1. Flash Fiction

2. Warm-Up Do you think that this is a story? Consider the elements that are required and record your answer. http://learning.blogs.nytimes.com/2013/10/03/short-and-sweet-reading-and-writing-flash-fiction/?_r=0

3. Discussion What does a story need in order to be a story? What questions does this story leave you with? What do you think is happening beneath the surface of these six words? Is the amount of what’s left unsaid unsettling? Interesting? Annoying? Do you think it’s harder to write a short short story like this one or a longer work, like a novel? Why? http://learning.blogs.nytimes.com/2013/10/03/short-and-sweet-reading-and-writing-flash-fiction/?_r=0

4. Double-Entry Chart In 1987, when Jenny Ficker and I were in sixth grade, our goals were to have a double wedding at which we married the McMasterson twins, to trick my sister into drinking a glass of pee and to sneak in the middle of the night to Boland Square and put a bra on the Grecian-woman statue on top of the fountain. Weirdly enough, I did marry Andy McMasterson, but I lost touch with Jenny years ago; whenever I drive by the Boland Square statue, the bronze bosom still hangs there for everyone to see. “The Margin,” by Curtis Sittenfeld On my 21st birthday, my father revealed two facts about himself: that he was colorblind and that before I was born, he’d served four years for armed robbery. I suspect the colorblind disclosure was a test of my maturity, and if I’m right, I must have barely passed. After he told me, I became petulant and said, “I just think it’s really weird you hid that for my whole life.” “The Femur,” by Curtis Sittenfeld http://learning.blogs.nytimes.com/2013/10/03/short-and-sweet-reading-and-writing-flash-fiction/?_r=0

5. Discussion What do they know about the plot, characters, setting and theme of the story? What questions does the text raise? What is unwritten? What literary devices do they notice? What individual words or phrases jump out? What denotations or connotations are important to note about individual words? How “complete” a story is this? Why? In general, do you think these stories work? How do you read them differently from the way you read a longer work? What do they give you that a longer work doesn’t? http://learning.blogs.nytimes.com/2013/10/03/short-and-sweet-reading-and-writing-flash-fiction/?_r=0

6. Basic Guidelines 1.Is there a definable plot? Can you identify the three simple parts of this story? Do you have a clear beginning? A strong centerpiece? A definitive ending? If you don't, you've got nothing more than a snippet of a larger story. Start editing. 2.Does your story make its point and drive it home, hard? Try to incorporate a strong theme. 3. Is every word absolutely essential to the story? Grab a red marker and slash out every adjective and adverb you can find. Your word count will diminish greatly. Run back through the story and read it aloud. Does it still make sense? You'll be amazed at how much emotion and description can be conveyed by a story devoid of descriptive words. http://www.writing-world.com/fiction/flash.shtml

7. Worldbuilding For fiction, I love stories that introduce me to new worlds -- or even better, recreate the ones I may already know. - Daniel Lazar (Literary Agent for Writers House)

8. Examples THE LORD OF THE RINGS by J. R. R. Tolkien HARRY POTTER by J. K. Rowling KUSHIEL’S DART by Jacqueline Carey HIS DARK MATERIALS by Philip Pullman THE HUNGER GAMES by Suzanne Collins MEMOIRS OF A GEISHA by Arthur Golden GIRL WITH A PEARL EARRING by Tracy Chevalier THE RED TENT by Anita Diamant SPEAKER FOR THE DEAD by Orson Scott Card 1984 by George Orwell The SANDMAN series by Magical Uncle Neil Gaiman V FOR VENDETTA by Alan Moore TWILIGHT by Stephenie Meyer THE DA VINCI CODE by Dan Brown