Tag: sarina dorie

Guest post: “The Art of Writing Flash Fiction” by Sarina Dorie

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The Art of Writing Flash Fiction

by Sarina Dorie

 

If a short story falls under a thousand words (1500 words in some markets), it is considered “flash fiction” or “micro fiction.” With a number of new markets out there publishing flash fiction: Penumbra, Daily Science Fiction and Flash Fiction Online being a few among many, it is a plentiful market to send to. Because writing short, succinct stories is a skill I wanted to develop, there is a high demand for flash fiction, and it takes less time to write flash fiction than a long story (in theory), I decided I wanted to take a stab at it. When Daily Science Fiction opened about three years ago, Wordos, my speculative fiction writing critique group in Eugene, Oregon, decided we wanted to dissect flash fiction in order to hone our skills and see what makes a short-short story work. It isn’t surprising that because of our critiques and dissections, quite a few writers from our critique group went on to sell flash to Daily Science Fiction.

What we noticed about these stories is that they were tightly written, limited details, often had an interesting idea, a twist or punch line at the end, and were emotionally powerful or shocking or funny. The format these stories had been written ranged from someone was telling a story to a friend, in the form of a letter or letters in an epistolary fashion, were written like a fable, joke or essay, or used some other unusual writing device to tell a story. Many of these stories weren’t even traditional stories in the sense that there was a character arc, plot or conflict. Still, there was something that happened in each “story” that made it a catchy, edgy or worthwhile. These are just my observations, as well as some that I remember from members of Wordos. My advice to someone genuinely interested in breaking into the flash fiction market is to read and analyze lots of flash fiction and decide what it is about each piece that made the editor choose it.

As a result of studying the market and trying to think in the “short” mindset, I wrote about twenty flash fiction stories in a few months. Some of them I submitted to my critique group and got feedback on, some of them I later turned into slightly longer short stories, and some of them I left unfinished because there wasn’t enough there to create a story—but I didn’t feel guilty about not finishing because they were so short and I considered them experiments. Though I had been submitting stories to magazines for several years, it was my flash fiction stories that first sold. The four pieces I first sold in 2011 were “Zombie Psychology” to Untied Shoelaces of the Mind, “A Ghost’s Guide to Haunting Humans” (which won the Whidbey student choice award), “Losing One’s Appetite” to Daily Science Fiction and “Worse than a Devil” to Crossed Genres. From there, I went on to sell slightly longer short stories as well as more flash. After building up my resume with short stories, I sold my novel, Silent Moon, and then my novella, Dawn of the Morning Star.

Whether it was the short format that enabled me to practice my writing skills more often, or the feedback I got that helped me improve before going on to longer pieces, this process worked well for me. Is your process working for you? Would writing something shorter help you become more succinct in your skills?

 

 

Sarina Dorie brings to her writing background experience working as an English teacher in South Korea and Japan, working as a copyeditor and copywriter, and reading countless badly written stories. Sarina’s published novel, Silent Moon, won second place in the Duel on the Delta Contest, second place in the Golden Rose, third place in the Winter Rose Contest and third in the Ignite the Flame Contest. Her unpublished novel Wrath of the Tooth Fairy won first place in the Golden Claddagh and in the Golden Rose contests. She has sold short stories to over thirty magazines and anthologies including Daily Science Fiction, Cosmos, Penumbra, Sword and Laser, Perihelion, Bards and Sages, Neo-Opsis, Flagship, Allasso, New Myths, Untied Shoelaces of the Mind, and Crossed Genres, to name a few.

Her science fiction novella Dawn of the Morningstar is due to be published with Wolfsinger Press next year. Silent Moon is currently available through Soul Mate Publishing and Amazon.

For more story problem remedies, editing tips and short story writing advice, go to Sarina Dorie’s website at: www.sarinadorie.com/writing

 

Guest post: “Common Mistakes Among Writers” by Sarina Dorie

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Common Mistakes Among Writers

by Sarina Dorie

 

When we go to a job interview, we wear our best suit, come with a list of references, and might even remember to put on deodorant. At least, we do if we want the job. When we format a manuscript, self-edit a novel, or polish a book before sending it off to an agent or editor, we strive to present it as though we are professional writers who know what we are doing. At least, we do if we want to be published. Whether a seasoned writer, or someone just starting out in the writing process, there are weaknesses we don’t always recognize in our skills. We get into ruts with grammar, formatting or stylistic “rules” we learned early on in high school writing classes that are bad practices in professional writing. Learn the common mistakes so you can recognize when you make these in your writing so you can avoid them.

 

Five Common Mistakes

  1. The manuscript isn’t in manuscript format

Short stories have a particular format and novels have different requirements. Additionally, some publishers have very specific variations from the standards that a submitter must be aware of. The number one cause listed on editor, agent and magazine websites for writing to be rejected is not reading the guidelines.

2. Grammar errors and inconsistencies

Sometimes a simple spell check will suffice. Other times, one needs to look up rules that are unfamiliar. Some rules of grammar are meant to be broken, but it is important to start with foundational knowledge and break a rule consistently if one chooses to do so. Classes, critique groups, peers and beta readers can help.

3. The mechanics of the story are broken

Sentence structure is unvaried, past and present tense rules are not consistently followed, or there are various typos not covered under grammatical errors that make the manuscript a chore to read. It is common to find long sections of dialogue without dialogue tags, setting information lumped together, chunks of unbroken interior monologue or sensory information in one section, and long expanses of exposition in others. The story might be all, or large sections of, telling.

4. The story itself is broken

The premise is unbelievable, the idea is trite or overdone, or the plot has no story arc. Maybe the characters are so unsympathetic the reader can’t get into the story or the writer has gotten a vital piece of information wrong that affects the story. This can be pretty important if an author is writing a paranormal romance with werewolves and the characters and plot don’t reflect accurate, wolf-like traits.

5. The story is boring

This usually means it lacks conflict. It might also be because there is no hook in the beginning, or it could be because the reader doesn’t understand or care about the characters’ motivations, feelings or situation. The reader needs to be emotionally invested. Sure, it might just be because the reader isn’t the author’s target market, but even romance readers can be persuaded to read a mystery if they care about the characters or a mystery reader can read a romance if they are invested in the plot.

 

Sarina Dorie brings to her writing background experience working as an English teacher in South Korea and Japan, working as a copyeditor and copywriter, and reading countless badly written stories. Sarina’s published novel, Silent Moon, won second place in the Duel on the Delta Contest, second place in the Golden Rose, third place in the Winter Rose Contest and third in the Ignite the Flame Contest. Her unpublished novel Wrath of the Tooth Fairy won first place in the Golden Claddagh and in the Golden Rose contests. She has sold short stories to over thirty magazines and anthologies including Fantasy and Science Fiction Magazine, Daily Science Fiction, Cosmos, Penumbra, Sword and Laser, Perihelion, Bards and Sages, Neo-Opsis, Flagship, Allasso, New Myths, Untied Shoelaces of the Mind, and Crossed Genres, to name a few.

Silent Moon is currently available as an ebook through Amazon and will be released in print next month.

For more story problems remedies, editing tips and short story writing advice, go to Sarina Dorie’s website at: www.sarinadorie.com/writing

Member Spotlight: Sarina Dorie

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1. Tell us about your most recent project (written or published). What inspired it?

My most recent project has been weeding the garden. Aside from that, I have been writing a lot of short stories. I was really excited my story, “Day of the Nuptial Flight” came out in the July/August Fantasy and Science Fiction Magazine, a story someone called “alien, insect erotica.” I recently sold a series of 7 stories/paranormal love advice columns to Daily Science Fiction. Imagine Dear Abby meets the bogeyman.

The project I know I should be working on is Shadows and Starlight, the sequel to Silent Moon. The first book in the series came out with Soul Mate Publishing this year as an e-book and will be coming out as a print book on Amazon next month. The first book is a gothic mystery with werewolves and a Jane Eyre feel to it. The sequel will focus on one of the “wolfmen” in the first book and his relationship with a shapeshifter who resembles shadows and starlight in her true form. It has been really hard to find the time to finish editing it when I have been successfully writing and selling short fiction. It’s all a balancing act on the tightrope of time management!

2. What’s your writing process like? Are you a “pantser,” an outliner, or something in between?

I think I am something in between. I really like writing character and dialogue, possibly influenced by early play writing classes in college, but I know if I don’t make a plan, my characters will and that might not make the best story. Outlining means less cutting later, but it also takes away from the joy of spontaneity. It is a difficult balance. More tightrope walking.

3. What’s your favorite kind of story to write?

I love to write about magic and I like to write about relationships. I heard a writer once say that all romance is a kind of magic and that might be why many of my stories lean toward romance.

4. Which character from your work do you most identify with, and why?

Arg, that is so hard. I went to art school to be an illustrator and one of my teachers once said all portraits are self-portraits and all paintings are of yourself—whether you intend it or not. I think I put something of myself in every character and the ones I don’t are the flattest and least alive. Usually when I write about school teachers those are the characters that are the most authentically myself because I am putting direct experiences into my writing. The characters that are aliens or outcasts or monsters that I write about feel symbolic of my experiences living overseas because I was an alien in those circumstances.

When a friend and I were discussing my beauty and the beast obsession, most recently seen in “A Monster and a Gentleman” which came out in Hot Dish this year with my pseudonym, I wondered what that meant about my mindset and mentality toward men and women and gender roles. My friend said that actually she thought I thought I was the monster, not the beauty. That gave me a different perspective. I think this really came out in Cassia in Silent Moon. I identified with the struggle for acceptance and self-acceptance of being a monster/flawed/an outcast.

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