Sculpting Flash Fiction May 7-28

May 7-28, 2018

SCULPTING FLASH FICTION Online Course

Editing is the most important part of the writing process. As serious writers, you know it’s through the editing process that we begin to refine and sculpt our messages.But just as writing flash fiction requires a different set of skills, so does editing flash fiction.

article-2337449-1a32cffb000005dc-882_634x439In this 3-week intensive we will use the tools of ambiguity and implication; we will learn the different between chipping and chopping; we will learn how to shrink-wrap and swap text. You will learn how to achieve the specific needs of flash fiction as I guide you and other participants to edit your real works in progress.

Participants should have a basic understanding of flash fiction and come to the class with flash pieces already in progress. Each participant will have the opportunity to submit 1-2 stories per week.

This is an online workshop format class with limited availability.

Cost: $125

Contact me with questions at nancystohlman@gmail.com

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Two summer flash fiction workshops!

Flash fiction workshops from beginner to advanced!

For more info and Earlybird Discounts CLICK HERE

WRITING FLASH FICTION

June 13-July 3

So you want to write flash fiction? Flash adorable_tiny_things_640_23fiction is redefining how we tell stories, and by embracing this compressed form, all writers–from poets to novelists to nonfiction writers–are cultivating a new set of skills and creating an entirely new kind of story.

In this workshop we will generate original flash pieces, examine what makes successful flash fiction, and try to differentiate flash from its cousins, the prose poem and the vignette.

LEARN MORE

 

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SCULPTING FLASH FICTION

July 11-July 31

Editing is the most important part of the writing process. As serious writers, you know it’s through the editing process that we begin to refine and sculpt our messages. But just as writing flash fiction requires a
bonsaidifferent set of skills, so does editing flash fiction.

In this workshop we will use the tools of ambiguity and implication; we will learn the different between chipping and chopping; we will learn how to shrink-wrap text, and most of all learn how to achieve the specific needs of flash fiction as I guide you and other participants to edit your real works in progress.

LEARN MORE

 

*New! Sculpting Flash Fiction

SCULPTING FLASH FICTION

An online workshop January 4-24

Editing is the most important part of the writing process. As serious writers, you know it’s through the editing process that we begin to refine and sculpt our messages. But just as writing flash fiction requires a
bonsaidifferent set of skills, so too does editing flash fiction. In this workshop we will use the tools of ambiguity and implication; we will learn the different between chipping and chopping; we will learn how to shrink-wrap your text, and most of all learn how to achieve the specific needs of flash fiction as I guide you and other participants to edit your real works in progress.

This will be a 3-week online workshop format class with limited availability. Each participant will have the opportunity to submit 1-2 stories per week.

Tuition: $109

Workshop runs January 4-24

Ask A Flash Fiction Editor: Erasure

Ask a Flash Fiction Editor: Endings

Ask a Flash Fiction Editor: Why Literary Bondage is Good for Your Writing

I’ve been a freelance editor since 2004 as well as co-founder and editor for Fast Forward Press from 2007-2013. I have edited four anthologies including Fast Forward: The Mix Tape, a collection of flash fiction that was a finalist for a 2011 Colorado Book Award.

nancystohlman@gmail.com or fill out the form below

The Great Shuffle: Ordering a Flash Collection vs. an Anthology

I hear a lot of authors asking for advice on ordering their collections. My first question to them is: Are you ordering an anthology or a collection?

Having done both, I believe what is required is very different.

Firstly let’s get our terminology straight. By anthology I mean a book of stories written by many different authors. The editor of the anthology conceives, solicits, judges, and orders the pieces into the final product. By collection I’m referring to a single-author collection where the author is putting their own stories into one book.

images (3)Ordering an anthology is a little bit like taking a 3rd grade class photo: you gotta get everyone in the picture. You might have pieces that are wildly different. You might have four kids wearing green sweaters. Your job is to make everyone look good. Whether you decide to put all the talls in the back or go boy-girl-boy, you are working with a lot of disparate pieces and are ultimately limited by your materials–your job is to try and place them in the most interesting and pleasing order, showcasing each and creating a solid whole.

When I edited Fast Forward: The Mix Tape back in 2010, I channeled the 1980s “mixtape” style (and we even had reader flip the book halfway through: Side A, Side B). It’s of course not the only way to order an anthology. You might put your most famous authors first. You might chunk the stories by theme, or style or even size (The Incredible Shrinking Story was organized largest to smallest).Mix Tape Cover

But if an anthology is a little bit like a Greatest Hits Collection, then the single author collection is The Concept Album.

I’ve edited four anthologies, so I thought I was all set to order my own collection. But right away I realized there was a far more potent and more dangerous power available to me now. Now I didn’t just have artistic license over the order—I had artistic license over the whole thing. Now I had the possibility of manipulating the actual stories as I built the collection—something that would be a cardinal sin in an anthology. And this is why I’ve come to the conclusion that the mixtape or any other approach that works for an anthology might fall short in a single author collection. In a collection you are also manipulating the vibrations of story next to story to create a greater whole.

Think about it: Anthology readers have no qualms about reading the stories out of order—in fact, we almost expect them to go straight for the Table of Contents, look for their favorite authors, and start there. But the reader of a collection will often enter the book with story #1, and in this way a collection must behave like a novel, enticing the reader to keep turning pages in a way that an anthology doesn’t have to.

I ended up spending nearly as much time ordering my collection as I did writing the pieces themselves, and as I continued to shift and flip my stories, watching for the telltale vibrations to jump the synapses, there was a pliability that had never been available to me when creating an anthology; I now had the creative permission to write the gaps, change the tenses, sync the characters, manipulate the narrators, and otherwise match or contrast the stories as needed. And they began to take on second and third layers of subtext–no longer just individual stories but part of a greater symphony telling an even bigger story that I had never even considered.

A friend of mine told me for her collection she threw all her stories on the floor, picked them up, and that was the order. And I must admit that part of me likes the simplicity and divine randomness of that method.

But I’d like to propose that the act of ordering a collection is as precious as the act of writing it. Writers who are too quick to “get the ordering over with” in their collections might miss a lot of untapped potential in their work. I believe the work of ordering  is just as delicate, just as nuanced. And can be just as revealing.

 

Nancy Stohlman’s books include the forthcoming flash fiction collection The Vixen Scream and Other Bible Stories (forthcoming 2014), the flash novels The Monster Opera (2013) and Searching for Suzi: a flash novel (2009), and three anthologies of flash including Fast Forward: The Mix Tape (2010), which was a finalist for a 2011 Colorado Book Award. She is a founding member of Fast Forward Press, the creator of The F-Bomb Flash Fiction Reading Series in Denver, and her work has been included in The Best of the Web.

Check out her upcoming Writing Flash Fiction workshop here!

Writing Flash Fiction–Online Workshop Begins August 10

What would happen if you could double your publishing opportunities? Double your confidence? Double your writing skills and abilities?

Well, Flash Fiction is the new black and journals are hungry for fresh voices. Learn what makes successful flash–just because it’s small doesn’t make it easy–and get your work into the world in a bigger way!

Flash Fiction is a literary movement—freeing literature and turning it upside down. Flash writers are embracing a new kind of story–and it’s spreading. It’s abstract to pop art, it’s jazz to rock and roll. And it’s about time!

Join us for a 4-week online flash fiction workshop beginning August 10. The format will include weekly online instruction, plenty of editorial feedback, group-led discussions, as well as once-a week conference calls in a virtual classroom–the best of all technology and the chance to work with writers all over the world!

Limited spaces available–discounts and payment plans available for a limited time! See “Summer Writing Program”

Contact me for more information or to register at nancystohlman@gmail.com

FREE preview call Sunday, August 10 at 7 pm MST–contact me to register.

Join Facebook Event
https://www.facebook.
com/events/616231968457460/

adorable_tiny_things_640_23

 

Nancy Stohlman’s books include the forthcoming flash fiction collection The Vixen Scream and Other Bible Stories (forthcoming 2014), the flash novels The Monster Opera (2013) and Searching for Suzi: a flash novel (2009), and three anthologies of flash including Fast Forward: The Mix Tape (2010), which was a finalist for a 2011 Colorado Book Award. She is a founding member of Fast Forward Press, the creator of The F-Bomb Flash Fiction Reading Series in Denver, and her work has been included in The Best of the Web.

Two Micro Fictions by Nancy Stohlman

indexIndentured

“How much are you getting paid to do this?” he asks.

“Enough to pay off my student loans,” I answer, as he begins to tattoo the Coca-Cola logo across my face.

Published in Blink Ink

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True Tales From Therapy #5

Though there was absolutely no correlation between seeing a new therapist, and that therapist killing himself with a shotgun the following week, Mr. G couldn’t help wonder, for just a fleeting second, if his wife’s claim that everyone was sick of listening to him whine about his problems had some validity.

Published in Right Hand Pointing

15 Flash Fiction Prompts

Flashnano Day 10: Write a story with a theme of escape.

Flashnano Day 11: Write a story while listening to the entire 16 minutes of “Rhapsody In Blue.”

Flashnano Day 12: Write a story around a compulsive behavior.

Flashnano Day 13: Write a story in the form of a fable.

Flashnano Day 14: Write a story that takes place in an abandoned landscape.

Flashnano Day 15: Write a story in exactly 15 words.

Flashnano Day 16: Write a story using the word “vexatious.” (Today’s prompt brought to you by Dictionary.com.)
vexatious \vek-SEY-shuhs\, adjective:
1. causing vexation; troublesome; annoying: a vexatious situation.
2. Law. (of legal actions) instituted without sufficient grounds and serving only to cause annoyance to the defendant.
3. disorderly; confused; troubled.

Flashnano Day 17: Write a story that features one predominant color.

Flashnano Day 18: Write a story where someone is lying.

Flashnano Day 19: Write a story that involves travel.

Flashnano Day 20: Write a story where the ending comes first.

Flashnano Day 21: Write a story that takes place in extreme weather.

Flashnano Day 22: Write a story that involves a miracle.

Flashnano Day 23: Write a story that includes a strong smell.

Flashnano Day 24: Open the book nearest to you. Incorporate the first sentence you read into a story.

Flashnano Day 25: Revisit a piece you’ve written this month (or before, if necessary). Cut it in half.

Check out all our Flashnano prompts (above) and jump on–there is still time!

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