Flash fiction is a very short story. How short depends on who is defining it. Some say less than 1500 words, some say 1000. Some flash fiction stories can be just a few words. For novel writers, thinking about your story this way can also help you focus on what matters.
Horror belongs under a speculative fiction umbrella that also includes fantasy and science fiction, and while horror is identified by its ability to create intense feelings of terror, shock, or disgust in the audience, the genre’s aesthetic often infiltrates its sister genres.
One of the three main categories of speculative fiction, horror is a traditional genre of literature and film designed to produce a sense of dread or fear in the audience. Rooted in folk literature, horror stories can feature supernatural elements such as ghosts, witches, demons, ghouls, and monsters.
In Part One in this series, we talked about folktales being stories stripped of everything but essential human truths. And we asked you to think of a folktale that speaks to the best and oldest part of who you are.
No writer can ever produce a flawless manuscript alone. Writers are simply too close to the story to know if everything has been successfully translated onto the page. That’s why writers work with reader groups, critique partners, writer’s circles, or professional editors.
At this point you should have your story's mold and sand to fill it. Now you are ready to create your narrative lens, and the way you shape it provides more than just a point of view. You can use voice to convey many things in a story. For example, it's an especially good way to impart vital information, helping you avoid the dreaded infodump.
This is the second part of our discussion on narrative vocabulary and tone. To get the full context, start here: Narrative Voice: Vocabulary Choice and Tone (Part One) Part One focuses on vocabulary choice and ways to shed light on your characters' inner thoughts and world view thro
If your characters are the lens through which the reader experiences your story, and you the writer are the glassmaker, then vocabulary makes up the grains of sand which create the glass. Likewise, tone is the mold into which you pour your hot glass to set the lens.