Another post on writing.
I really enjoyed this interview by Author Magazine with Cat Rambo. Quite a few themes she touched on struck home. Of all of them, however, was this:
You have to give yourself permission to write crap.
Also – the very last sentence is totally precious!
What are your thoughts?
The interview page is here.
While this page is devoted to 50 Cent Flash fiction I also like to include various notes on writing.
At the 2017 Willamette Writers Conference, I was having drinks with actor/producer Gil Luna and we got on the topic of writers putting direction in the script/screenplay.
“But Gil,” I said. “If I have this idea of the film, a shot that goes this way, why shouldn’t I put it in? I mean this is an important part of my vision. I mean I know that ultimately the director is going to decide how it is shot, but why can’t I give him my vision. Yes?”
“The reason,” he replied, “is that it is insulting to the director.”
I was shocked at the idea, and at this point started recording the video. Here it is in his own words.
Gill Luna from Jaan Seunnasepp on Vimeo.
Here is an interesting post from Barb Hendee:
So . . . last year, I signed a contract for a two-book deal with Kensington for books one and two in the Dark Glass Series. Keep in mind that I tend to “hang out” both in person and online with a lot of other writers. I think that’s normal for someone who’s been in the biz as long as I have. I am a go-with-the-flow kind of person, and my mother taught me the great value of the importance of nodding and smiling.
I’d been with Ace/Roc since 2002, and a number of my self-published writing friends/acquaintances were surprised when I signed on with Kensington, not because I was changing publishers, but because I was working with a publisher at all.
“Geez, Barb. Why are you doing that? Why give a publisher any of your royalties. Why not just self-publish your new series?”
J Malcolm Manness – 16 April, 2017
An excellent article on The Vintage News site relates the story of Florence Leona Christie Thompson, the woman in the iconic photo of the Great Depression The Migrant Mother, by Dorothea Lange.
The story reveals a hidden tragedy – one behind the obvious, the legion of people caught in the ecological and political collapse that was that era.
As a youngster with a budding interest in photography, I was inspired by this photo. The fact that an image can Continue reading
5 Star: A local’s perspective, more from less, culture exposed, leaves you wanting more.
on February 2, 2014
Format: Kindle Edition
Waiting for a Latte, is story that connects to place. Everything about Portland the reader knows, or thinks, gets tapped into here. Seunnasepp brings our own urban anxiety to the table and gives the reader a glimpse of self-awareness through the situation and character interactions. Read in a coffee shop on an iPad, how perfect. A nice multidimensional story focusing on the social subtleties embedded in the mundane.
In Goodie Two-Shoes we meet characters we all already know. Seunnasepp gives us context and details, and a chance to spy on the inner essence of these people we all see on a daily basis. The writing is never dense, never showy, but just right.
Couches have flavors. This is an unsettling fact that will no longer be overlooked by the readers. Seunnasepp is heavily influenced by the climate of the Pacific Northwest. We all discuss the weather as a basis of social interaction, and this is the foundational thoughts from which the stores develop.
Here is a reading from the novel The Songbook of Suomi by Jaan Seunnasepp. Read and with photos by J M Manness.
Reading-Songbook_ch23_BB – Computer from Jaan Seunnasepp on Vimeo.
This is a reading from my novel The Songbook of Suomi in which a girl, Diana Morales, is taken back into the world of the the Finnish epic The Kalevala.
Here, Diana has finally found Väinämöinen – the hero of The Kalevala. But it is late so she goes to bed while the Väinämöinen, who among other things is the god of music, goes out to play the kantele.
Jaan’s short story Elk City, has just been published on Work Literary Magazine.
Mission: To publish the best writing, thought and information about work, or lack thereof, while providing a forum for readership to connect and respond.
WORK is dedicated to celebrating the daily grind: white collar, blue collar, pink collar, sex work, food service, freelancing and more.
Elk City is a semi-fictional account of a trip to an isolated Idaho town by a group of hippie tree planters, and the relationship they set up with the townsfolk.
A group of old timers and a bunch of kids sat around the campfire. A couple of fresh logs were tossed on, sending a rush of sparks up to the sky. Robbie Richards pushed back his grey hair, and stretched his long boots towards the fire. Someone handed him a fresh bottle of Black Butte Porter, and he took a swig. The others, young and old turned towards him as he began his story:
Dusk was settin’ in and the rain was pourin’ down like there was no tomorrow as Tim Boty and me turned onto route 14 outa Grangeville and headed toward Elk City in spring of ‘76. Tim was driving his dusty old green Saab 96. That thing had more creaks and rattles in it than an old horse buggy, but she ran just fine. Man it was comin’ down!
Check it out!
Found an interesting article on “micro fiction” on The Guardian:
Stories in your pocket: how to write flash fiction by David Gaffney.
I began to produce these ultra-short stories – sawn-off tales, as I call them – when I was commuting from Manchester to Liverpool…
These stories, small as they were, had a huge appetite; little fat monsters that gobbled up ideas like chicken nuggets. The habit of reducing text could get out of hand too; I once took away the last two sentences of a story and realised I had reduced it to a blank page.
How to write flash fiction
1. Start in the middle.
You don’t have time in this very short form to set scenes and build character.