The entire time I was writing the story, I pictured a full band behind him [the protagonist]. I had several people read the story, including a fellow writer that usually finds my mistakes, and nobody noticed that.”

As an editor, it’s essential to not only look at what’s there, but also to check for what’s missing from the story.

  1. Rejection Really Can Be Subjective

As a writer, I’ve received rejection emails from journals using phrases like, “Unfortunately, this piece isn’t the right fit for us. Please consider us for future submissions.”

I’d learned six months into submitting stories for publication about a rejection wiki that offers examples of rejection letters from hundreds of journals. I discovered that rejection emails are organized in tiers: Standard and Higher Tier.

If interested in reading more, check out the link: http://www.rejectionwiki.com/index.php?title=Literary_Journals_and_Rejections

Until I edited this anthology, I didn’t believe the ‘boilerplate’ language used in rejection emails. What I learned, however, is that well-written flash fiction can be rejected because of the fit. An editor may look across the accepted stories as a whole, once she’s accepted several pieces, and notice the emerging heart of the book. A particular piece really might not fit.

The second sentence in the example rejection above also took on new meaning. Several strong writers whose stories I’d passed on might make it into the next anthology, if I decide to do one.

And perhaps that’s the final lesson I take away from this whole experience — editors really do want to publish good stories. It’s what delights our hearts

Anne at the book launch held on Reading Across America Day, March 2.

Linda Johnson, a member of the writing group I’m in, reading from The Collection.

A full house for book launch of The Collection.

Anne Anthony is a full-time writer living in North Carolina. She holds a Masters in Social Work from the University of Maryland and a Masters in Professional Writing from Carnegie Mellon University. She’s been published in the North Carolina Literary Review, Dead Mule School for Southern Literature, Poetry South, Tell Us a Story, The Mused Literary Review, and elsewhere.

In 2017, she was a cast member in the farewell performance of the Raleigh-Durham show Listen to Your Mother, in which she read her essay “In My Bones.” Her flash fiction, “Bathroom Break,” placed third in a Brilliant Flash Fiction themed contest. She is the co-editor of an anthology of flash fiction intended for readers with memory impairments, The Collection: Flash Fiction for Flash Memory (March, 2018). She is the owner of Anchala Studios, a micro press based in Chapel Hill, NC which selects projects appealing to broad audiences and which enrich the community.

Check out her book on Amazon:

https://www.amazon.com/Collection-Flash-Fiction-Memory/dp/0692991034/ref=sr_1_1?ie=UTF8&qid=1519046448&sr=8-1&keywords=the+collection+flash+fiction+for+flash+memory

 

 

 

 

Advertisements

Hi all,

We’re already into the first three months of the year. How are you feeling about the work you’ve submitted for publication? Are you submitting as much as you had hoped? You are submitting, right?

Most writers delay doing the one thing that concretely helps move them toward their goal of publication—submitting their work consistently.

No one knows about your work until you take that step of sending it out into the world.

Sometimes writers delay because they find the process of submission difficult, confusing and intimidating. They have trouble finding time to submit their work, finding venues for their work, and keeping track of submissions. Many writers don’t submit their work consistently, going through binge and bust cycles. They often don’t know how to build relationships with editors.

Many writers feel daunted navigating the submission process and often find themselves stymied by periods of rejection.

If you’re interested in supercharging your submission rate this year and learning new strategies for taking consistent action to publication, you might like the following:

I’m giving a FREE workshop: Charting Your Path to Publication: Strengthening Submission Skills and Honing Author Mindset

for the Triangle Sisters in Crime meeting this Saturday
March 10, 1:30 PM, at the Durham South Regional Library, 4505 Alston Ave., Durham. The meeting is open to the public.

Charting Your Path to Publication teaches strategies to beat the odds of rejection. You’ll learn how to select markets for your work, track submissions, and find great resources.

We’ll also spend time exploring the role of author mindset as vital to publishing success. There is no one path to publication, but we can follow and replicate the strategies of accomplished writers. You will leave with an action plan with concrete steps toward publication (or, if already published with a plan about how to become more widely so).

Writers at all levels welcomed.

Workshop will be about 1 hour & 30 minutes plus Q&A

Door prizes, too!

I’d love to see you there!

I am very excited to announce that Reenu-You is eligible for nomination for a Hugo Award this year! It is my first time having a book out that is eligible. I am thrilled at the prospect that it might be considered for a Hugo.

For those not in science fiction writing community, you may be scratching your head and asking: What’s a Hugo? The Hugo is considered “science fiction’s most prestigious award. The Hugo Awards are voted on by members of the World Science Fiction Convention (“Worldcon”), which is also responsible for administering them.” http://www.thehugoawards.org/about/

I would love to see Reenu-You make it on to the next stage in the awards process. If you are eligible to nominate Reenu-You, I encourage you to do so. Nominations are currently being accepted through March 16th. More information about the Hugo Award Nomination process can be found here.

The novella Reenu-You is the culmination of a lot of hard work, creative energy, and determination. Reenu-You explores what happens when a mysterious virus is transmitted through a “natural” hair product. Set in the 1990s, the novella explores hair, the politics of beauty, female friendships, corporate conspiracy and unlikely heroines.

It has been such a pleasure to share this story with others since the book was first published last March. I have shared its story at book talks, on a television segment, and even at an author “speed dating” event. It is such a joy to know that Reenu-You is reaching new readers.

If you are not eligible to nominate for The Hugo Awards, there are still ways that you can help! Spread the word about Reenu-You‘s eligibility by word of mouth or to your social media pages. Below is a short post you could share.

“Reenu-You,” by Michele Tracy Berger is eligible for nomination for this year’s Hugo Awards. If you are eligible to nominate this thrilling sci-fi novella, I encourage you to do so!

Or, of course feel free to make your message your own.

Thanks so much for your continued support of me and my work. I am so grateful for my creative community!

 

Hi folks,

Wish me luck today as I am participating in the ‘Movable Feast’ event, in Winston-Salem, held by Bookmarks! Bookmarks is a literary arts nonprofit whose mission is to connect readers with authors. The Movable Feast event is one of their newer programs.

The event is basically like “speed dating with authors”! As an invited author, I will visit a table for 10 minutes, talk about my book/myself/my writing, then rotate to a new table for another 10 minutes and repeat. I’ll meet 10 tables in total and also will have a chance to socialize with folks before and after the event.

I’m 1 of 26 authors invited to this event! The audience has paid to be there (per table) and will be composed of book club members, their friends and the reading public.

I think this is going to be a very fun and very active event!

I’m very excited to talk about Reenu-You and to represent my wonderful press, Book Smugglers. I’ve got my pitch down and will make sure to leave time for questions. And, I’m looking forward to meeting the other authors in the lineup (some have been on the New York Times Bestsellers List!). Many of us will be attending dinner together after the event.

Bookmarks hosts the largest annual book festival in the Carolinas drawing 20,000 from 20 states in 2017; they host a Bookmarks in Schools program that reached 9000+ students in 2017; and they opened a nonprofit independent bookstore and gathering space in July 2017.

Fingers crossed, I will entice many tables to buy Reenu-You for their book club!

 

It was a busy weekend! My first stop was at High Point University. I was invited by the English Club to give a craft talk and also discuss the political and structural interests that led me to speculative fiction and Afrofuturism, in particular.

The thing is, I had never given a ‘craft talk’ before! I’ve given lots of academic talks, of course, and have also done several readings of Reenu-You, but never a craft talk. What goes into a craft talk? I found out that a craft talk is just what it sounds like—a writer talking about techniques and processes of writing.

I knew that the English Club would be marketing my visit for a broad audience, so I needed to keep in mind that not everyone would want to hear specific details about writing craft. I spent the last few weeks working on my craft talk.

In the end, I decided to focus the first half of the talk on the speculative media influences on my childhood and young adult years (e.g. the television show, Lost in Space, the Bionic Woman and the film Star Wars). I then talked about my desire to connect to characters in speculative fiction and media with backgrounds that were similar to mine or connected to African American history and for a LONG time how hard that was. By college I was trying to “write myself” into the text and I spent time talking about how during college I discovered both the African American literary canon and feminist speculative fiction! Toward the end of the talk, I then discussed more ‘crafty’ things like how much I love first person narration and why I chose to use two first person narrators in Reenu-You. The audience was composed of students, faculty and parents (it was family weekend!) and they were warm and asked great questions.

I’m so grateful to the students and faculty that brought me to campus.

Dr. Jenn Brandt and Dr. Jacob Paul, organizers of the events

students

Lauren (on the left) who introduced me at the reading and Molly who is the president of the English Club. They are amazing!

hpu2

On Saturday at Park Road Books, in Charlotte, I was on a fantastic panel put together by writer and publisher Nicole Kurtz. The panel featured Black women speculative fiction authors including Nicole, Alledria Hurt, Marcia Colette and myself.

On such a cold wintry day, we had a spectacular turnout. The audience was engaged and we talked about diversity in publishing, the possible impact of the films, Black Panther and A Wrinkle in Time for young people and pitched our books. We sold out of our books and several panelists and audience members made our way over to a local restaurant for talk and conversation. It was a truly wonderful and uplifting experience! We may try to replicate this panel at future sci-fi conventions.

 

I’m so excited to kick off Black History Month with these upcoming events:

Tomorrow, at Highpoint University, I’ll be giving a craft talk and then later will give a reading from Reenu-You and talk about Afrofuturism. The reading and signing is hosted through their Phoenix Reading Series and will be from 5-6:30.

And on Saturday, Park Road Books, in Charlotte, is hosting a panel of Black women speculative fiction authors. We’ll be talking about our experiences, our work, why representation in publishing matters and also the implications of the film Black Panther.

If you’re local, I’d love to see you there!

Hi folks,

One of the wonderful benefits of the snowstorm last week was the opportunity to curl up with my to-be-read list.

This isn’t the usual view from my porch.

I’ve been eagerly awaiting these two writing books:

Pep Talks for Writers

As many of you know, I am a fan of NaNoWriMo (National Novel Writing Month). So, when I heard that Grant Faulkner (executive director of National Novel Writing Month) published Pep Talks for Writers: 52 Insights and Actions to Boost Your Creative Mojo, I got really excited. I’ve been a fan of his work for several years. He frequently writes about the process of creativity and is the co-founder of 100 Word Story, a wonderful online literary journal. I’m really proud of my publication, ‘The Lineup’ that appeared last year in 100 Word Story.

What’s it about: Keeping you creative and inspired throughout the year.

Structure: Mini-essays with a call to action, exercise or tip at the end.

Style: Accessible and beautifully written; Faulkner threads his personal experiences and observations throughout.

Topics: It covers all the topics that plague us as writers: keeping going, the imposter syndrome, balancing work and family, building a creative community, giving ourselves creative permission. But Pep Talks for Writers also skillfully dives into the shadow areas of creativity, including envy, boredom and doubt. There are unexpected topics, too, like ‘The Art of Melancholy’ and ‘Sleep, Sleeplessness and Creativity’ that inspire and showcases Faulkner’s deep wisdom about the creative process.

Inspirational Nuggets:

How do you create?: There’s no such thing as the way to create good work; you just have to find your way.

Make Irritants into a Symphony: If we elevate the annoyances in our lives to the state of art, their oppressive powers are reduced or vanished…Redefining life’s annoyances is part of your artistic ninja training.

Using Your Life in Your Story: We bury some things deep within for a reason, and it’s anguishing to try to uncover them. We’ve all experienced painful moments, whether it was being rejected in love, getting bullied on the playground, or losing a pet. Those are perhaps the experiences that will give your stories the greatest meaning, so be brave, and dive into your own past to relive those experiences. It might not be easy, but sense memory is about going back to those moments, re-living the emotions, and then imbuing your character experiences with a similar kind of essence. Don’t shortchange your experiences. You have a rich life to draw on in your writing.

Hold Things Lightly: I have a paradoxical proposal for you: Take your creativity seriously, but hold it lightly…What does it mean to hold things lightly? It’s an attitude that takes work (hard work, ironically). It’s easy to get so serious about our creative work that it can feel like a life or death matter. We pin our self-worth on our ability to carry it out. But, in the end, it’s not a life or death matter. Creativity is necessary, yes. It’s a life enhancing force, yes. We want to maximize it, not minimize it, yes. But I believe each individual project has a lightness that needs to be observed. Otherwise, the light can’t get in to help the seeds sprout. Without lightness, the soil of your story is too hard-packed, and the ground isn’t loose enough for the seed to sprout.

Bottom line: This is book that you’ll return to again and again for its clarity and inspiration. You’ll want to quote many lines and share them with others.

I Should Be Writing: A Writer’s Workshop

Long before Mur Lafferty became a well-regarded speculative fiction author, she was known for her compassionate, funny and engaging podcast called, ‘I Should Be Writing: A Podcast for Wanna be Fiction Writers’. She has been hosting this podcast for ten years. Mur’s honesty about the ups and downs of the writing process really speaks to me. She’s very encouraging and a master at sharing tips on how to keep one’s self writing (and why it is important to do so). She periodically conducts interviews with leading authors and also an occasional feedback show where people can send in questions that she answers. She has inspired many people and has served as a model for some to start their own podcast about writing. Her new book, I Should Be Writing: A Writer’s Workshop was recently released. I just bought copies for my writing group.

What’s it about: Keeping your writing going; getting in touch with your inner muse and getting a handle on your inner bully

Structure: inspirational quote from a creative person opens the mini-essays; in the chapters, the inner bully and inner mentor comment on writing process; lots of writing exercises at the end

Style: Accessible, extremely personable and humorous

Topics: Writer’s myths, tools for writing, dealing with imposter syndrome, perfectionism, developing writing routines, ways to revise

Inspirational Nuggets:

One Million Words: Malcom Gladwell made famous the rule that to become an expert, you must spend ten thousand hours on your passion. It is also sometimes listed as ten years. Ray Bradbury said you have to write one million words of crap, get it all out of your system, before anything good comes out.

These numbers (ten thousand hours, ten years, and one million words) are arbitrary, and were created because humans like big, round numbers. The point is, excelling at anything takes a lot of work. It takes setbacks and learning and plateaus and frustrations and being absolutely sure you will never, ever publish anything. It takes looking at other people’s careers and thinking that they have it easy, that they are lucky, that they are perfect and you are crap.

The reality is, other people’s careers have likely had the setbacks and learning curves and plateaus that you’ve experienced. You just don’t see that when you look at them. You see their amazing book, their awards, and their long autograph line. You haven’t seen their years of struggling and haven’t read their terrible words that came before they published anything.

…It’s a long journey. And, yes, it’s been a long journey for nearly everyone you admire.

All Writing Advice is Crap: Writing advice is generally trying to bring across good rules of thumb, but it’s important to know yourself well enough to realize that when something doesn’t work for you, you’re allowed to try something else.

There is one piece of writing advice that you MUST follow: you have to write.

That’s it.

Perfection is the Enemy: Another thought on that perfection thing. Writing is subjective. This means that different people will get different things out of your story. So let’s say you manage to attain that mythical perfect story you’re yearning to write. You send it off in complete confidence. And, it gets rejected.

Guess what? The editor didn’t agree with you. It wasn’t perfect to them.

Let’s say the editor agrees with you! Buys the book! Sends it out to reviewers! And, boom, it’s eviscerated. It wasn’t perfect to the reviewers. Readers give it one star. It lands on the Top Most Disappointing Books of the Year lists!

So now you’re confused and unhappy because the book was perfect! What happened? Do they hate you? Is there a vast global conspiracy against you?

No. Because there is no perfect book.

Your work won’t get published if you wait for perfection. You write the best book you can and then you send it out and get to work on the next one. Don’t edit the book once you send it out. Don’t think about it. Just get back to work.

Chasing The Elusive Time Beast: I can’t fix your life for you and give you a magical hour to write. All I can do is tell you to take a hard look at your life and see where you can find thirty minutes. Ten minutes, even. Make a clear decision: what are you choosing to do—write or play games? Write or watch television? Write or sit waiting impatiently for an appointment?

Bottom line: Sage wisdom that makes for great reading. I love her frame of the Inner Muse and Inner Bully and how she uses each of those voices to illustrate issues in writing.

 


Michele Tracy Berger

Michele Tracy Berger

Author, Academic, Creativity Expert I'm an award winning writer.

View Full Profile →

Follow me on Twitter

Follow The Practice of Creativity on WordPress.com
Advertisements