With the sub-title “from blank page to finished manuscript”, this is very much the printed equivalent of taking a focused MA on the topic of the novella. It’s laid out beautifully clearly into modules, with delicious, restorative snacks in the form of exemplary flash fiction nuggets to nibble on along the way.
Author, editor and creative coach Michael Loveday explains that his book is an assortment of suggestions to help you find out what works for you in the area of novella-in-flash. In this way, it seems intended to be used less as a map than a tourist guide of hotspots you can choose to visit and enjoy.
Even if you would usually bypass the Prologue, you ought not to this once, as in Loveday’s hands it becomes almost like a ‘meet and greet’ at the start of a tour. “This craft guide isn’t seeking to set out fixed rules for how every novella-in-flash should be written,” he writes. “So much remarkable writing deliberately breaks the boundaries of common practice. Instead, (it) is intended as a springboard, a source of ideas and options.”
Continue reading →
I don’t know about you, but I often find ‘how to’ books a little hard to digest. Rules can be particularly off-putting when it comes to creative acts such as writing fiction.
With Inside Fictional Minds, Dr Stephanie Carty overcomes those barriers with ease. A light, hearty tone delivers psychological insights that will help you to regard your protagonist, and, let’s face it, yourself, afresh.
The book falls into three sections: The Basics, The Specifics and Putting It All Together. As Carty writes in the introduction: “The first section will cover a wide range of topics about how characters (well, humans… but let’s keep saying characters) feel, think and interact.”
Through exploring the fundamental beliefs, relationships and perceptions that inform behaviour, alongside exercises that place your characters in settings beyond the story world you’ve created for them, Carty equips us to view our created people with dazzling clarity and to unpick the complex myriad of experiences that have shaped them. Even if these moments happen off-page and aren’t mentioned within the story itself, through identifying these influences and their impacts, Carty furnishes us to build three-dimensional characters whose responses to the plot will be as richly nuanced as any real person’s.
Continue reading →
This book is the perfect cheerleader to see you on your first steps of the flash fiction journey. If you’ve been playing in the flash arena for a while, Going Short may well be the coach to take your flash skills to the next level.
With a subtitle of “An Invitation To Flash Fiction”, Nancy Stohlman’s guide is a warm welcome, with chapters arrayed in bite-sized segments where every word earns its place. She leads by example, explaining the definition of flash fiction as you might to a non-writer friend in a pub (or, more likely these days, over Zoom), laying out word count (under 1,000) and purpose “to tell a story even if much of that story is implied.”
Immediately, I’m bubbling with questions. How do we know how much to tell and how much to imply? How can we trust the reader to be on our wave length and understand the unwritten?
In Part One: Writing Flash Fiction, I reach a paragraph titled ‘The Blank Page’ and am immediately gripped. Stohlman’s concise sentences brook no arguments as they command you’ to let go: of clever tricks, of descriptions, of our need to explain – all things I struggle with in my own writing. “Let silences be potent,” she urges, “don’t rush to fill them.”
It’s advice that sounds almost languid until you reach the next page, titled ‘Urgency.’
Continue reading →