While every word in a flash fiction piece is important, often pulling double or triple-duty, in most cases it is the last line that makes a flash piece effective and memorable. Personally, I find flash stories that completely change because of the last line to be the hardest to do and the most enjoyable type of fiction. It’s akin to poetry in prose form.
Let me whip up an example 55-word flash piece for you:
The Final Bully
Oh, how they loved me when I arrived. Two years later and I’m the pariah, all mistakes that were not my fault.
I can’t stand this hatred.
Open the antique desk drawer, ignore the pistol.
Press the red button next to it.
It’ll take ten minutes before the planet-busting bomb shockwave reaches the White House.
It took me eleven minutes to write that. Everything up to the last two lines are there to set up the story and to allow your brain to automatically fill in the empty spaces between the words. Even the title of the piece, not part of the story according to the rules but available to misdirect the reader, can be utilized to give the final line some additional impact. The concept works today because suicides are all over the news and the toxic political atmosphere during this election cycle. This story wouldn’t be as effective if I wrote it back in 1977. It relies on the reader to bring along the news of the time into the reading experience.
The last line spins the story from where most readers expect the plot to go towards something completely different. It turns out that the final bully is an insane politician with science-fiction weaponry at their disposal. Note there is no actual clue if the president is male, female, non-binary, or even a lizard person. It is a far future event, unless we’ve invented planet-busting bombs and are hiding them in Montana. It brings along the rhetoric about presidential temperament from this year to add more background to the story without writing the words.
By making the reader think one thing and then adding a twist, the tale tends to go from a vignette towards a full story. Those last words gives a true ending. I personally find that the shorter the word count, the more important the twist is for my writing. It is also the thing that readers remember long after they’ve closed the book or surfed elsewhere on the Internet.
About the Author:
Guy Anthony De Marco is a disabled US Navy veteran speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, third-party D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.
Back in the late 19th and early 20th centuries, novels were suddenly available to the general public at greatly reduced cost. The paper wasn’t always the best quality and plagiarism was rampant between different countries — sometimes even between regions or states. People didn’t travel much and there was no Internet to bring rich, colorful multimedia presentations to someone’s eye at a whim.
Literature was their window to the world and beyond. The descriptions and eloquent language had to give the reader an understanding of places they’d never been to and most likely would never actually see. In a way, the genre novels were a combination of travel books combined with a fascinating tale.
Take, for example, the best-selling author Marie Corelli. She was read by the masses more than HG Wells, Edgar Allen Poe, and Sir Arthur Conan Doyle — combined. In her book, Vendetta, she introduces the Italian landscape with intricate detail and flowing prose. Everything is richly described that let the readers “see” through the text. Colors, sounds, smells — all were documented to bring the landscape to life.
This method of novel-writing remained active and at the top of the best-sellers list until the 1980s. James Michener’s doorstopper novels included when the Earth was forming from dust up until the actual story took off. This detailed understanding of the environment was just as important to his novels because the landscape was an important character. Alaska, one of his last novels, explained volumes of how life was like in the frozen, snowy wastelands. Without that understanding, the story would be missing something important for the reader to incorporate in their thinking.
Post-1980’s, the writing landscape changed. People had less time to spend on reading and publishers pushed for stories that started when the action began. Michener and James Clavell would have a tough time getting published these days without their extensive bookselling record.
One of the reasons for this sea change can be blamed on the Internet. Instead of having an author interpret and describe an exotic location, people can fire up their favorite search engine and watch travel videos and see pictures of daily life in far-off lands. We no longer need the words. For some genres, this is a sad thing.
With the hustle-and-bustle of daily living, coupled with the constant barrage of time-absorbing activities as far away as the cell phone in your pocket, nobody has the time for a beautifully written novel. They want to jump in, read the good parts, and jump out. The older readers are the ones who miss the prose the most.
Probably the one spot where this is less apparent is the speculative fiction markets. Science fiction and fantasy are based in places beyond our experience, so the author still has to do some worldbuilding. The details, alas, are typically lacking because the publishers want the action and not the description. Sometimes it is a good thing to take a break after a wild chase and a fierce battle to rest — both the characters and the reader — by delving into some more history or landscape description. At least, it’s something I miss these days.
About the Author:
Guy Anthony De Marco is a disabled US Navy veteran speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, third-party D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.
All month long, the Fictorians have been posting articles on mixing several genres together to make a book more interesting or to entice a wider audience. Here are two outside-the-mainstream ideas for you to consider.
Erotic Genre Mixing
If you’re comfortable writing and marketing erotica, you should consider combining it with the different genres. There are plenty of straight-forward erotic encounters between all kinds of individuals to choose from in the eBook marketplace. There are, however, smaller niches where your mixing in different genres can bring in more readers.
This isn’t a new idea by far. Even in genres such as Westerns, there have been plenty of years-long ongoing series that featured plenty of explicit sex between the characters. A good example is the Jake Logan series based on a man named John Slocum. Considered an Adult Western, it had by formula three explicit sexual encounters per novel. The series was penned by multiple authors under the Jake Logan pseudonym, and it ran for over four hundred novels.
The idea of the adult-oriented genre novel is a relatively unexplored niche. Writing a Space Marine novel series? You could have the teams be chaste and virginal as they sling lead or energy beams around, or you can add in some adult interactions as one would expect in a more realistic lifestyle. Maybe the protagonist falls in love with an underground freedom fighter, only to discover they were a spy all along. The adult interactions between the characters will create a bond that is far more heartbreaking and emotional than if they were friendly acquaintances when the truth comes out.
If you decide to go this route, it is important that you indicate the adult content in the marketing material. Some people prefer have a sex-free reading experience, and if you have a surprise orgy halfway through the book, you might get hit by poor reviews.
Non-Fiction Blended with Genre Fiction
This is another under-represented area that is open for exploitation by a savvy author. The most common mix for this is known as Alternate History, where the author sets up actual historical events and adds in a “What If?” event that veers from what actually occurred.
For example, did you know that there was an actual Emperor of the United States? Emperor Norton I lived in San Francisco and declared himself the Emperor plus the Protector of Mexico in 1859. The citizens of San Francisco loved him and his “official” decrees, and many dignitaries stopped by to say hello. Now imagine writing a story where the United States government was overthrown and he was actually elevated to political power. How would life be different now?
You can combine plenty of ideas with different genres to create some unique combinations. One good example was an anthology edited by Fictorian Travis Heermann called Cthulhu Passant. This charity project combined Lovecraftian horror with the game of chess. Each story had both elements, and at the back of the anthology the editor appended a quick primer on chess moves and terminology.
If there is something you are proficient in, consider marrying it to one of the genres to create something new. William Gibson combined science fiction with marketing in his novel Pattern Recognition. The movie The Last Starfighter combined arcade-based video games and science fiction. Consider combining what you do for a day job or hobby and how it can be tossed into a blender to make a delicious Genre Frappé.
About the Author:
Guy Anthony De Marco is a disabled US Navy veteran speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, third-party D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.
Many genres hand over arsenals of handguns to their characters to use as they stumble through the complex plot their writers have invented. From the trusty Western six-shooter to Han “I Shot First” Solo’s blaster, guns are an integral tool of the trade.
When a writer has no first-hand knowledge of how to use any firearms, and let me note that this is an excellent personal choice for those who prefer never to touch a gun, they still have to write about the use of a handgun without driving their readers away. Otherwise, one can come up with disasters like this picture, which went viral on Facebook because the poor young man was clueless.
For those who don’t know, the young man is holding a revolver and the magazine from a different weapon in one hand, as though the revolver used magazines. They don’t — you can see the revolving cylinder above the trigger that holds typically five or six rounds. People had a good laugh, even though the gentleman seemed far too young to legally have a handgun and his finger was on the trigger while posing. Others posted their versions of the Clip-a-zine picture using other objects that one does not usually use with a revolver.
With that said, let’s discuss some common issues that annoy readers who have a familiarity with handguns.
Rounds, Cartridges, Bullets — Oh My!
Let’s start with the little items that pop out and cause damage to others. A round or cartridge is a complete package, ready to load and fire. It includes the actual projectile, called a bullet, gunpowder, a primer that starts the process of expelling the bullet at a high rate of speed, and a casing that holds them all together. In the early days of handguns, one would put powder into the barrel of a weapon, add in some wadding, and then jam a bullet on top. Once that was accomplished, one would either use a primer or some sparking method like a flint to cause the gunpowder to explode.
When someone came up with the idea that one could make reloading fast and efficient, it was a game-changer.
Revolvers
Some law enforcement officers prefer revolvers because they normally don’t jam unless severely damaged. Some use them as a backup weapon just in case their semi-automatics jam. A pistol is another name for a semi-auto handgun, not a revolver.
As mentioned, a modern revolver has a cylinder that holds rounds, or cartridges. When the trigger is pulled, the cylinder is rotated so that a cartridge is lined up with the barrel. The hammer then falls on the firing pin, which strikes the primer. The primer starts a tiny explosion that causes the gunpowder load to burn, which expands rapidly and forces the bullet to exit the barrel of the weapon. Pulling the trigger again repeats the process. Some older revolvers required the user to “cock” the weapon by pulling the hammer back until it locked. Modern versions typically allow one to cock the weapon or to have the trigger pull back the hammer before releasing it.
Older versions of the revolver were hand-loaded as previously described. A built-in lever allowed the user to compress the bullet against the wadding and the gunpowder. Sometimes they would also add in a bit of grease on top of the loaded cylinder to prevent cross-firing, which could cause the revolver to detonate. Clint Eastwood uses a hand-loaded revolver in several of his movies, and some of the early revolvers allowed the gunfighter to swap out a fully-loaded cylinder.
After the usual six shots are fired with a modern revolver, the user has to remove the spent casings and load in fresh cartridges. Police officers who prefer revolvers tend to have small round devices called speed loaders, which hold six rounds with a device that allows the user to reload faster than doing so individually.
Semi-Automatics or Pistols
Semi-automatic pistols have been around for over a hundred years. These weapons are designed to hold more cartridges and to allow the user to reload quickly using a magazine. Note that the magazine is sometimes called a clip, which is actually incorrect. A clip is a device that holds several rounds together and allows a user to slide a set into the magazine. Rifles such as the Russian-designed SKS use these clips, sometimes called stripper clips, to load the built-in box magazine. Modifications allowed the rifles to use larger removable magazines that were hand-loaded with cartridges. So many people call magazines clips that they’re becoming equivalent, but it is something that drives some readers crazy.
Pistols use these magazines to hold a lot of rounds. Some stagger the rounds, making the grip thicker, but allowing for seventeen cartridges in the magazine and an additional one pre-loaded in the barrel and ready to fire. The large improvement in the number of available rounds before reloading is why many users switched to pistols. The down side is the semi-automatic is more complex and can jam, making the pistol useless until fixed. Revolvers, with their built-in simplicity, typically do not have this problem.
A semi-automatic will fire a single shot every time the trigger is pulled. The force of the exploding gunpowder forces the top slide back, ejecting the spent casing and automatically allowing the next cartridge to load into the barrel. Some semi-automatics will also push the hammer back to fire, while other designs use the movement of the trigger to move the hammer back.
While there are fully-automatic pistols available, they are very rare and expensive, requiring a special license to own. With such a limited number of rounds in the magazines, a fully automatic pistol would be empty in a couple of seconds.
Recommended Actions
Assuming you are not adverse to trying to fire a weapon on a gun range with experts to help you, I would recommend you do it for the experience. It will help your writing, and you will get additional safety tips from your instructor. If you do not wish to ever handle a weapon, I would recommend you go to a gun range and have an instructor demonstrate everything for you. Either method will allow you to experience being in the presence of a weapon firing. Note that it is incredibly loud, especially if your characters fire in an enclosed space. Their ears will be ringing for quite a while, something that tends to be forgotten. A military user or a law enforcement officer always counts down when they fire so they know how many shots they have left. Above all, anyone who has handled weapons and has had any training knows that one always treats any weapon as though it was loaded. Never point it at anything you don’t want to hit, even accidentally, and always keep your finger off of the trigger unless you are ready to fire the weapon.
About the Author:
Guy Anthony De Marco is a disabled US Navy veteran speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.