Every Day Fiction Publishes ‘In Flight’

 

Southwest Airlines

Good morning, afternoon, or evening, everybody!

I have another quick announcement for you today:

To increase the odds of getting published, you should submit your stories to magazines that publish work similar to your own.

This is where some research is needed.

(I know it isn’t fun. But this kind of work is necessary if you’d like to share your work with a broader audience.)

So if these magazines offer example stories on their websites, you should at least skim them before you submit your work. You’ll be able to tell if they appreciate a particular style or genre; and if your writing fits that mold, your chances of being accepted there dramatically improve.

A few months ago, I sent out a flash fiction piece, specifically targeting magazines interested in stories under a thousand words in word count. Every Day Fiction was one of those places. They publish a variety of genres, from fantasy to horror to literary. And as you might assume from their name, they publish a new story every day.

I’m happy to announce that they accepted that flash fiction piece, “In Flight,” and it posted on their website this morning! Please click here to read it. I hope you like it, and thanks for reading.

I hope you have a productive writing week!

 

Photo credit: kevin dooley / Foter.com / CC BY

Almost Five Quarterly Publishes ‘The Widower’

 

A Song for the LonelyHey, guys! Just a quick announcement today for y’all:

One of the easiest ways to get published is to send your work to relatively new magazines–since word hasn’t really gotten out about them yet.

Five Quarterly and its sister site Almost Five Quarterly are two such magazines. Five Quarterly features a rotating panel of guest editors to select the poems and stories that appear in each of their issues.

Though I was told that my fiction submission, “The Widower,” barely missed the cut for Five Quarterly, a founder and editor, Vanessa Gabb, solicited it from me for Almost Five Quarterly, and it just posted on their website today!

Check it out by clicking here. I hope you like it!

 

Photo credit: Pensiero / Foter.com / CC BY-NC-ND

Close Your Email and Turn Off Your Notifications!

 

When I was in junior high school, I enrolled in a journalism class; and by virtue of being in this class, my teacher assigned me to write an article on something mundane. The rising costs of gasoline? Carpooling? And so I sat at my typewriter, punching keys, watching their metal legs extend and retract. This was how writing was done.

I often think of those days while writing.

We live in a completely different time. Floppy disks are no longer floppy (if ever used at all!). USB flash drives have gone from 1.0 to 2.0 to 3.0. And to trump that, it seems like everyone utilizes cloud services of some kind. And yet, I can’t help feeling that something has been lost. In the past, a writer might have experienced procrastination as illustrated in the following YouTube clip:

 

 

Ha! But now, on top of procrastinating, writers today face new complications spurred by increases in technology.

At any given time, I can be writing for my novel, or writing for this blog, and I can receive a friendly ring from Apple Mail, or an alternate chime from LINE. Instantly, my mind stampedes. Who wrote me? What did they say? If I divert my concentration from my writing for one second, it’s game over. And most of the time, it is. So I can’t emphasize enough, in this day and age, when we need to be writing, we need to close our email and turn off our notifications!

Recently, I’ve started writing immediately after just waking from sleep. Before I ever speak to anyone, using my logical mind, I try my best to carry my dream state directly to my writing. (This is also more easily achieved late at night.)

NetbookAnd I use a netbook. This is important. I use it strictly for word processing. For me, my MSI Wind u100 is only psychologically associated with writing.

After I’ve finished my writing for the day, I eat breakfast and hop on my desktop computer to receive my regular email and notifications. And then, and only then, do I begin the rest of my day. I figure nothing is so important that it can’t wait for me to finish my word count for the day.

 

I’ve found this strategy to be really effective for me. I hope sharing it with you will help increase your productivity, too!

Do you have any tricks up your sleeve that you’d like to share? If so, please post a comment below. 😀

And, as always, write your heart out!

 

Photo credit: Sergey Galyonkin / Foter.com / CC BY-NC

Ron Carlson Writes a Story

 

Ron Carlson Writes a StoryIt’s finals week at Fullerton College! Before I  grade a tall stack of essays, I’d like to share the last of my three recommendations for books on writing.

In my previous post, I blogged about Robert Olen Butler’s From Where We Dream: The Process of Writing Fiction and the importance of the “creative trance” for writers (being in “the zone”).

Continuing this train of thought, I highly recommend another excellent book on writing, Ron Carlson’s Ron Carlson Writes a Story. In this book, Carlson walks us through his writing process, which culminates in his polished short story, “The Governor’s Ball.”

One of my favorite moments in the book comes when Carlson discusses writing as an inherently creative and imaginative activity. He writes:

To write a story is to stay alert and open to the possibilities that emerge as each sentence cuts its way into the unknown… If you get what you expect, it isn’t good enough.

(If you are writing what you expect, you are probably–to borrow from one of Robert Olen Butler’s phrases–“generalizing, analyzing, and abstracting,” and the work will ultimately fall flat.)

Carlson co-directs the graduate program in fiction at the University of California, Irvine, where he works with many promising and talented writers. He writes:

…one of the things I’ve been saying a lot in these past years is: solve all your problems through the physical world. That is, if you have a scene that’s stalled or muddled, go back into it carefully and write the next thing that happens in real time. Don’t think, but watch instead: occupy. Many times a story will get twisted when a writer knows where she wants to go, what irony or point she wants the story to achieve, and she’s got her eye on that goal and she can’t see or hear the opportunities that are arising in the current scene.

This ability to write from a “creative trance” or “the zone,” rather than stringing together plot points to support a story, is what seemingly defines the best literary fiction. And yet, I don’t think I’d be alone if I said that this approach to writing was intimidating. But it becomes absolutely necessary if

We want the story to be true. We don’t want it to have a point, theme, doctrine. If we write the story well, those things will emerge–we can’t prevent it.

Outer story is event, and event is there to serve and amplify and reveal character. This simply means that the trials your people confront will illuminate who they are. (50-51)

Let’s strive to write the kind of fiction that illuminates who our characters are by never failing to see or hear the opportunities that surround them. Write your heart out!

 

From Where You Dream

 

From Where You DreamRobert Olen Butler’s From Where You Dream: The Process of Writing Fiction is the most helpful instructional writing text I’ve ever read.

It chronicles an actual writing workshop Butler taught for MFA candidates at Florida State University in 2002. Butler wore a mic while in class, one of his students transcribed the audio recordings, and Janet Burroway edited the manuscript. It’s structured into three parts: The Lectures, The Workshop, and The Stories.

Butler sees the writer as a literary artist, and as such, emphasizes that art must originate from our unconscious in the form of a creative trance. This art cannot and will not come out of thinking–what he refers to as “generalization, analysis, and abstraction.” He discusses this in detail in his first lecture of the book, “Boot Camp.” He correlates this creative trance as having similarities to the athlete’s zone:

Jackie Stewart, the great race car driver, said in his autobiography that when you drive a car really fast and really well, you don’t have a sensation of speed at all; things slow down around you, you can count the bricks on the wall at the next turn. Baseball players, when they are batting and in a streak, say they can count the stitches on the ball. They are in the zone, and that means they are not thinking at all. They call it muscle memory. But for you, it’s not muscle memory; it’s dream space, it’s sensory memory.

Athletes at all levels experience this, from dancers to runners. Some of my best moments on the golf course have come during stretches like this–and, coincidentally, my best writing, too.

For example, in 2002, while attending a writing workshop at Cal State Long Beach, on the night before one of my stories was due, I sat at my desk in front of my laptop. I already had a story ready, one I had “generalized, analyzed, and abstracted” for weeks. But something happened that evening. I slipped into this trance, and when I snapped out of it, two hours had passed, and I’d completed the first draft of a new story. I thought I had stumbled on some kind of strange mutant ability. Ha! But really, this is the kind of place you want to be in. And, as I’ve learned, it becomes more and more difficult to tap into this place as you continue to grow as a writer.

Butler ends “Boot Camp” on one huge difference between the athlete’s zone and the artist’s zone:

Let’s look at Michael Jordan in his later prime–let’s say his last season with the Bulls, when they once again won the world championship. When Michael received a pass at the top of the key in full flight and he left the ground, he defied gravity, floated through the air, let that ball roll off his fingertips and into the basket. Tongue unconsciously extended. When he did that, he had to be in the zone. He could not be thinking about what he was doing. But to make his zone exactly analogous to the art zone, you have to add this: every time he shoots, in order to make a basket Michael Jordan would have to confront, without flinching, the moment when his father’s chest was blown apart by the shotgun held by his kidnapper. You know that happened in Michael Jordan’s life. Well, Michael would have to confront that in order to make a basket every time. Without flinching. Now his zone is equal to the artist’s zone. And now you understand the challenge of being an artist.

I could go on and on, sharing my other favorite moments from the book, but I don’t want to cheapen the experience for you in any way. Nestled within its pages is a wealth of helpful, writerly advice. I mean, the stuff I just shared came from the first of his lectures!

Whether you are a beginning writer or an experienced one, From Where You Dream: The Process of Writing Fiction should be on your reading list. (If you haven’t read it already, of course.)

About a year ago, I emailed Robert Olen Butler to ask for clarification on the process of “dreamstorming,” a process he introduces in one of his later lectures, and he responded back to me quickly with extremely helpful feedback that has only furthered my progress as a writer.

What more can you ask from a book?

That’s all I have for this week. Until next time, write your heart out!

 

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