What makes a good flash fiction piece? - guest post by Juneta Key

I'm excited to be swapping posts with the awesome Juneta Key today. Please enjoy her excellent article about flash fiction, and hop on over to her blog to get a peek into my home and find out the little everyday things which helped inspire the Totem series.

 

Thank you so much, Christine, for inviting me to guest post on your blog today and post swap. You ask me.

What makes a good flash fiction piece?

To answer that question, we need to understand what flash fiction is about. It is a short story under 1000 words, generally right at or around 500 words. Flash fiction is the length of one short scene with emotional IMPACT using shocks, twists, irony, OR something deeply meaningful to end it.

Anything less than 500 that is Micro Fiction, which has several sub-categories, or anything more than 1000 words which would still be considered a short story, not flash fiction. The purpose of micro fiction is to express interesting ideas or tell a brief story in as few words as possible differing it from flash which depicts a scene or a “moment or realization” in the life of your character.

• Flash fiction should possess all the qualities of story and scenes with the presentation of character with one problem. (hook & inciting incident)
• At least 1 or 2 possibly conflicts to carry the story forward. (action) (brevity)
• And a brief ending, creating an overall satisfying capsule of the story. The short word limit only has room to capture a meaningful or powerful moment in the character’s life.

Flash fiction should give the reader some satisfaction with its ending. The more complete and self-contained the story the better.

• I try to create a “semblance” of the 3-arc structure when I write flash fiction keeping it loose with word limits.
• One or two descriptive words for character e.g. nervous typist, sarcastic officer, disillusion magician
• One or two descriptive words for setting, e.g. windy sidewalk = city, snowy incline = anything from hill to Everest or ski resort, sweltering heat = anything from the beach to desert, rolling hills = countryside/farmland. The setting can be woven into the conflict with descriptive words. (middle)

The key is to weave in descriptive and action words to create emotion, forward action, intriguing and interesting conclusions. Flash is so brief the most you hope for is to evoke emotion in the reader or leave questions and possibilities.

• Remember conflict= action taken, has consequence for the character: It is not just a sequence of unrelated events.

Make the character responsible for his choices and actions.

• Action = reaction BUT conflict has real consequence for the character to deal with or accept, a lot of times with compounding effects.

I prefer flash fiction that engages me, evocates reaction, thought, curiosity, irony, and/or the shock factor. 

The shock factor must be meaningful, or I won’t read that author again.  It must intrigue or raise a question, not make me feel bad or disappointed.  It must be consistent with the tone of the story.

StorytimeBlog Hop flash fiction by several different authors in 2015 & 2016

Dragon Smoke & Wind by Karen Lynn (This one is one of my favorite from July 2016 blog hop.

 

Wicked Wednesday - Critiques (part 2)

This is the second part of my Critique series. On how I do critiques. It may not be the way anyone else goes about it, but hopefully I can offer a few tips that you might find helpful. You can read the first part of this series here.

After the initial read and the narrowing of the genre, I start a second read and focus on the first chapter. This is the most important chapter. If you can't keep your readers' interest, they aren't going to keep reading. I look for the hook, the setting, the backstory, the inciting incident, and the overall story problem.

Hook: hopefully it's right in the first line or at least in the first paragraph. This grabs the reader's attention with usually a dramatic action, thought, or desire. It sets the mood for the entire book. (Example: the opening line to THE DRAGONSLAYER: Xan missed the shot.)

Setting: the reader must know when and where they are. Not the exact time and date, unless it's key to the plot. But if we're in modern times, the past or future. If it's a fantasy world, it could start off in a barn or a cave. Don't leave the reader in limbo.

Backstory: You want enough to get the story going, but not too much to overload the reader. People are tempted to tell a lot in the beginning of the story, but readers only need to know enough to support what's happening in that moment.

Inciting incident: This is the event that turns the protagonist's life upside-down, or at the very least, the incident that leads to the chaos. It could be a letter from a distant relative or an assassination attempt. Big or little, it must propel the plot forward from chapter one.

Overall story problem: This isn't the hero's goal of killing the monster. What I'm looking for here is the protagonist's key internal problem. A flaw or weakness, something that she struggles with and that she needs to overcome in order to be victorious. Even if it's not obvious in the first chapter, I need to see a sign of it.

The first chapter is usually where I end up making the most changes in my manuscripts.

What do you look for when critiquing a first chapter?

Wicked Wednesday - make 'em suffer

Writing great paranormal romance isn't all about the longing glances, the sweet kisses, or the fiery passion between the sheets. Oh, we do love those things, but no. That's not what really makes readers turn the pages. It's the suffering we put our characters through that hooks them.

In order to get your readers to empathize with your characters, you need to engage them emotionally. Everyone knows what it's like to have their heart broken. Perhaps we're not as dramatic in our woes as the characters, but sometimes we'd like to be. Describe the pain in vivid and clear language. Be bold. Make the suffering unbearable and explore its most primal roots. Don't try to be subtle about it.

Emotional suffering isn't enough. You need to build in external conflict to torture your characters too. Again, problems need to be clear. Your readers need to know what your characters are fighting against. Having a clear problem doesn't mean to not have any mystery. Simple example: the problem is there's a new serial killer killing werewolves in town and your protagonist has to find out who it is before there's another victim. (The sexy Alpha of the local pack wants in on the hunt too!) Clear problem and intriguing mystery.

Once you've made your characters and readers miserable, it's time for the solution. The solution needs to be as clear as the problem. It must be realistic and satisfying. I'm sure everyone can agree a weak ending ruins a good story. Give your readers the emotional high to make up for the suffering you've put them through.

What hooks you in a story: the happy moments or the suffering?

Wicked Wednesday - writing that first paragraph

It might seem like a lot of pressure... Okay, there is a lot of pressure on writers to hook the reader in with the first paragraph. Most readers need to feel an immediate interest in the protagonist and his/her story. It's a tricky feat to accomplish and even trickier to do so with paranormal romance. The stakes are raised because the reader is expecting something apart from the ordinary.

The first sentence needs to have a hook. Use humor or a surprising fact about the protagonist or his/her world. Keep it short and snappy.

Make sure your protagonist has a unique voice. Paranormal romance gives you a lot of room to create amazing characters. They do have to be human enough for the reader to relate to, but just a little tweak to the ordinary can go a long way. Also, keep in mind, something way outside the norm can turn the reader off.

Introducing danger immediately is an excellent way to hook a reader in. Paranormal romances tend to be fast paced and full of action. The tension and immediacy will set your reader on the edge of their seat.

Set the tone of your novel. A few shocking words can take the story a long way. Make it intriguing and quietly raise the questions your novel will address.

Three wonderful examples:
Dead Until Dark by Charlaine Harris
Darkfever by Karen Marie Moning
Fallen by Lauren Kate

What are some of your favorite first paragraphs?

Please check out my interview with science-fiction romance author Aubrie Dionne and comment for a chance to win a copy of A Hero Rising. You still have two days to enter!