THE BETTER SPY – Release Date Announced!

The_Better_Spy_Cover_for_KindlejpgIt’s official! My newest collection of short stories about the globe-trotting U.N. spies Alexei Bukharin and Mai Fisher, The Better Spy, will be released as a paperback and an eBook on July 28, 2015!

You first met Mai and Alexei in Blood Vengeance, Spy Flash, and My Noble Enemy (a Spy Flash novella). The Better Spy isn’t exactly a continuation but, rather, another piece in the mosaic of these two characters’ lives.

What is it about?

“The defining mission of UN covert operative Mai Fisher’s career came in the mid-1980s when she went undercover in the IRA. It was a mission she barely survived, when a shipment of Semtex she intended to destroy before the IRA would distribute it to various cells exploded too soon. Nine people, including a man she’d come to love, died, and she carried the guilt for the rest of her career. Nearly three decades later, a dying soldier has a secret he wants to tell her, one that will change everything.”

You can pre-order The Better Spy starting today. Click HERE to pre-order. Enjoy!

 

More Good (and Bad) Writerly News!

Two, count ’em, two stories of mine will be published soon: one in a fiction chapbook, the other in an anthology.

“Reset” is a completely made-up story (as in not based on something which happened to me even though one character bears a strong resemblance to my father) about a father and daughter who attempt to prove the validity of the one-shooter conclusion of the Warren Commission Report. It will appear in the inaugural edition of The Ink Ribbon Reader later this year. For more information on Ink Ribbon Press, the publisher, click here.

The other story is “Dreamtime,” winner of the Flash!Friday second annual flash fiction contest. It will be published in the anthology Skyline 2016, which will come out next spring, likely at a Virginia Festival of the Book event. My story, “Meeting the Enemy,” appeared in Skyline 2014. The Skyline anthologies are edited by author Olivia Stowe and published by Cyberworld Publishing.

So, that’s the good news.

The bad news–and that’s the writing life–my story, “The Lost Diaries of Prince Leopold, Duke of Albany,” did not advance me to the third round of NYC Midnight’s 2015 Short Story Challenge. The judges liked the story, but one didn’t buy the voice in the story was a seven-year-old’s. I respectfully disagree, especially since I explained the child’s advanced vocabulary in the story itself, but, hey, can’t please ’em all. “Prince Leopold” will find a home, somewhere.

And more good news: A Spy Flash novella, “My Noble Enemy,” will be available soon for pre-order. Here’s a cover preview:

BookCoverPreview.do

 

“My Noble Enemy” goes against how most spy deaths are portrayed in movies and novels, and here’s the tagline:

“There are old spies and bold spies, but no old, bold spies because, if you believe all those blockbuster movies and bad novels, they go out in a blaze of gunfire. Or do they?”

“My Noble Enemy” will be available for your Kindle and as a slim paperback (117 pages), and I’m pretty excited about its upcoming release.

And the final good news–then, no more bragging, I promise–late summer will see the release of my novel in stories, The Better Spy. Here’s its cover preview:

TBS Cover

Pre-ordering for this should be turned on some time in July, and it will also be available for Kindle or as a paperback.

The Better Spy is in an experimental format, and not just as a novel in stories. It proceeds from “present day” (2013) to a seminal event in a character’s life in the mid-1980s. That puts a bit of a burden on the reader, but I’ve also put a date tag on every story to help with that.

Oh, and if the cover of The Better Spy seems a little familiar, it’s a companion cover to 2012’s Spy Flash:

Spy Flash Cover 2.do

 

Lots of things to look forward to for the summer. Oh, and either or both of these new works would make great beach reads!

 

 

Finally, Some Good Writerly News!

Readers of my blog will recall I participated in this contest in 2014. I made it through all three rounds but was not a finalist. However, I received great feedback on the three stories I submitted. That made the experience more than worthwhile. The 2015 challenge is well underway, and I made it from Round 1 to Round 2. That was a great boost in a writing year, which, thus far, has been a challenge in and of itself. (I’ll write later about my critique group walk-out.)

I won’t go into detail about the challenge because I’ve described it before, but if you want a refresher, check out the website here. The Flash Fiction Challenge will be starting later in the year, and I encourage writers of all levels to try it out.

My assignment in Round 1 was to write an original story of no more than 2,500 words in the Historical Fiction genre, with the subject of “a walk in a forest,” and the character of a general. The assignment came in the midst of my epic bout with the flu, so I used several beta readers before I submitted it. Sure enough, one of them made suggestions which improved the story–and that story ended up in the top five of my heat. That placement moves me on to Round 2, and on March 12, I’ll learn my next assignment. This time the story will be no more than 2,000 words, and I’ll have three days to submit the story.

So, here’s my Round 1, Top Five story:

Orders

            Being the “GI’s General” was a blessing and a curse—a blessing in that his men followed him with an enthusiasm few combat commanders had seen; a curse in that he eschewed many of the perks of his rank to maintain that image. Truth be told, Omar Bradley felt just as disgruntled right now as any of his soldiers, given his recent dispute with Ike and the fact his fourth star wasn’t forthcoming. He took some solace that Georgie Patton wasn’t going to get his either. Still, the sting of having had his command placed under Sir Bernard Montgomery was as strong as it had been back in December when Ike broke the news.

“The Brits are our allies, Brad,” Ike had said. “We’ve got to give them this.”

He knew his outburst, so unusual for him, had taken Ike by surprise. “By God, Ike, Montgomery’s not accountable to the American people. I am. You do this, and I resign.”

“You’re forgetting something, Brad. The only person accountable to the American people is me, as Supreme Allied Commander. Now, Montgomery will have command of your 1st and 9th Armies, and we’re at war, Brad. You don’t get to resign.”

“My men won’t like taking orders from that popinjay.”

“Brad, are you trying to out-Patton Georgie? I know he detests Monty, but I thought you—”

“Ike, I won’t stand for it.”

Ike’s face had flushed, an expression any soldier would understand, and Bradley knew he’d gone too far. “Brad, those are my orders,” was all Ike had said.

That had been enough to silence him. Orders were orders.

His shoulders hunched in his great coat against the cold, Bradley plodded the length of the encampment to his tent, apart from the others. His aide trotted ahead of him and held the flap open for him. Inside was almost pitch dark, given the no-lights, no-fires order—his orders—but Major Benson flicked his lighter to life.

Two camp stools, a camp table, and two sleeping bags with extra blankets—just as it had been for the past several nights—made the tent feel crowded. Bradley shivered, rubbing his gloved hands together in a futile attempt to bring warmth to them. In the center of the tent between the two sleeping bags was a dead campfire, tinder and small logs ready to be lit. Benson flicked the lighter off, and Bradley stood in the tent, still hunched, still shivering.

“Major,” Bradley said.

“Sir?”

“Orders be damned. Light a fire to warm the sleeping bags.”

“With pleasure, sir.”

Again using his lighter to illuminate the interior of the tent, the Major opened the flap at the top to let the smoke escape, then knelt on the frozen ground to get the tinder burning. Bradley settled on his camp stool and draped one of the olive drab blankets over his head and shoulders.

Benson soon had a good fire going, the smoke spiraling toward the opening in the top of the tent. Bradley let the heat warm his face and felt almost comfortable. Benson also took a blanket and settled on his camp stool, holding the blanket over his head and shoulders. After a few moments, both men scooted their stools closer to the small fire, stretching out their blankets in an effort to channel the heat.

Just a few more nights of this, Bradley thought, and we’ll be on the move again. Just a few more nights.

###

            “You know, Sarge, this ain’t fair, us doing perimeter patrols like we’re ground-pounders,” said Corporal Jenks.

“Even tankers are ground-pounders to the flyboys, Jenks, so quit pissing and moaning. Orders are orders,” Sergeant Duncan replied, as the two men crept through the forest surrounding the encampment.

The Battle of the Bulge wasn’t that far behind them, and everyone was in wait-and-see status: waiting for the generals to figure out what would happen next and seeing nothing but the same scenery for days now.

The winter of 1944-1945 had been tough, the coldest some said in centuries, and it hadn’t eased. Though they hadn’t seen snowfall in a few weeks, the temperatures hadn’t risen much. Tonight, then, Duncan was grateful for the exercise of a foot patrol. It kept his blood moving, kept his toes from getting frost-bit. Better than shivering in his tank or, worse, in a tent with no fire, which a new general order had forbidden.

The crisp air, the crunch of the snow beneath his boots, the evergreen branches drooping under the weight of the snow all reminded him of home. With a rifle in his hands, this was more like hiking in the woods when he went jacklighting for deer with his brothers.

Except back home, a stray German wasn’t likely to jump up and start shooting at him.

And his brothers, older than he, were scattered in the Army from here to North Africa. All of them safe he assumed, though how he’d find out different, he didn’t know.

“How much longer you figure we’ll be here, Sarge?” Jenks asked.

Duncan brushed aside a low-hanging bough and murmured, “Jenks, be quiet. If there are Jerries out there, you might as well take ‘em by the goddamned hand and lead ‘em here.”

Jenks lowered his voice. “Shit, Sarge, we kicked their asses so hard, they’ll think twice about bothering us again.”

Duncan recognized Jenks’ bravura. Everyone in the 4th Armored Division had felt it after they’d broken the siege at Bastogne and freed the 101st Airborne. Duncan was a new sergeant, a “buck sergeant,” but a quick learner. Discretion and thinking things through, not glory, saved men’s lives and won skirmishes.

“Jenks, keep your eyes open and your mouth shut. That’s an order.”

Duncan scanned his surroundings, looking for anything out of the ordinary, anything other than a sea of GI tents. He gave a glance at the sky, again reminded of nights at home where the dark was deep and the stars were familiar beacons, interrupted by the spine of the Blue Ridge Mountains. He let himself feel some wonder that halfway across the world from his home, he could find Orion the Hunter and the Dog Star.

Not for the first time, this country made him homesick. His tank had surged across many a farm field, achingly reminiscent of what he’d left behind to do his duty, and he’d sent silent apologies to the farmers whose fields he’d wrecked.

When Duncan lowered his eyes, he stopped, holding up a fist for Jenks to stop, too. Duncan went to one knee, M1 at his shoulder, eyes squinting in the dark. Through the trees and brush, he saw a faint orange glow against the snow.

“Son of a bitch,” he murmured.

“Is that a fire?” Jenks whispered.

“Yeah, it is, and I’m gonna bust whoever lit it down to buck private,” Duncan said.

Duncan strode toward the tent, Jenks almost jogging to keep up with him. As he neared the tent, he could see the silhouettes of two soldiers inside. Just outside the flap, Duncan paused and called out in his best sergeant’s bellow, “You, there, in the tent! Identify yourselves!”

One of the men stirred, and Duncan kept his rifle in a position to bring it up quickly. A head covered in a blanket poked through the opening.

“Stand down, soldier,” came the command.

“I’ll decide who stands down,” Duncan said. “My corporal and I are on patrol, and you have a fire in violation of standing orders. Put it out. Now!”

“Who are you, soldier?”

“Sergeant Duncan, 25th Mechanized Recon.”

A murmur came from inside the tent, and the man poking his head out looked back inside. He turned to Duncan again. “Step inside, Sergeant, and we’ll clear this up.”

“There’s nothing to clear up, soldier,” Duncan said. “The fire needs to be put out now.”

The man stepped back and held the tent flap open.

“Jenks, you stay here,” Duncan said, then ducked inside the tent.

The second man remained seated, only his eyes visible through a small opening in the blanket he clutched around him. “What’s the problem, Sergeant?” he asked.

“The problem, dogface, is that we have a general order for no lights, no fires, and what do I see before my eyes? Why, I believe it’s a fire, soldier, a fire you are not supposed to have.”

“Sergeant—” the other soldier said.

“Quiet,” Duncan ordered. “I’m talking to this soldier. Now, soldier, just why it is you think you have the right to a fire, when the rest of us are freezing our asses off? Or do you want the Jerries to see us and blow us all to hell?”

“Sergeant,” the other man said, “you need to stand down. Now.”

Duncan ignored that and continued to address the seated man. “You need to put this fire out now. No questions. No excuses. Put it out. Piss on it if you have to, but put it out. Now!”

“Sergeant! Do you have any idea who you’re talking to?” the other man asked.

“Two pieces of shit who are getting put on report for having a fire against orders.”

The seated man stood, letting his blanket slide to the ground. Duncan took in the three stars on the great coat and the helmet. He blinked and looked at the other soldier, whose helmet he could now see bore a gold oak leaf; then, he looked again at the man standing across the fire from him.

“Oh, shit,” Duncan muttered and drew himself to attention. “Sir, I—”

“Sergeant Duncan, was it?” said General Omar Bradley.

Duncan swallowed hard in a tight throat. “Yes, sir.”

Bradley looked him over, taking in his unit patches. “You’re one of Georgie’s boys,” he said.

“Yes, sir. My apologies, sir. I didn’t realize it was you, sir. Might I ask, sir, if we could just, maybe, pretend this didn’t happen. Sir.”

“No, sergeant, we can’t.”

Well, hell, Duncan thought, there goes my Army career. “I apologize again, sir.” He turned to the major. “And to you, too, sir.”

“Sergeant, at ease,” Bradley said, and Duncan barely shifted from his rigid stance. “Sergeant, we can’t leave this be because you’re absolutely right. I am in violation of those standing orders, and you are well within your rights to put me on report.”

“Sir?” said Duncan and the major at once.

“Tell me, sergeant, what would you have done if some other soldier had a fire against orders?” Bradley asked.

“Well, sir, I’d order him to put it out, take down his name and serial number, and report him to my lieutenant.”

“And give him a good chewing out?” Bradley asked, a smile twitching his mouth.

“Uh, yes, sir.”

“You did a good job of that, Sergeant. Best I’ve heard in a long time. You have a notepad and pencil on you?”

“Yes, sir.”

“Very well, sergeant, take out that notepad and pencil.”

Before he realized it, Duncan had done just that.

“My name is Omar Nelson Bradley, U.S. Army, Commander, 1st Army. Rank, Lieutenant General. Sergeant, you should be writing this down.”

“Sir?”

“You need to write all that down to put me on report,” Bradley said. He repeated his information, adding his serial number, and Duncan wrote it down.

“Who’s your lieutenant?” Bradley asked when Duncan finished.

“Westmoreland, sir.”

“Very well. I’ll be checking with Lt. Westmoreland to make certain you put in that report. Am I clear, sergeant?”

“Sir, yes, sir!”

“Major Benson, put the fire out. Sergeant, you’re dismissed.”

The cold air almost froze the sweat on Duncan’s body when he left the tent. Jenks stood there, eyes wide as baseballs.

“Jesus, Sarge, that was—”

“Yes.”

“And are you—”

“Yes.”

“Westmoreland’s going to shit a brick.”

And probably throw it at me, Duncan thought.

Before he walked away, he looked back over his shoulder. The fire in Gen. Omar Bradley’s tent was out.

###

            Even though he knew why Lt. Westmoreland had summoned him to his tent, Sgt. Duncan spent his time on the way there going over whatever he might say to keep the lieutenant from taking a stripe from him, but he wasn’t optimistic about the outcome.

Duncan stepped through the tent opening and came to attention. “Sgt. Duncan, reporting as ordered, sir,” he said.

Westmoreland didn’t look up from the papers on his camp table. “And yet again, Sgt. Duncan, your name shows up in my daily dispatches, and for the damnedest thing.” The glare Westmoreland fixed on him was as cold as the weather. “You put a lieutenant-general on report.”

“Well, sir, he ordered me to,” Duncan said.

“Oh, I know that. He sent me a personal note, explaining the whole thing. Once again, Sergeant Duncan, I don’t know whether to bust you or promote you,” Westmoreland said. “You’re damned lucky it was Bradley and not Blood and Guts himself.”

“Yes, sir. Uh, sir, do you want me to withdraw my report?” Duncan asked.

“No. Bradley told me I’d be a second looey again if I made you do that. The report stands, the only blemish on a command officer’s otherwise spotless military record. I thought you should know that. I’d like to read you something—a note Bradley sent to Patton, who passed it on to me.”

Westmoreland picked up a sheet of paper and began to read, “Sergeant Duncan is a fine example of a dedicated military man. His concept of duty and responsibility is something other soldiers should model. I consider you a lucky man, Georgie, to have him under your command. I did a stupid, bush-league thing, and Sgt. Duncan spared no words in reminding me of that. I am glad he was on guard duty to keep me from a mistake which could have cost lives.”

“General Patton added a personal note,” Westmoreland continued. He folded the sheet of paper in thirds and held it up. “Would you like to have this as a memento?”

“Uh, sure, sir. Yes, sir.”

Westmoreland nodded to him, and Duncan walked up to the desk and took the paper from his lieutenant.

“You’re dismissed, sergeant.”

“Yes, sir.”

Duncan tucked the paper inside his jacket, saluted, then about-faced and spared no time heading for the exit.

“Sergeant?”

Duncan stopped and turned around. “Sir?”

“Is it true you told Bradley to piss on his fire to put it out?”

Duncan cleared his throat. “Yes, sir.”

Westmoreland burst into laughter and waved at Duncan to leave. As Duncan walked back toward his tank, a spring in his step and a grin on his face, he could still hear Westmoreland laughing.

© 2015 by Phyllis A. Duncan; reprint with permission only.

 

Unpublished–WTF? (Part One)

I haven’t blogged in a while. My apologies. There was the run-up to the holidays, the holidays, a six-week-plus bout of the flu, then a set-back in my writing career which had my finger hovering over the “delete all” option in my Writing folder on my hard drive. Then, I realized the only way to cope with that set-back was to write about it.

Once Upon a Time

Anyone who writes knows how hard it is to send stories out into the world of contests and literary magazine publication. Most of the time, those stories get rejected, some with a modicum of hope (“send us something more”); some with not so much as an acknowledgement of receipt. The rare time something gets accepted is such an ego boost, we can live off it alone for months. This is the validation every writer craves.

I recently had a two-fer: I wrote a story for a contest, and it not only won but earned an offer of publication. Double validation.

BTW, I’m not mentioning the name of the contest (to protect the innocent) nor the name of the magazine (so I don’t give the guilty any inadvertent publicity).

I said yes to the offer of publication, of course, because I’m not at the point in my writing career where I can casually turn such things down. If I’d known then what I know now… Except, well, I did my research. Not only did I discover this particular online magazine had a low acceptance rate, i.e., difficult to break into, according to Duotrope, but publication in it was a qualifier for membership in the Science Fiction Writers of America. The positives were adding up, and I was looking forward to my story being published early this year.

The Story

Sometimes when you’re writing a story, you get a feeling about it, that this is one which has a future, one which is special. I had that feeling as I wrote “Dreamtime,” a 500-word story for a flash fiction contest and based on a photo prompt. The photo itself was of the interior of a didgeridoo, a unique perspective, to say the least. I researched the history and manufacture of the didgeridoo, and at some point the unnamed narrator of my story began to speak to me. This is the first thing he said:

“In dreams on walkabout, my ancestors in the rock paintings come alive and descend to my camp.”

Yeah, I know. Pretty amazing. He continued, telling a story of playing a didgeridoo passed down over the generations, then getting the idea to look at the stars through the didgeridoo. He imagines another dreamwalker on another planet doing the same thing. When he returns to his day job at a radio telescope installation, he “listens” for that other’s song, and he also realizes he is the perpetual outsider there, being the only one of aboriginal descent. He understands as well, that one day, he’ll die and return to the earth. When our sun expires millions of years from now, his atoms will be scattered to the far ends of the universe to create another dreamwalker ancestor, who will be painted on rock. He finished his story this way:

“Then, in dreams on walkabout, I will descend and dance around a fire.”

I set it aside for a while, mindful of the contest’s deadline; then, I dusted it off and did some editing. This was a story which resonated strongly for me, but I researched to assure I got the history and the culture correct. (I have a degree in history; research is my be-all and end-all.) If something was slightly off, I realized that in writing fiction, I had a certain amount of dramatic license, especially for a piece which had both a fantasy and a sci-fi tone.

I was happy with it, happier than I’ve been with a lot of my short stories. As I said, I thought this story had a definite future. I submitted the story. I knew it was strong enough to be a finalist, and it was. What I didn’t expect was to win, but I did. The offer of publication was icing on the literary cake.

What could possibly go wrong?

Apparently, everything.

To be continued in part two.

Inspiration All Around Us

The other day on my Facebook Author’s Page I shared a graphic from a great on-line group called Writers Write. Based in South Africa, this group offers writing courses, some of which sound so great it might be worth the expense of a trip to Johannesburg to attend. They also post inspiring quotes from writers, renowned and otherwise, for writers. Almost every day, one of those quotes makes me stop and think about my writing and my writing goals. Those quotes are affirming on so many levels.

Here’s one I shared recently on my Author’s page:

(c)Writers Write

(c)Writers Write

That struck a chord with me because I want to write more short stories, but I’m always lamenting that the things I draw inspiration from (current affairs, history, politics) lead to longer works. (Not complaining by the way; I love writing novels.) I keep a notebook with me at all times, but it’s distressingly empty lately. I live in a very interesting area of central Virginia, full of intriguing, odd, and refreshing characters and, so you’d think that notebook would be full of dialogue snippets, bon mots, and killer ideas for a raft of short stories.

Maybe I need to overcome the MYOB attitude imbued in me by my grandmother. “It’s not polite to listen in on others’ conversations,” she used to tell me. I paid attention to that because I probably didn’t know then I was going to be a writer. It just seems rude to write down what other people say; a southern thing, I suppose.

I do manage to overcome the reticence of jotting down what other people say on occasion. My one-act play, Yo’ Momma, started from a single phrase I overheard at a bar: “This here’s my new phone–I gots it for free.”

Recently, in my town two young men died within two days of each other, both at the age of twenty-six. One had mental and intellectual challenges; the other was an award-winning and brilliant cellist. One was murdered; the other died in his sleep of a heart defect. They both warmed the hearts of everyone they encountered. All that is rife with inspiration, but it will have to wait. It’s too fresh and raw.

I’ve long wanted to write a novel based on the lives of my father and my ex’s father–I even have a great title: Two Fathers. The ex (when he wasn’t my ex) and I discussed it, and I took a lot of notes on his father’s history. The ex and I haven’t been together for nine years, and even though I haven’t forgotten the idea, it is also too fresh, too fraught with emotions I’ve tried to put behind me. Someday, I’ll be in a place to write it.

Day in and day out, I encounter the oddest collection of characters in the most routine places: the barista at Starbucks whose laughter could damage eardrums; the couple who own a local business and have arguments in front of the customers; a bail bondsman who dresses as if he’s the east coast version of Dog the Bounty Hunter; a senior citizen who is always front and center of every Tea Party event with a sign which reads, “Keep the Government out of my Medicare!” (I fixed the spelling.) And so on.

There is the challenge, of course, of making someone too recognizable. I don’t have a problem doing that with public figures. In my series based on the Oklahoma City bombing, people will have no trouble figuring out on whom I’ve based President Randolph. However, I also have a family member who is pissed about how I characterized  my step-grandfather (that family member’s grandfather) in a story which is based on a family event. Just goes to show, every story has two sides.

Even with the pitfalls, look around you. There is inspiration in everything and everyone. Use it wisely, but use it.

 

National Short Story Month + Friday Fictioneers = Great Reading

In case you didn’t know it, May is National Short Story Month, a celebration of that quintessential literary form, the short story. By the way, I have three collections of short stories published. What better way to acknowledge Short Story Month than to buy them? Should you feel so inclined, click here to go to my author website where you can link to their Amazon.com pages.

Okay, enough shameless promotion. Let’s talk about short stories. I love to read them, and I love to read them from a wide variety of authors. They are, however, some of the most frustrating to write, especially within a specific word limit, but doing so is a great exercise in making sure every word counts.

Short stories are an art form. Some writers, like Alice Munro, write them almost exclusively. Other writers are adept at both short stories and longer works. I can enjoy Ernest Hemingway’s short stories but rarely his novels. Stephen King, best known for his expansive novels, is also quite the short story writer, with several collections of his work and inclusion in many anthologies. A few years ago when he edited the Best American Short Stories 2007, he lamented in the New York Times that short stories were endangered. Walk into a book store and what do you see? Novels right up front and on the top shelves; collections of short stories get relegated to the lower shelves, the ones harder to peruse. Rather than sound the death knell for short stories, King said we need to remember “…how vital short stories can be when they are done with heart, mind and soul by people who care about them and think they still matter.”

Yes, they do, and I, for one, won’t stop trying to write good ones, ones that matter.

Friday Fictioneers LogoToday’s Friday Fictioneers prompt brought a current international incident to mind–I won’t say which; you can let it apply to whatever one you want. The title, “Hope in the Darkest of Days,” comes from a Dalai Lama quote: “I find hope in the darkest of days, and focus in the brightest.” If you don’t see the link on the title above, scroll to the top of the page, click on the Friday Fictioneers tab, and select the story from the drop-down list.

 

Oh, The Horror!

The NYC Midnight Short Story Challenge is on!

If you recall, this is a two-month challenge involving three rounds (if you’re lucky) where  contestants write short stories from prompts provided by the contest. The top three from each heat of the first round go on to the second, and the same for the third and final round. I signed up back in January to participate, and as the deadline for the first set of prompts (midnight February 7) neared, I went from anticipation to panic. What prompts would I get? Would I actually be able to come up with something? What if I flop?

I didn’t wait up until midnight to get my prompts. I got a good night’s sleep then planned on checking email first thing on Saturday morning. However, a writer friend of mine, who is also participating, messaged me first thing in the morning, terrified about her prompts. Gulp. I looked.

Genre: Horror. Okay, not so bad. I’d been terrified of getting YA or Romance, neither of which I have much experience in nor enjoy.

Subject: Genetically Modified Organism (GMO). Again, not bad. There’s been a debate locally about such products and whether they should be labelled as such, so I knew there was fodder here for a decent horror story.

Character: A prisoner. Hmmm. More possibilities.

However, I didn’t sit down to write right away. I had to travel to Charlottesville, VA, for a meeting of the Board of Governors of the Virginia Writers Club; however, the prompts kept tickling at me the whole drive over. I was a little early in arriving, so I pulled out the notebook I go nowhere without and jotted down this opening paragraph:

“I always figured it went down like this: one of those impersonal government buildings–you know the kind, all concrete, no glass–a conference room, a table occupied by faceless bureaucrats, a couple of guys in lab coats, maybe with names like Krishnamurtichatterjee or Schwartzenschikelgruber. They sat around the table reading a thick report, maybe watched a PowerPoint or a Prezi. The guys were from USDA, FDA, maybe Justice or U.S. Marshals, Bureau of Prisons, or some such.”

Yeah, promising, but where to go from there?

All throughout the meeting, as I knew it would, the prompts kept “talking” to me, and I jotted more notes at breaks and at lunch. By the time I left for home, I had a fully formed idea.

A really grotesque, fully formed idea. Even then I let it stew most of the day on Sunday; then, I sat down and started to write. It was all going smoothly until I got a text telling me I was late for my three-year-old granddaughter’s cake and ice cream birthday party. Oops! I hit save, dashed to the car, and took care of family business. I had to remind myself not to scarf down cake and ice cream and dash home, that Mamo had to be there for the Emster.

I got home, sat right down again, and resumed the story. When I next looked at the clock, it was almost 2300, and I had written 2,498 words. (The story can’t exceed 2,500 words.) I read it over, noted the spots needing work, and got to the end. I liked it. It needed work, but I liked it.

For the first round we have eight days to upload the story, and I’m grateful for the time. I’m letting the draft sit for Monday and Tuesday; then, I’ll pick it up again on Wednesday, with a goal of having it ready to upload on Friday. Yes, I’m grateful because if I make it to Round 2 I only have five days. Should I make it to Round 3, I only have twenty-four hours to upload a story. And you can’t pre-write because you don’t know what the prompts will be.

It’s certainly a challenge–so, aptly named, NYC Midnight–but each story gets feedback, and that’s what most interests me. Two of my writer friends from Tinker Mountain are also participating, so we’re supporting each other by listening to each other vent on Facebook Messenger. It would be the coolest of cool if all three of us made it to Round 3.

 

Friday Fictioneers – After a High Note, a Low Note, and Another High

The life of a writer has its inevitable ups and downs. Compressing them into a week is hard on the nerves, though.

This week started off with an email from a writing instructor of mine who said he would shop my novel (Sudden Madness of the Carnival Season) to some agents he knew. I also found out my story, “The Dragon Who Breathed No Fire,” had made the top twenty-five in a contest I had entered. Man, I was feeling good, no, spectacular, about being a writer, about having what I thought were good stories confirmed.

Then came Tuesday.

The contest story didn’t make the top ten in the contest. I couldn’t believe it. I read the top ten list twice, three, four times, just to make certain. Now, it wasn’t arrogance which stunned me that my story wasn’t there. That story was good. Beyond good, it was one of the best things I’ve ever written. It came to me in a dream, from the voices of Vietnam vets I’ve known, and I worked it and reworked it for the better part of twenty-four hours before I submitted it. It was real, it was gritty, it was disturbing, and it was good.

A friend of mine, who is a Vietnam vet, emailed me and said it was the best depiction of PTSD he’d ever read in fiction or non-fiction. That was exactly what I wanted. And that beautiful, disturbing story lost out to fluffy dragon stories and happy endings.

(BTW, I love the people involved with the contest, but I’m not apologizing for my characterization. I’m entitled to a bit of a whine. Sour grapes? Maybe, probably, but if you’re a writer, you’ve been there; don’t deny it.)

I was astonished, “bummed” as I told a writer friend, whose great story had also not made the top ten from the top twenty-five, and we commiserated together. Truly, it made me want to close the laptop forever.

The other good thing about being a writer is that you have a cadre of writer friends who won’t let you get down on yourself. “You stop that right now, young lady,” said one such friend (also the mother of a teenager; hence, the tone of the language). “You send that story somewhere else.” And she was absolutely right. I spent Wednesday on Duotrope, selecting some publications where this story might fit. That mitigated the disappointment but didn’t completely eradicate it.

Then came Thursday.

I came awake to my phone indicating I had an email arriving. I fumbled for the phone and my reading glasses to see who had woken me up so early. An email from my writing instructor: “So-and-so from such-and-such agency is reading your manuscript and is considering representing it.” I read it twice, three times, four times. I cried like a little girl and was as giddy as a kid (of any age) at Disney. Now, it’s not a done deal–and when and if it is, you’ll hear me shrieking “Ermagerd!” from just about anywhere in the country. It’s the farthest a manuscript of mine has ever gone; that, in and of itself, is a reason to celebrate.

A typical week in the life of a writer.

Friday Fictioneers LogoToday’s Friday Fictioneers photo prompt creeped me out. For as long as I can remember seeing empty shoes in an odd location has terrified me. I can see them in closets with no problem, but let me see a single tennis shoe on the side of the road and I’m gibbering. I went to an exhibit of photographs taken after 9/11 and never blinked an eye at the shot of a human spine atop some debris. However, the photo of a lone high heel in the middle of a street made me leave the gallery. I have no clue why this is the case–some deep-seated childhood trauma no doubt, but at least it gave me some great inspiration for “Big Shoes to Fill.” Yeah, I don’t write happy endings about fluffy dragons. I write real-life crap. So deal.

As usual, if you don’t see the link on the title of the story in the paragraph above, scroll to the top of the page, click on the Friday Fictioneers tab, then click on the story from the drop-down list.

Planning How to End it All – Part One

No, no, I’m not about to jump off a bridge. This weekend I attended a half-day workshop called “Ending it All” at WriterHouse in Charlottesville, VA.

Some of us can nail the beginning of a story, novel, or essay. Some can do the middle. Some can do both. What stymies most of us is ending it all, i.e., putting those two words down when we’re finished: The End.

I’ve drafted a very complex novel about the year 2000 in what was then still Yugoslavia. The story involves assassinations of government officials, the criminal underworld, ethnic cleansing, election politics, and even disillusioned Russian soldiers. In other words, a lot of plot threads. And since the bulk of my writing has been non-fiction (government reports), I like all my threads tied up loosely.

Also, because my work is based on current events and recent history, as events move on, sometimes that affects what I’ve written. I have to go back and “finish” a thread–either by weaving some more of it or snipping it.

Some feedback I got on that draft was that the ends were tied too neatly, so much so the ending went on and on and on and…

You get the picture.

Hence, my attendance at Rebecca Makkai’s excellent workshop, “Ending it All.” Makkai is a novelist (The Borrower), short story writer, and non-fiction writer, and her workshop was eye-opening. I never knew there were so many different types of endings! Over the next few days, I’m going to recap this workshop and the useful points Makkai made.

Here are her “rules” (and she acknowledges rules are made to be broken) about an ending:

  • It has to “feel” like an ending, and the best judge of what that feels like is the writer.
  • It has to honor any promises you made to the reader, i.e., if it’s a murder mystery you must reveal the killer.
  • It needs to add to the story, i.e., “and then this happened.”
  • It needs to be poetic, even musical.
  • It needs to be “surprising, but inevitable.”
  • It needs, in some small, subtle way, to refer to the beginning.
  • And, sometimes, it doesn’t have to happen at all.

Makkai says when an ending doesn’t work, “It’s quite likely because it’s not long enough.” We’re tempted, she says, to get to the zinger of our last line when we should be imbuing the penultimate paragraphs with meaning. She uses a musical term for this–ritardando, or the gradual slowing which marks the end of a musical composition.

Despite the fact Makkai says we can’t really categorize or classify endings, she did provide “descriptors” of the kinds of endings writers have used. For each descriptor, she provided examples, some from contemporary literature, some from the classics, and even some from movies and television programs.

In discussing types of endings I may refer to the actual endings of the examples Makkai provided, so Spoiler Alert; however, I’m only talking about the ending as a stand-alone, pretty meaningless unless you’ve read the entire piece. And I was heartened that I’d read or seen most of her examples; that gave the workshop even more meaning.

Here are the descriptors of endings I’m discussing today:

1. Endings that deal with resolution, or lack thereof

The first sub-descriptor for this type of ending is Stasis, which is the intentional lack of resolution. Anton Chekov was a master of this, and the example Makkai provided was his short story “The Lady with the Pet Dog,” which is the story of two people, married to others, who meet at a Black Sea resort and fall in love (a common theme of Russian writers even into the 20th century). The ending shows both of them wondering what to do about their situations and, boom, that’s it. Makkai mentioned this is very difficult to pull off and that most literary mavens consider it a rather old-fashioned device. What seems to work better for contemporary fiction is the “stasis of a character,” i.e., a character who doesn’t change even though the world around him or her has, often in significant ways.

The next sub-descriptor for this type of ending is the Intrinsic Ending, which involves a final, decisive act or event. This is so dramatic and so final that the story has to be over, it can’t continue. Examples were Virginia Woolf’s To the Lighthouse, Hemingway’s A Farewell to Arms, Shirley Jackson’s The Haunting of Hill House, and John Updike’s story “A&P.” If this is the type of ending you chose, Makkai says, you have to make certain you don’t just show the final, concluding event but also its impact.

Next is the Game Changer, an ending which destabilizes everything else in the story, or, as Makkai says, “pulls the rug out from under you.” Examples were the movie The Sixth Sense (where the protagonist finds out he’s been dead all along), Philip Roth’s Portnoy’s Complaint (where we find out the previous 300 pages was just the protagonist introducing himself to his therapist, who is now ready to begin), and Ian McEwan’s Atonement (one I haven’t read). Other examples of the Game Changer ending are Shirley Jackson’s short story “The Lottery” and Flannery O’Connor’s “Good Country People.” Makkai’s only admonition about using this type of ending? “Do not ever, ever, under any circumstances, have a character wake up and realize it was all a dream, or anything equally insulting to the reader.”

The final descriptor for this type of ending (resolved or unresolved) is The Breakup, where the author abruptly pulls us away from characters we’ve come to like. Examples were Jonathan Lethem’s Motherless Brooklyn, F. Scott Fitzgerald’s Tender is the Night, and John Updike’s Couples. Makkai adds you can’t do this just to be perverse to the reader, but only because it’s the right way to end the story. In each example she provided, she indicated the story could end no other way than how it did.

Tomorrow: Endings that Address Meaning and Endings that Emphasize Musicality and Sound.

Time Flies When You’re Having Fun

When you cultivate a group of writer friends and ask them to read and critique stories and manuscripts, an important obligation as a good writer friend is to reciprocate. So, when one writer friend who gave me excellent feedback on my work in progress asked me to do the same for hers, I jumped at the chance. I’d seen the first two chapters of her WIP in my last two workshops at Tinker Mountain and had been eager to read more.

I was so eager, in fact, when I picked up the MS yesterday morning, I didn’t put it down all day–which is why Monday’s post is happening on Tuesday. But it’s great when something lives up to your expectations. When my friend’s book gets published–and it will–this will be my first experience with the evolution of someone’s work other than my own, and it’s a humbling experience. Humbling, in that I felt honored she asked me to read it, that she values my opinion.

Here’s the thing. She doesn’t expect sycophantic raving about how good it is. (Trust me, though, it is that good.) She wants a writer’s eye and honest criticism, which she’ll get from me. Again, I got that from her, and I’ll return it in kind. And I’ll get a little thrill when I buy my copy, knowing I helped in some small way. So looking forward to that.

And new topic. I’ve been working on the next set of stories for Spy Flash 2. (In case you didn’t know it, last year I published a collection of my espionage short stories, Spy Flash. To read all about it, scroll to the top of the page, click on the Published Works tab, then click on Spy Flash from the drop-down list. You can click through to purchase it from Amazon.com, and, oh, by the way, if you buy the paperback, you can download the Kindle version for free. Commercial over.) One thing which has stood out for me is the way odd words unconsciously work their way into a story.

One story had an inordinate use of the word “just” and not the adjective, as in a “just cause,” but the adverb, as in “at this moment” or “in the immediate past.” Okay, one or two usages, maybe, but I found this usage in a couple of sentences per paragraph. I don’t remember typing them; it was as if they “just” appeared. Of course, that’s not the case. The word popped into my head–quite a few times, apparently–and I wrote it. In most cases, there was no need to substitute a better word; deleting “just” made the sentence stronger.

A few weeks ago, I had the same thing happen with the word “always.” Ack! Where are these crutch words coming from?

I suspect because I do a lot of “pressure writing,” i.e., meeting deadlines and word count goals I’ve mostly set for myself, they filter in, and I let that happen because subconsciously I know they’ll come out in the wash, or edit. What surprises me, though, is how often they show up.

And now I’ll bring this back around to the original topic. This is why having a group of writers who’ll critique you with honesty is important. They won’t let you get away with “just” and “always” or whatever crutch word creeps into your work. If you don’t have a group, find one or create one. Social media are great for this. Part of the joy of writer conferences is meeting and networking with many different types of writers from all over. Social media allow you to form critique groups without having to be face-to-face, and, even then, there’s FaceTime and Skype.

Don’t fear the critique. Embrace it. And watch out for those crutch words.