Writing Flash Fiction: an online workshop starting May 25

WRITING FLASH FICTION

May 25-June 22

Flash forms have arrived as a backlash to genre boundaries and flash fiction is leading the pack, redefining how we tell stories. By embracing the compressed form, all writers–from poets to novelists–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. This workshop is open to writers with all levels of experience in the form.

Join us for a 4-week online flash fiction workshop beginning May 25. 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!

Earlybird discounts and payment plans available for a limited time! 

FREE Q & A call Thursday, May 21 at 7 pm MST–contact me for more information or to register at nancystohlman@gmail.com

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The Biggest Mistake Writers Make With Their Manuscripts…

The Biggest Mistake Most Writers Make With Their Manuscripts…

writerNot knowing what stage of the manuscript-writing process you are in!

And consequently, not understanding what stage of the process you are in leads to some crucial mistakes which can slow down or even keep a manuscript from ever being finished.

There are several stages to creating a book-length work, whether it is a novel, a collection of poetry or stories, a memoir—and knowing which stage you are in is crucial.

So what are the stages?

Newborn Infant Phase—this is when your ideas are new and fragile and you are engaged in lots of creative play, trying out new stuff, following hunches, stopping and starting and starting again. And it’s the worst time in the world to get feedback. But unfortunately that’s what lots of authors do: rather than protecting these infant ideas until they have more strength and can withstand critique, we are often just so proud of the fact that we are writing a manuscript at all that we want everyone to know it! And that need for validation can crush baby manuscripts, because a first draft is, well, a first draft, and it has a lot of growing to do before it will be ready for the world. But we still thrust our naked babies into the world, wanting praise or validation, and we rarely get it at this phase. Because, let’s face it—it’s not ready yet. And when we don’t get the praise we were hoping for…we become plagued with self doubt.

Don’t show your manuscript until it is strong enough to withstand the world!! Protect it at this stage like you would a real baby because it’s just as fragile.

Awkward Puberty Phase—this is right about the time when your manuscript has some legs under it, when you have a lump of clay that can withstand some real shaping. And mark my words: this puberty stage is no less transformative than growing hair between your legs—this is when your manuscript really discovers itself, when your manuscript is about to figure out who the hell he or she is.

The biggest mistake writers make in this phase? Skipping it! That’s right—we will finish a draft, and then we will get an editor or someone who is “good in English” to make sure it’s “correct”, and then we will think we’re done! We confuse revision with proofreading, so if someone combs through the manuscript and says all the commas are correct, the author believes the manuscript is ready for publication. They skip—or try to skip—puberty all together, even though puberty is where the manuscript actually reaches maturity and finds its specialness. And this is where I see writers get the most impatient—I have already written the book, I have already had someone proofread it—what else is there?

The answer to the “what else” is as nuanced as writers and books, but remember this: the what else IS the book. If you do not allow your book to evolve through this maturation process, you stunt its potential as an artifact in the world. The book must steep in your imagination, the words you have written must become puzzles, you must be willing to revision—and revision, and re-vision. Re. Vision. To see it again, as if it were new.

This is actually my favorite part, this evolving relationship with the words you have already written. But you have to be willing to embrace this phase—if you are clinging desperately to your first draft, terrified to change anything of significance because you might never be able to write it better—you will never create the book you are truly meant to create.

This is also the best time to bring in others whose voices you trust and who have your best success at heart.

Grown Adult Living In the Basement Phase—this is when the manuscript is truly finished—it has gone through its puberty, and it’s been scrubbed and polished…but you are still sitting on it like a mother hen. Maybe you are picking at it because you’re afraid of the next step. Maybe you are still soliciting feedback every time you change a sentence. It has now over gestated, late in the womb, done. Sometimes we pick at our manuscripts because we are afraid to start a new one, or we don’t feel a new one coming. Perhaps it’s a way to avoid publication or having to face the daunting wall of rejection. Perhaps it’s a perfectionist piece of us that is afraid to let it go. But let it go we must.

Maybe we let it go and it is published and that is fantastic. Maybe we let it go and it is not. But it does reach a point but we have no choice (and we can actually even ruin our work if we stay there too long). But mostly what it does is it robs us of our growth, because we have learned all we can from this manuscript, and we will have an impossible time taking our next steps as writers if we don’t ever leave the comfortable mother’s basement of what is known. So whether we decide to put it in the world or not, we must still choose to move forward and allow a manuscript to be complete.

Know that whatever phase you are in now–the vulnerable infant, the impatient puberty, the grown manuscript—is the perfect place to be with your manuscript. But first you must recognize where you really are, not where you think you are or where you wish you were, and give your manuscript what it truly needs from you now.

To your success!

~Nancy

(If you would like information about my upcoming Finish That Manuscript workshop, email me at nancystohlman@gmail.com or get more info about all Summer Workshops Here.)

FREE workshop preview call on Thursday, May 29t

Join The Facebook event here.

Art Installation: Exhibit #2558

by Nancy Stohlman

You Twisted My Spite Into Sculpture—1997
United States

Mixed media: garbage bags, plaster of Paris, broken jewelry, straws, boyfriend

On permanent loan from the artist

Artist Statement: Mask making has always held a special place in my work. I believe there is an inherent fear of asphyxiation present in the creative relationship. This piece began as a mask but I soon realized a simple mask no longer was able to encompass the plight of current society—today’s citizen wants love but feels trapped. My work explores the implications of falsifying our true nature. The piece is really about transforming everyday negativity into art.

The crowd clustered around the sculpture, the crude plaster, the bits of broken jewelry cemented into the patina. The figure stood almost defiantly, two straws poking from the nostrils and the only movement, a sort of desperate darting of the eyeballs.

Originally published as part of the Exquisite Duet series–the first line “You twisted my spite into sculpture” was provided to the authors. Read original here.

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“I Pawned My Boyfriend for 85$”

pawnFlash fiction by Nancy Stohlman

I’m not saying I’m proud of how it all went down. But maybe if those collection agencies hadn’t been calling me all the time. After avoiding another 800 number last Saturday morning, I looked over at you sleeping, lips pursed, eyelids fluttering, all mussed up like a baby koala, and I thought: there are plenty of people out there who would pay good money for that.

You’re still pissed. I tried to explain that I won’t have the money to get you out until my next paycheck, but the pawnshop owner said that I was just riling up the merchandise and if I wasn’t gonna buy nothing then it was time for me to leave.

When I went in today you’d been moved to the front window display wearing a lovely tiara. I wondered if he would give me a deal on both because I really liked that tiara. You looked away when I walked in but then the owner said to be nice to the customers because Father’s Day is coming up, after all.

Today is actually our anniversary, but you didn’t want to hear it and wouldn’t open the card I brought. Look, you can’t hold onto your resentment forever I said. But you just turned away, tiara sparkling in the mid-afternoon sun.

Originally published in Blue Five Notebook. Read original here.

“The Reluctant Hero”

Flash fiction by Nancy Stohlman

I wanted to just keep walking and pretend I hadn’t seen it. I knew plenty about bags floating in rivers. It wiggled, and I knew I should stop but I kept walking, and I was reminded of my mother sneaking me down to the edge of the river, showing me all the empty bags left in the mud like used condoms – look at those stories, she would say, people just threw them away like trash! They could have lived. And then she would fall to her knees and pray to her god.

So when I saw the woman leaving the edge of the river, I knew what was going on. I avoided eye contact with all the gypsies, beating deflated pillowcases against rocks as I crawled up the muddy banks and caught the tail of the story. I dragged out the waterlogged thing and took it home, where I set its cold, blue body gently on the page and let it live.

Originally published in Flash Frontier. Read original here

Nancy Stohlman on flash novels and The Monster Opera, debuting as an opera Friday

By Alex Brown Wed., Oct. 2 2013 at 9:00 AM
Publishing in The Westword. Read original here.
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From Nancy Stohlman

Nancy Stohlman can do it all. She can create new genres of literature, write operas and teach you how to do both. Someday she hopes to become a pirate, but in the meantime her new flash novel The Monster Opera will be transformed into an opera on Friday, October 4 at the Mercury Cafe. In the novel, a writer travels to Mexico to find inspiration to write — but there are monsters everywhere waiting for her. It turns into a “gothic literary noir, a genre-bending novel-meets-libretto that combines recitative with dialogue, aria with prose, and ultimately asks the question: Who owns a story?,” explains Stohlman. In advance of the opera’s debut, we talked with her about being a revolutionary in her craft, some childhood memories and finding the confidence to produce authentic work.

See also: Kinky Mink Loves the ’80s

Westword: I noticed you say you coined the term “flash novel.” Can you explain what a flash novel entails, and how you came up with it?

Nancy Stohlman: I first coined the term in 2008 for my master’s thesis at Naropa University. At that time I’d already written three traditional novels, but my new work was hijacking me — it was trying to escape the constraints of a traditional novel. None of the terminology, including “novel” or “novella,” really described what I was trying to write: a sparse, lean book that behaves and resonates as if it were much longer with the scope of a novel.

When our art begins to change, our language needs to change, too. So I basically invented the term as a way to give my work permission to misbehave and to give legitimacy to a new type of storytelling.

Are there other flash novelists, or are you the sole front of the movement? Did you feel like a revolutionary when you put the term on the cover of your first book, Searching for Suzi?

I absolutely felt like a revolutionary! I remember the conversation with Searching for Suzi publisher Nate Jordan. I said, “When people start tracing the term, I want them to trace it all the way back to here.” So we put it on the cover. It was awesome.

But in terms of being the sole flash novelist, no. There are many writers whose work has also been pushing these same boundaries; their work is being labeled anything from a novel to a novella to a collection. So many amazing new works defy the old definitions; if the writers are like me, then you finish and you sort of look at it and say, well, great. Where will Barnes and Noble shelve this? Miscellaneous?

But I’m excited that the term “flash novel” is starting to catch on. Writer magazine featured an article about the flash novel, “All Meat and No Fat,” in 2010, and Bartleby Snopes Press, which published The Monster Opera, has even begun a flash novel series.

The Monster Opera took a few years to complete and get staged, and you said you thought it was just “too weird.” How did you finally overcome that barrier and realize its true potential?

In this case, it wasn’t about me overcoming, it was about me waiting. I believe the job of any artist is to point audiences into thickets that may at first seem intimidating. Which means that naturally, at first, there will be resistance. In fact, if there isn’t at least a little resistance, than perhaps there isn’t enough at stake. I like my art raw, vulnerable, 100 percent true to the authenticity of the vision. So rather than try to make my work more widely accessible to speed up the process, I just had to wait.

Funny story: The same morning I got the acceptance from Bartleby Snopes, I was in the process of abandoning The Monster Opera. I had decided that it was too weird for public consumption and I should move on. Within hours of “letting it go,” I opened my e-mail to find an acceptance.

I heard Gertrude Stein was a real inspiration for you. Do you feel that reading her Four Saints in Three Acts gave you permission, or made it easier, to produce The Monster Opera?

If I hadn’t, quite by accident, discovered Gertrude Stein’s libretto on one of my adventures through the Denver library stacks, I probably would never have written this book. It was one of those aha! moments when smoke clears and little birdies start singing: All at once it became possible in my mind for an opera libretto to become a piece of literature. Certainly there have been works of literature that have been turned into opera. But I wanted to go the other way around — I wanted to write a libretto that behaved like literature. I wrote The Monster Opera as a book before any music was put to it.

You’re also involved in hosting many writers workshops; what do you have coming up for those? Does helping others with their writing help your own writing?

Absolutely. Over the summer I taught an intensive workshop for writers to finish their manuscripts and take the next steps launching them into the world. (I’ll probably give that one again in January.) I’m currently working with several private clients and I’ve just started individualized coaching sessions focused on book launching and self-promotion. The best part about working with other writers, especially other talented writers, is you will always be learning from the process; it’s especially wonderful to bear witness to another writer’s breakthrough, then turn back to your own work with your own breakthroughs simmering…

Nick Busheff composed the music for The Monster Opera. You work with him in your metal/ lounge band Kinky Mink. Did it help to use someone whose musical styling’s you were so familiar with? Were you two really on the same page with this project?

Nick Busheff is a brilliant musician and composer, and this production would never have happened without him. And yes, there is absolutely something magical that happens in a collaboration between artists who are really in tune with one another’s vision. I’ve done lots of successful collaborations, but it’s rare to find another artist who can hear the music in your head before you’ve even heard it yourself. I believe this is Nick’s finest work to date.

With this project finished, how close are you now to your dream of becoming a pirate?

I’m always practicing my looting and pillaging skills. I actually just stole your wallet. Why do you still have a Blockbuster card?

You said when you were nine you wrote a screenplay called Superman: The Musical. Any chance of adapting that into a flash piece for the stage? Sounds really fun.

Ha! I think the Lex Luthor/Lois Lane duet will have to be rethought. Gosh, that was really when I became a writer, I think. I remember typing it day after day on my mother’s electric typewriter, loving the sound of the keys hitting and how important I felt sitting there, creating something where there was nothing before. Perhaps it’s time to resurrect the paper mache volcano…

Anything else you would like to add for the readers out there? Promotions/shout- outs?

Definitely shout-outs to my awesome cast: Marta Burton, Erik Wilkins, Jonathan Montgomery, Dee Galloway, Toby Smith, Scott Ryplewski, Mayra Walters, Van Yoho and Kinky Mink drummer Rory Reagan. And a huge thank you to Marilyn Megenity at the Mercury Café for being a rock of support, not only to me but to the artistic community in Denver for so many years.

Stohlman will debutingThe Monster Opera on Friday, October 4 at the Mercury Cafe, 2199 California Street; the show starts at 8 p.m. and Stohlman will have a book-signing after the show. Tickets are available here.

“I’m Being Stalked By The Avon Lady” nominated for The Best of The Web!

Flash fiction by Nancy Stohlman

At first it wasn’t so bad. She’d show up in her pencil skirts and French manicures and support hose and I just thought it was good customer service. But soon I started noticing little extras inside the plastic bags, weird hearts drawn next to her phone number, and then one morning I caught her peeking in my front windows when I didn’t have to be at work early. When I said “What are you doing?” she blushed and tried to hand me this month’s Birthstone Bracelet. It was green—August. I’m sure I’d never told her my birthday.

The next week she was back, delivering wrinkle creams in white paper bags. She rang my doorbell even though I hadn’t ordered anything. I stood on the other side of the screen suspiciously. I wanted to give you some samples of our new bath elixir bulbs, she said. Please. I cracked the door enough to grab one. You just put them in the bath and they are so fantastic. But her voice was shaky on the word fantastic and inside the bag was a note: Help me.

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I thought about calling Avon Customer Service but I decided to follow her instead. She unlocked a normal looking two story home and I saw a tiny basement window turn on. I got close enough to see the floor piled up with undelivered books and empty plastic baggies. I could hear muffled screaming and then a glass tube splattered against the wall, its contents oozing to the floor.

I returned after dark and positioned myself again by the tiny window; I tapped softly on the glass and she came, wearing the latest shade of Sassy Tangerine lipstick. Take this she said, passing me a pair of 14 k Metallic Sweetheart earrings on sale this month only. Hurry, they’ll be back soon she said, pushing the earrings through the bars.

The next day I saw her in the neighborhood delivering Avon books out of a little red wagon in her faux leopard print pumps. She was wearing sunglasses, a dark spot on her chin that had been shabbily concealed with new Daywear Delight All Day Foundation. I found myself hating her, hating all her stupid lipstick samples and her childish gullibility.

The next week there was a new lady, a bright smiled woman wearing a fuchsia two-piece suit and last season’s Whimsical Woods body fragrance. What happened to the other one? I asked. She didn’t work out, the new Avon lady answered.

Originally published May 28, 2013 by Cease, Cows. Read original here