Job Interview Tomorrow

The old saying is, it’s easier to find a job when you already have a job.  Well, I have a job now but it’s temporary, minimum wage and no benefits.

Tomorrow, I have an interview with another company for a better paying  job in a permanent position with benefits.

Wish me luck.

GHH

Timing Is Everthing (A Very Short Story)

B.J. Kent asked Judy Lamar to join him after class for a couple of beers, his treat. Judy said sure. It would be the fourth time in two weeks that Judy had said yes to joining B.J. for a few beers. B.J. was sure Judy liked him. He sure liked Judy. Judy had large, firm breasts and wore low cut tops.

The two left their classroom in the Cathedral of Learning of the University of Pittsburgh and headed for a bar. Only a few customers were in the bar when B.J. and Judy walked in. He and she sat at the bar. Usher was jamming on the jukebox. After their second pitcher of beer B.J. said to Judy, “Another pitcher?”

“One more,” she said. “The next time we’re here it’s on me.”

“Great.”

The other customers left. The bartender brought their pitcher of beer and said, “I got to run downstairs for awhile. If anyone comes in tell them I’ll be right up.”

B.J. looked in the mirror behind the bar. Judy was talking about a particular professor who always stared at her chest when he addressed her. B.J. wondered what would happen if he placed a hand on one of her breasts. As she talked, her face turned toward him, he kept his eyes on her face. Then B.J. started sweating. He knew what he was going to do.

Judy stopped talking to drink some beer. B.J. stood up and stood behind her. He placed his hands on her shoulders. She put down her glass and smiled into the mirror behind the bar at him. B.J. thought, she probably thinks I’m going to do something romantic like give her a back massage. Using every ounce of courage he had, B.J. slid his hands down inside her top and inside her bra. He cupped both breasts in his hands. In the mirror, her expression was one of complete surprise. She froze. He began massaging her breasts.  The nipples of her breasts got harder. Her body swayed with his massaging.

“B.J.!” she said.

He yanked his hands out of her top. The bartender opened the door from the basement and walked behind the bar lugging two cases of beer. Judy swivelled on her stool and faced B.J.

She said in a low intense voice, “This is not the right place.”

How To Write The New Flash Fiction

Flash fiction cannot sustain much narrative movement. The story’s too short; but it is not a sketch. It must have movement. There must be development. Something must be different by the end of the story. If nothing has changed then the story is a sketch. If you’re writing a flash fiction story there must be change. This change can be slight and happen inside of a character (or inside of the reader). Sometimes a character will simply feel differently about something. He or she will act and/or talk differently by the end of the story.

Understory is what the story is really about. Understory decides setting, tone, characterization, description and action. The surface story, the words on the page, is made up of the particular concrete. The understory is the universal abstract. The surface story is the projection of the understory. Does this make sense? If you have two characters arguing about the weather they’re really not arguing about the weather at all. What they’re really arguing about is the understory. Pretty cool, huh? So, remember, the shorter a story is the deeper it must be. It must have an understory to make it deep.

Finally, we have backstory. Backstory is the history of the surface story. How did your characters get to where they are right now? To keep the story as tight as possible, the backstory is best implied through the dialogue. The following are some useful definitions:

Diction: the choice of words.

Syntax: the arrangement of words.

Concrete: what can be seen, heard, smelled, touched or tasted.

Detail: a particular thing.

Significant: a detail that suggest something more than itself.

The New Flash Fiction

The new flash fiction is a much more effective way of rendering a story than the traditional exposition-driven flash fiction for the simple reason that a picture is worth a thousand words. The new flash fiction is about using words to paint a picture and then letting the picture illustrate the story. The new flash fiction is like watching a movie. It allows the reader to join in the creative process by using his or her imagination to complete the story. It’s more fun this way for the reader. And even though this advice is about flash fiction, it also applies to any length of effective fiction writing; but flash fiction is easier to publish on the Internet. 

The new flash fiction was made for the Internet.

Heminway’s Top Ten Flash Fiction Points

You want to write great flash fiction? You want to be a respected practitioner of the genre? Here’s what Hemingway had to say about flash fiction.

Now of course Hemingway didn’t actually give me a check list for flash fiction; but anyone who has read the fiction on this blog can sense the impact this great American writer has had on my work and the kind of work I look for to publish in the…Gazette.   So, here is a check list of the things I’ve learned from Poppa about writing flash fiction.

1) Don’t explain why your characters do what they do. Just have them do it.

2) If you want a character to be sympathetic give that character a flaw or an “internal conflict” to struggle mightily against.

3) The weather and the physical environment in flash fiction are not only important for grounding the story in reality but they should also hint to the reader the “deeper” meaning of the story.

4) Write about things, not ideas. The ideas drive the story but should not show on the surface of the story. The actions of the characters are the projections of the ideas.

5) Make sure each character has a different agenda. Only in this way will each character act and speak differently; so that you won’t have to explain what makes each character different. And in flash fiction you have to use as few words as possible to “show” the story thru the actions of the characters.

6) Sex and violence are great ways to grab a reader’s attention. But the sex and violence had better point to a larger issue or the sex and violence will cheapen the story, the characters and the writer.

7) Clarity, clarity, and more clarity until there is no possibility of the reader getting lost.

8) If you’re a male writer take extra care with your female characters. They should seem to represent real people, too.

9) Know what your’re writing about. Just because the story is fiction doesn’t mean it’s alright to let your ignorance show proving you don’t know what you’re writing about.

10) And finally revise, revise, revise and revise some more. Good flash fiction only comes from the ability to give an infinite amount of attention to detail. The reading of the story should be effortless; which always means the writing of the story was not.

Now none of the above points should be taken as gospel; but they’re a pretty good place to start.

Flash Fiction by Paul Beckman

The Words Inside My Cheeks

 

This morning I fed my father, as he lay tubed up and helpless in his hospital bed. Feed him soft food, the doctor wrote. So he opened his mouth greedily to the farina and cut up pieces of pancake. Make a tunnel, I thought as I approached his mouth with the spoon. Here comes the airplane—whoosh—the farina hummed and I thought about my granddaughter.

“Oh what a good boy,” I could hear my mother say when she would feed my father his lunch. “Don’t put your hand up to me mister, you have to eat—you need your strength.”

His mouth was sunken, his teeth in their other container on the nightstand. I patted down the wisps of hair and kissed his 94-year-old head. He took my hand in both of his and kissed it. I continued feeding him when he let me go and only stopped after he raised his hand to signify enough.

I left him in the room with an aide and his dignity to be cleaned.

That night my wife and I babysat for our one-year-old granddaughter. I cut up her peaches and toasted cheese sandwich and spread them out on her high chair table. She popped pieces into her mouth when she could and I, remembering feeding her father when he was her age, picked up pieces and said, “Airplane,” and flew the pieces into her smiling mouth.

Make a tunnel, I said as I made car sounds and zigzagged my hand with food towards her mouth. She couldn’t have known what a tunnel was but did know when she didn’t want any more food. She offered me pieces from her mouth and then swiped the remaining food off her table onto the floor in a series of semi-controllable arm flails.

I kissed her puffed out cheek and she opened her mouth wide to kiss my cheek in return and chunks of sandwich fell from here mouth

I went and read as her grandmother cleaned her and then returned her to me changed and spanky fresh.

My son and his wife came home from their night out and I wanted to tell him as I hugged him goodnight to please not play airplane with me when I get old; but the words stayed inside my cheeks.

********************

www.paulbeckmanstories.com

Paul Beckman sells real estate.  Some publishing credits: The Connecticut Review, Onthebus, The Writer’s Voice, Playboy, 5 Trope, Other Voices, Dogmatika, Northeast Magazine, Parting Gifts, Fiction Warehouse, Web Del Sol, Jewish Currents, Tight, Riverbabble, Exquisite Corpse, Collectedstories.Com, Opium, Clean Sheets and Sugar Mule. 

I Phoned My Brother

I finally got a hold of my brother on the 25th and wished him a Merry Christmas.  He’s in the VA Hospital in Aspinwall near Pittsburgh.  He sounded sober and more upbeat then I’ve heard him sound in months.  Since he doesn’t have to spend money on food, rent or medicine at the hospital he’s saving over $1,000 a month from his SSI check and his city pension.

Well, he’s better off being at the VA Hospital then walking the streets and sleeping in shelters which he was doing just a few weeks ago.  The man needs help.  He’s in the best place he can be in.  Family and friends can’t help him.  He needed professional intervention.

The intervention is the best Christmas gift our mother got this year.

GHH

Flash Fiction by Kaye Sebastian

Creature Comfort

They both stared at the garbage can.  It shook and rattled.  Scratching came from inside.

“It’s a raccoon,” Tom said, picking up the baseball bat and heading down the deck steps.  Vanessa stepped onto the deck and peered over the railing.  “Be careful!”

Tom positioned himself next to the metal can, bat raised.  “Get out,” he said, trying to sound threatening without shouting.  It was, after all, 3 a.m.  The can stopped moving.

“I’ve scared it.”  Tom tapped gingerly at the can with his bat.  The animal arose from the can, garbage falling out as it did so.  Tom saw it first: The face glowing, an iridescent moon in the starlight, the silvery blonde hair that was both eerie and lovely.  Tom’s mouth formed an “O” of surprise.

“What is it?” Vanessa asked, walking down the deck steps.  Then she saw it. Not a raccoon.  But a boy.  Ragamuffin described him perfectly; tousled hair, filthy face, ripped jeans, no shirt.  They guessed his age at four, but he could have been older so frail was he.

Tom said, “He’s hungry.”

“Obviously.”  Vanessa ran into the house, to the refrigerator, and grabbed some grapes and a peanut butter cup.  She headed back down the deck steps and reached out to the boy, holding the food as a lure.  The boy sniffed.  Vanessa and Tom would later say that they could almost see the white plumes from the smell of the food tickling the boy’s nose, as in a cartoon.  Slowly, Vanessa edged backwards, up the deck steps.  Spit trailed down the boy’s chin as he grabbed at the food.

“A little further,” Vanessa said.  Tom followed behind the boy.

Moments later, the child sat in a kitchen chair, a bag of Reese’s cups and a bowl of grapes in front of him.  He ate, taking in the food in great gobs, barely chewing.  Tom sat at the table.  Vanessa stood preparing pancakes and bacon.

“Hurry,” Tom said.

“They’re ready.”  Vanessa flipped four perfectly formed pancakes onto a plate and smothered them in butter and syrup.  She placed the plate in front of the boy.  He tore into them with grubby fingers.  Neither Vanessa or Tom cared.

They’d lost the baby three months before.  Vanessa was far along—so far, they’d named the boy, Colin.  A name they’d both agreed on and loved.  The room was ready.  Vanessa had made painstaking preparations, painting, selecting linens and overseeing Tom putting together the convertible crib that would grow with the baby, so that they’d never need to purchase another bed…

“Uhn.”  The voice startled them.  Gruff, an old man’s voice, but pleading.

“So we know his vocal chords work,” Tom said, staring at the child.  He turned to Vanessa.  “He wants more.  Is the bacon ready?”

Vanessa hurried to the microwave and pulled out a plate of steaming bacon.  Fat sizzled in the strips.  She slid four slices onto the boy’s empty plate.  The bacon settled into the leftover syrup as the boy ate the food with both hands.

Vanessa smiled.  “He’ll be a sticky mess.”

Tom reached up and touched her cheek. “That’s the first smile since…”

“It’s a problem that he can’t speak,” Vanessa said as worry crossed her face.

“You’re a teacher.”

“But…”

Tom rose and cradled her face in his hands.  “You can do it.  We’ll keep him inside, in the house, until we make the appropriate arrangements.  I’m a lawyer.  I can pull strings, create paperwork.  While you,” Tom looked again at the boy, “make a human out of him.”

Vanessa followed Tom’s gaze.  The child had Tom’s dark eyes, her blonde hair and pointy chin.

“He’s Colin, come back to us,” she murmured, bending down to face the boy.  She reached out and touched him.  He stopped eating and looked at her.  His eyes were black, magnetic,pulling her to him.  She moved slowly, caressing his face gently.  He grabbed her arm with a sticky hand.  Syrup clung to her skin.  She whispered, “Your name is Colin.  Do you know what that name means?”

Tom answered.  “Gaelic.  It means young creature.”

“Yes,” Vanessa said.  “Our young creature.”

******************** 

Kaye Sebastian is a Philadelphia, PA-based writer whose passion is “flash fiction with a twist.”

 

Call For Submissions

The Pittsburgh Flash Fiction Gazette is looking for short story submissions.  Read some of the stories on this blog.  Read a few of the articles on writing flash fiction.  Get a sense of the quality.  Read and follow the guidelines and send in your best “literary” flash fiction.

Here Are 30 Great Stories To Read!

There are 30 short stories on this blog for your reading pleasure.  Just go to the sidebar and under Categories click on “Flash Fiction Stories.”  Once you read to the bottom of a page of stories just click on the link you find at the bottom to read more stories.  You can do this until you’ve read all the stories on the site.  The stories are:

Postmodern Love

The Greeter

Basic Training

Happiness

Light My Fire

Porno

The Bar Scene

A Rock ‘n’ Roll Fantasy

An E-Mail To Zoe

The Vietnam Veteran

Crazy Mocha

Denial

Lust

Jocks And Ballerinas

Meeting Rachel’s Family

Boobs

Pittsburgh Confidential

The Hemingway Hero

When I Was A Young Man

La Dolce Vita

The Cathedral Of Learning

The End Of Innocence

The Twenty Dollar Suit

In The Shadow Of The Cathedral Of Learning

Life Is Art

Pittsburgh Snow

California Dreamin’

Oakland Nights

Uptown

Schenley Park

Flash Fiction Is Not An Essay

I work with writers who want to learn how to write flash fiction. Many times when I receive a story from a writer eager to write flash fiction the story reads of paragraph after paragraph of summation. Don’t summarize.

I think the reason a writer of flash fiction summarises is because the story tries to cover too much ground in subject matter and time. A flash fiction story must be about a single event. In the setup, summarizing can work effectively; but then the setup should move immediately into the buildup (the body of the story.) Now here’s the trick: as a general rule, I said general, a flash fiction story should only cover a few minutes, a few hours, at the most a few days but not years. If a writer is trying to cover years within 1,000 words or less then of course everything has to be summarized.

Don’t summarize!

Camera! Action!

Don’t explain. When writing a piece of flash fiction the writer should explain as little as possible. Don’t explain why your characters are doing what they are doing. Just jump right into the action, have the characters “doing.” The reader will figure out why they’re doing what they’re doing.

Don’t explain much about the past. There isn’t enough room in a piece of flash fiction to hash over the past. The past should be implied in what the characters say and do. Dialogue is action; but don’t make the mistake of having characters explain the past and the present situation in speeches to one another. That’s not what dialogue is for in flash fiction. Dialogue in flash fiction is to keep the action moving forward to the end. The characters should talk to each other, not to the reader.

So the next time you have the urge to explain what your characters are thinking and feeling and doing resist the urge. Get them into the action of the story as soon as possible. Action is character. Action is explanation. Action is story.

Don’t explain!

Where Do I Get My Story Ideas From

I posted the following article on Sunday, February 04 in 2007 on a site that I’m no longer actively posting on.

Well, my 55-year-old brother just phoned me. It’s around 2pm in Pittsburgh on a sunny, cold and windy afternoon. He wants to come over to see the Super Bowl. He’s getting settled in at the YMCA after being evicted from his very nice and cozy apartment for “terroristic threats” (he and the night security guard got into a verbal confrontation) and for the kinds of people (you don’t want to know) he let stay–not overnight but stay–in the apartment. On the phone he sounded cold and lonely. He was calling from a Subway Sandwich Shop just down the street. He had an emergency and had to get to a bathroom quick and the sandwich shop was as far as he got. Last night in a panic my 83-year-old mother who is in California now with my other brother and his wife phoned me because she couldn’t get in touch with my 55-year-old brother here on the phone. She’d been calling the wrong number for days. I gave her the right number. He told me she got in touch with him.

So, now he’s coming over. I told him he couldn’t come over here and drink up my beer. He has a good life-time pension from the city and he gets SSI so financially he does okay. I mean he really does okay. But he’s always broke. So I told him to bring something–a six pack, a forty, just to bring something. He wasn’t going to drink up my beer without contributing to the kitty. He said he didn’t want anymore beer because it’s probably what made his bowels cut lose in the first place. He would just go to a state store and pick up a pint of something (wonderful–by the end of the game I’ll have a drunk on my hands) and sip on that during the game and wouldn’t touch my beer.

I expect him any time after 5pm. Since I’m the older, supposedly more mature, brother I’m going to make every effort to make this visit pleasant. But after so many years you get tired and just want to say don’t phone me and don’t come over here again. But he’s my brother.

These are the things short stories are made of.

If you type in the words “His name is Robert” in the search box in the upper right of this blog and punch it in you’ll get a story titled “Denial.”  This story came out of the relationship I’ve had with my brother.  So, I get my story ideas from the same place you can get your story ideas: from life.

Postmodern Love (A Flash Fiction Story)

Frank Conti drove, enjoying how the car handled on the long stretches of nearly empty Pennsylvania highway. It was an old, used car but from a good dealer and it gave him no problems. Another person’s old car can be big problems, but he’d been lucky and had been driving nearly half an hour before realizing Vivian Thompson hadn’t said a word. He looked over at her. She sat looking away, out at an endless empty field with hills behind it and then blue-gray mountains far beyond the hills. The field was completely empty. No animals. No crops. No grass. Just brown, dry dirt. Frank patted Vivian’s thigh. She turned her face to him and smiled. She didn’t want to talk. She didn’t want to talk all the way back into Pittsburgh.

They’d been visiting Frank’s best friends. The friends were young with a new baby, giddily happy in their marriage. Viv was wearing shorts and a sleeveless blouse. She was fifteen years older than Frank. Four hours later they were parked in front of her apartment building and the sun was setting.

“Frank, do you mind if we call it a day?”

“Did I say or do something wrong?”

“I just want to do a few things around the apartment.”

“Can’t you do them with me there?”

“I need some time to myself,” she said.

“I was hoping to spend the night.”

“Frank.”

“All right,” he said. “May I use the bathroom?”

She sat holding her shoulder bag in her lap with both hands. Inside the apartment, after turning on the air conditioning, she sat on the sofa and pulled off her sandals. He stood near the sofa with his hands in the pockets of his jeans. Maybe he should have worn slacks. No, she was dressed casual, too. She put her feet up on the low table. She put her head back and closed her eyes. Frank sat beside her.

“Viv, what’s wrong?”

“I don’t know. I don’t know what’s wrong.”

“Aren’t you feeling well?”

“It’s so hot. I’ve never known it to be this hot.”

He watched her. He looked at her hair. He looked at her face. He looked at her arms, legs, ankles and feet. He leaned in close and kissed the place where the pulse beat in her throat.

“Oh, don’t!”

She got up, went to the door and unlocked it. She stood holding open the door.

“What’s wrong?” he asked.

“I want you to go.”

“What’s wrong?”

“Just go.”

“Why won’t you talk to me?”

“Frank.”

“Talk to me.”

“Frank, please.”

“All right,” he said. “All right then.”

“Frank?”

“Yeah.”

“I liked your friends.”

“We grew up together. We were kids together.”

“When will I see you again?”

“I don’t know.”

“Call me?”

“We’ll see.”

Several days later Frank took Viv out to dinner. Afterward, they walked holding hands like the young couples out that night in this nice residential neighborhood near Carnegie Mellon University. A warm breeze blew. The full moon hung in the star speckled black sky. Families sat out on their front porches.

“Let’s get a place together,” Frank said.

“We’ve been all through this.”

“It doesn’t make sense renting two places.”

“I like my privacy.”

“What’s that suppose to mean?”

“Just what it says.”

They walked through a pool of light from a streetlight. Just ahead, a young couple got out of a car parked at the curb, locked it and went into a nearby home. Frank and Viv walked past a church.

“You lived with Ted,” Frank said.

“Ted was my husband and God knows I need another husband like I need a hole in the head.”

The homes in this neighborhood sat behind neat lawns. Insects called to each other and there was the smell of lilac and freshly mowed grass.

She said, “What brought this on?”

“I went down to the river today. I just sat and thought about things down by the river.”

“What things?”

“Things in general.”

“But what things?”

“You know,” he said. “Just things.”

“Well, let’s leave things the way they are.”

Still holding hands, they strolled on.

She said, “You want out?”

“No.”

“Are you positive?”

“I’m sure,” he said.

“You let me know.”

“I’ll let you know.”

“Don’t you cheat on me,” she said.

He said, “I’ll let you know.”

Just then the streetlight a few feet ahead of them blinked out.

The End

********************

Sex, Booze and a Short Memory (A Short Story) www.authspot.com/Short-Stories/Sex-Booze-and-a-Short-Memory.646921

Flash Fiction: Show Don’t Tell

Show don’t tell. How many times have you heard this writing advice? But why is it better to show than to tell? Here’s the skinny.

While I was a teaching assistant at the University of Pittsburgh I taught composition. I was allowed to pick a text for the class to use. On the suggestions of more senior teaching assistants I picked Imaginative Writing (The Elements of Craft) by Janet Burroway. This is what she wrote about sense impressions:

“…But it is sense impressions that make writing vivid, and there is a physiological reason for this. Information taken in through the five senses is processed in the limbic system of the brain, which generates sensuous responses in the body…Emotional response consists of these physiological reactions, and so in order to have an effect on your reader’s emotions, you must literally get into the limbic system, which you can only do through the senses.”

This is why a writer must use as many concrete, specific sense details as possible as opposed to abstractions, generalizations and judgments. Concrete sense details are “things” you can see, smell, hear, taste or touch. But concrete sense details must be intentional. Snow is not just snow. Water is not just water and a cathedral is not just a cathedral. They must all inform the story with meaning greater than their physical selves.

 

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