By now, most of you have probably at least heard of Havok, and some of you may have even written for us. But for those of you who don’t know, Havok Publishing was reborn two years ago under the direction of Lisa Godfrees, Teddi Deppner, and myself to fill a void in the literary world. We exist solely to bring the fun,

excitement, and creativity of flash fiction to the world. We acquire original fiction across a number of genres, but we have a special love for spec fic. We publish a new story every weekday, and we collect the best stories in semiannual anthologies. As Lisa said, I act as Havok’s editor-in-chief, so with the help of our daily editors, I edit every story that we publish. And that means I’ve edited well over a million words of flash fiction at this point, so I should have at least a few tips on the topic. J

But real quick before we start, if you’re attending my interactive writing workshop after this, I want you to be thinking about a few things. We have thirty minutes

between this class and the next one, and in that time, you’re going to write a flash fiction story, except it’s going to be a 500 word limit! … Well, seeing how I didn’t lose any attendees with that one, I’ll assume you’re all up to at least attempting the task. So, throughout this class, I want you to be thinking about what you want your central story idea to be, which we’ll talk more about in just a bit. Think about your characters, your setting, your theme, and your plot. That way, you can apply what we’re talking about in a practical way. Learn by doing, that’s what I always say. And be sure to write your questions down as we go along. We’ll have time for that at the end.

Oh, and if you’re NOT planning on attending my workshop after this, I forgive you. But I still encourage you to think about an actual story you have in your mind as we go through our practical writing steps. And with that said, let’s get started!

So, I’ve thrown out the term flash fiction several times now, but I haven’t defined it yet. Put simply, flash fiction is any fiction 1,000 words or less. Micro-fiction and nano-fiction fall under this umbrella, and much of what we cover today will apply to them, but anyone who’s tried those super-short forms will know that they should be

approached differently.

But what’s the big deal about flash fiction? Why waste your time when writing that great American novel is the ultimate goal. Well, I’ll tell you… but not yet. Mostly because there’s a panel tomorrow about that very topic, but also because, if you’re here, you’re already interested in

writing flash fiction, so our time would better be served on the HOW. But with that said, I’ll share a few of the big reasons why I write flash.First, I use it as a vacation between larger projects, and even to experiment with larger ideas. The last three novels I’ve written started out as flash fictions. Secondly, and probably most importantly, flash fiction teaches you to refine and perfect your craft. This point is what we’ll be covering today, so I won’t dig into it too much now. Then there’s the validation that you can actually finish something! And that can be a big thing, so never

underestimate the importance of finishing a project, no matter how small. Especially when it leads to the fourth point—publication. Building your publication credits not only helps you snag contracts and readers in the future, but it’s a great learning experience when it comes to the professional side of the process of writing.And now that we’re all sure WHY we should write flash, let’s talk about HOW…

Any questions? No. Well, thanks for coming. Okay, there's more to it than just “write well”, but flash fiction, more than any other form of creative writing, is a game of words. When I say "write well," I'm not even talking about your ability to tell a creative story. I'm talking about your ability to tell any story in the clearest and most

creative way. If you like playing word games, or Sudoku, or puzzles, you'll love flash fiction. It's detail-oriented heaven for tinkerers. You write your story in a rush of inspiration then come back to it sometime later with fresh eyes and start playing around with it. Of course, there's a line you don't want to cross so you can retain the magic of that original inspiration, but you can't be afraid to play around with things like pacing, cadence, tone, perspective, and flow. A lot of that comes with practice, and that's exactly why flash is so great. It's a micro-universe ready for creation and experimentation.

And where does every great experiment start? With a big idea. Right now, some of you might be saying, "What if we're a character-first novelist?" Well, smarty pants, what's a character other than an idea? A glimmer of inspiration that you can't wait to throw into the gauntlet and see what happens? So

whether your "idea" is a character, a setting, or a plot device, that single thing needs to be the seed from which the rest of your story grows. And you'll notice that I didn't say idea-S. I said "idea." Singular. You'll hear me apply this to pretty much all of the other elements of flash fiction, so we might as well start at the source. We're writing FLASH fiction. The most common mistake I see new writers make is trying to pack too much into 1,000 words. In flash, less is more. Quality, not quantity. So start with that ONE story idea and make sure it's the most interesting, original, magnetic, unforgettable story idea it can possibly be. Not complex. Just life changing. And

the rest will practically write itself. ☺

But where does the writing actually begin. At the beginning! You've got 1,000 words, so there's no starting in the seventh chapter or at the climax. If you're a plotter, you'll have the whole, tiny story in your head from the outset. If you’re a pantser, you'll have the mood and the central idea. Either way, you'll want to dive in at the very

beginning, which is also known as the hook. And true to its name, the hook is the first one or two sentences designed to immediately engage your readers and consume their entire attention. Teleport them into the story en media res, which means “in the middle of things.” Don’t start with a prologue or back story or narrative summary or musing, but with an intriguing promise. Okay, I know some of you are freaking out right now. "How will my readers know what's going on if I don't tell them about the creation of my story world!? Well, that's the beauty of flash fiction. We don't have to know where your characters have been. We only need to know where they are and where they're

going. You can sprinkle some skillful thought nuggets later in your story, but, for the most part, wrap us up so tight in a rich, immersive hook that we don't have time to wonder about the past. Tell us, "This story is worth fully committing to for the next five minutes. It will reveal a shocking revelation that you will think about for the rest of the day.”Of course, an unfulfilled promise will ensure that your story is burned in the deepest pits, so be sure your hook matches the tone and genre of what comes after it. And if you present a story question, you'd better address it in the climax. Note that I didn't say you have to answer it, but you have to address it in a

satisfying way to tie the story together. And remember, it doesn't matter how you hook the reader. Just do it. And be sure to follow through with your promises afterward.

Once your readers have completely forgotten about their bills, their crying babies, and all other earthly obligations, it's time to start unpacking your story idea. Let is flow forth from your hook and expand into a seamless adventure. Here's where your story blooms. Give us 1-4 characters, about the same amount of

plot points, and half that many settings. Remember, a novel is to a feature-length film as a flash fiction is to a photograph. The biggest piece advice I can give anyone on the topic is this: A word-count limit isn't the same as a speed limit. You should always try to come in one or two or three hundred words under the limit. If you submit a story that's 999 words, trust me, the editors are going to notice. They're going to notice the sparse description, the omitted action beats, and the rushed third act. Alternatively, coming in under the limit means you have room to go back and expand anywhere that feels rushed, and there's absolutely nothing wrong with a 700-word flash fiction. In

fact, as an editor, if I see a shorter work, I have an immediate bias that it's going to be strong.

It's about the journey, not the destination, right? Well, if you've ever read a story with a weak climax, you know that's definitely not true. And flash fiction is no exception. In fact, a strong climax might be even more important in flash fiction. You have less time for us to fall in love with the characters and less time to ramp up

tension, so your climax has to rely on different methods to make a strong impact. And that's where your story idea comes in. You're not going to be tying in a bunch of threads, reminding us about that little clue on page 48, or hitting us with a false climax only to ramp up the explosion even more. No, you've got one job—unravel your story idea all at once and leave us with a glowing revelation. An easy way to do this is with a clever twist, a paradigm shift, or a callback to the original idea that means something even deeper now.

Okay, this one's a bit of a trick. In flash fiction, your resolution shouldn't more than a line or two, and in many cases, it can be tied into your climax. That's where the punch comes from, adding that "flash" to your story, letting it resonate and linger in the reader's mind. In the same way you resist the urge to explain throughout

the story, resist the urge to let the air out of everything you've worked for by over explaining the conclusion. Your one goal is to bookend your story so we can hold the whole thing in our mind at the same time and digest it. That does not mean that you have to tie everything up neatly. In fact, that's often a bad choice. Instead, give us just enough information to let us feel smart about the profound conclusions that we draw seemingly all on our own.

Now that we have the basic framework of a flash fiction story, lets start unpacking some of the pitfalls that I mentioned.1) As I said earlier, flash fiction is NO place for back story. You’d be amazed how little information a reader needs. And your task is to determine WHAT they need, especially in the beginning.

Setting, emotion, movement, action, mystery, promises, politics, musings, opinions. What’s the purpose of your story, and how does your introduction support that purpose? You should be very focused and discriminant on what you include, because it sets the tone and pace of everything that follows. Remember, it’s better to go back and add than take away.2) But how do you find that balance between too much and not enough? How do you use that balance to impact the flow of the story? There’s a time and a place for choppy sentences, sparse descriptions, and turbulent flow, but doing it just so you can come in under 1,000

words will be blatantly obvious to readers. So what’s a writer to do?

1) First, remember what I said earlier: a flash fiction is like a picture. And a picture is worth a thousand words! So, step one to nailing down your content within that 1,000 words is deciding what REALLY needs to be included to paint the picture that represents your big idea. If you start with a

description of your setting, consider how your word choice sets the mood. Sunshine can be hopeful, oppressive, infuriating, or enchanting. Same goes for shadows, ringing phones, and wild rabbits. This is where the “show, don’t tell” recommendation comes into play. Filter ever description, action, and line of dialogue through a lens that reflects the mood, intent, and history of your POV character. Every word should add to the story picture, pulling double or triple duty.2) And speaking of POV characters, keeping your number of characters, settings, POV, and plot points low makes your whole job easier. It’s

possible to have 12 characters in a flash fiction, but it’s not recommended. Starting small will give you room to breathe.3) And remember to write actively. This is a general rule in contemporary fiction, and flash is the perfect example of why it’s important. Every word has a purpose, so don’t dance around the subject. Instead of saying, “wine made with grapes,” say, “grape wine.” Don’t lean on is/was/were/has been phrases unless you have a strong good reason to do so. 4) And lastly, don’t forget to use your title to tell a part of your story, especially since it doesn’t count toward your word count. It’s the

closest thing you’re going to get to a prologue, so use it as a lead in to your hook. Or better yet, use it to hint at your story idea so your hook has meaning before your readers are even aware of it.

So now you have some strong tools to help you succeed in writing your first draft. But… what happens when you utilize all of these tools and still come in over the limit?1) Well, first off, imagine that you’re typing away merrily with visions of perfection in your mind,

you see the climax on the horizon, and your heart starts to beat faster, and then you glance down at your word count and it says 850. But you can do this. You’re so close! The tension is high, anyway, so you can start cutting some descriptions here, clipping some dialogue there. You don’t really need to tie in that minor plot thread, anyway, right? WRONG! Never—and I mean NEVER—sacrifice quality to try and squeeze in the climax. In this situation, put a piece of tape over the word count, finish your story out in the best way you can, and then we’ll worry about damage control.

2) Type the end. Then—or, better yet, several days later—start assessing the situation. If you’re 10 words over—cut words. 50 words over—cut sentences. 200 words over—cut a scene. If you’re more than that, you’ll need a re-write. And that’s okay! Don’t be afraid to re-write your story. Doing so will distill it into something stronger than it ever could have been if you poured hours into cutting every passive sentence and non-essential description, because the latter route will sterilize your story. It’ll strip it of all magic and flavor, leaving you with an outline. And nobody wants to read an outline.

3) So, after you determine your plan of attack, get to work. If you’re going for a re-write, cut out a character, a scene, or a plot thread. Add some of that missing magic into the surviving elements. This is where critique partners come in handy. Ask them what the story could do without. Chances are, you’re more in love with that tertiary character than they are. If you’re cutting a scene or some sentences, do so objectively and ruthlessly. Cut out everything that doesn’t directly move your story idea forward do the climax. Then, when you have a little space, you can sprinkle in a little of the deleted elements as your word count allows. And finally,

when you’re within 10 or 20 words, you can start playing around. Remember to change “wine made with grapes” to “grape wine,” delete repeated words, delete anything that your readers already know, delete anything that they SHOULD already know, and, of course, delete everything they don’t NEED to know.

If you go through this process, you’ll be amazed how easy it is to build a solid story in just a few hundred words. Here’s a great example...

So, what’s the story idea? Remember the title trick? This is essentially a joke with a punch line, but it’s written so fully that it feels like we’ve lived it. A simple idea made into something worth remembering, and at only 200 words! So for those of you thinking it’s going to be impossible to write a 500-word story, think again!

Before we go forward, we need to talk about something that SHOULD be obvious, but it eludes writers more often than you’d imagine. And I think that’s because flash fiction itself can be elusive. It can be a will-o-wisp of an idea that tempts us to describe unseen worlds and express inexpressible emotion. These elements are some of

it’s greatest strengths, but they also lead to it’s greatest downfall. And because of that, always remember…

Something has to happen!

Because you’re creating a word picture that embodies your idea, the lines between beginning, middle, and end can be blurry, but those three elements still need to be there. A story with dinosaurs, UFOs, and volcanoes is still boring if you don’t make us care about them. And we won’t care about them if nothing happens. Real life hits

us with a bunch of extraneous variables that sometimes add up to an entertaining story, but you only have 1,000 words to weave a tale so magical that we won’t ever forget it. In order to do that, every word, event, and theme needs to contribute to a solid plot arc.

Okay, so now you know the basics of a strong flash fiction story and the tricks for keeping that story under 1,000 words. Now let’s start having fun. After all, at the beginning of this class I promised you that flash fiction is a micro-universe ready for creation and experimentation. So let’s start experimenting!

First off, have fun with the words. Since you’re focusing so much on word selection and sentence structure, be sure to have fun with it. Never fall back on a cliché when you have the chance to be completely original.

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Second, play with the sentences and paragraphs. Read them out loud, and feel their rhythm. Consider how their tone makes you feel, and how they paint your characters, plot, and setting.

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Slide 2/2 And lastly, don’t be afraid to take a risk. Like I said, flash fiction gives you the chance to experiment with very little risk. So if you’ve got a strange idea, go for it! I love including this last example because it was written at the very first Realm Makers.

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Before we finish, I’ll hit on the topic of submitting your flash fiction, not because I believe everything we write should be published, but because writing with the idea that we might seek publication pushes us to write and edit to the best of our capabilities.

1) So, when you start thinking about publication, the first thing you should do is research publications that might want a story like yours. Obviously, GoHavok.com would be a perfect place to consider, but there are many others. NYCmidnight.com and dailysciencefiction.com are two good examples. You can also join the Flash Fiction Writers Guild on Facebook. We share a lot of submission opportunities there.2) Once you find a couple places you’re interested in partnering with, stalk them. Read the short stories they publish in your genre to get a feel for how they flow, but don't

underestimate reading in other genres. You never know where you might find inspiration.3) And once you figure out if your story is a good fit, research their submission guidelines, and follow them to a “T.” Editors most definitely judge books by their covers, and if your submission process or document formatting breaks their rules, you’re setting yourself up for rejection.

Outside of that, just write the story that you have to write. Edit it using the tips we’ve discussed here. And have fun with the process. If you go through all of that and your story doesn’t find a home with a

publisher, who cares? You’ve taken your big idea and wrapped it in an awesome word picture. You’ve grown as a writer, and you’ve sharpened your writing chops just a little bit more. And that’s always time well spent.

THIS IS THE END OF THE FIRST CLASS

Any Questions?

Okay, for those of you attending the writing lab in 30 minutes, it’s time to do your homework. Go to the bathroom and get a quick snack,

because you have half an hour to write your very own 500-words-or-less flash fiction. By now, you should have your story idea, your character or characters, and your setting. So get to work! And don’t worry about making it perfect. It’s a rough draft. It’s okay to give your critique partner plenty to work with. J And after you’re done with that rough draft, email it to me WITHOUT your name on the document to andrew@gohavok.com, and I’ll turn around and send it to someone else in the class. If you’re not comfortable using your email address or having someone else critique your work, that’s okay. You can just edit your own work. But I really do encourage you to take

advantage of this opportunity. I’ll also be sending you an example of a poorly-written flash fiction story of my own creation, and we’re going to pick that one apart together later in the class. So if you finish writing your story with time to spare before our next class starts, feel free to look at that and start editing it using TRACK CHANGES. If you don’t know how to use track changes, we’ll walk through it together in the next class, or you can ask me during the break.

As for the rest of you, thanks for attending. I hope you all have a little more confidence when it comes to writing flash fiction. Let me know if you have any

follow-up questions in the future. Now get to work!