Super excited to share the scoop on my spring 2019 writing and creativity classes at WOW! Whether you love prose, poetry, or photography (or all three, like me), there’s a little something and some big inspiration for everyone.
I’d love to have you join us! Course synopsis and direct links below.
I also just got a batch of my new writing books, In a Flash! and Poetry Power, that are all set to be signed and sent to fellow writers to spark the Muse. I have both individual copies and a special, sale book bundle of both texts that are jam-packed with prompts, examples, and literary goodness.
To a fabulous, creative spring ahead!
beginning Friday, March 15, 2019
I have just a few spaces left in this fun workshop. Reserve your spot today. :)
COURSE DESCRIPTION: Flash is a dynamic, fun genre that more and more editors seek. Both flash fiction and flash nonfiction share many of the same qualities, from characterization and setting to conflict and dialog.
In this five-week workshop, we’ll explore this eclectic art form and everything you’ll need to have a lively flash-writing practice, from where to get ideas and drafting to editing and submitting your work. We’ll discuss practical tips and techniques along with inspiring exercises from our text, In a Flash!: Writing & Publishing Dynamic Flash Prose, by Melanie Faith. Students will submit drafts weekly for constructive and supportive instructor feedback. There will be a private group for students to discuss the literary life and for sharing of literary resources, such as markets and quotations about the writing process.
Imagery Power: Photography for Writers (back by popular demand!),
beginning Friday, April 5, 2019
COURSE DESCRIPTION: “Fiction, like dreams, exists in images... Fiction must exist in images, not abstractions,” wrote John Dufresne. Indeed, the ability to develop imagery is important in all forms of writing, from poetry to essays and all sorts of descriptive writing. The art of photography, an evocative visual art, frequently helps authors hone our image-seeking and development skills. There won’t be technical jargon of F-stops or aperture priority in this course and you are free to use any form of camera you already own and love—from camera phone to digital, DSLR to Lomo, instamatic, you name it; this class is about cracking open the everyday extraordinary, about the kind of seeing and focusing on detail that will enhance your writing and spark ideas for months to come.
In this four-week workshop, we’ll take a daily photo-taking prompt for a spin, post our response, and describe what inspired each photo at our class group. During the second week, you will begin a piece based on one of the photos you’ve taken that you will share (in part as an excerpt or in full, up to you) with the class during our fourth week. Handouts on topics covered will include: Truthiness: Adding Layers to Your Art with Art; The Genesis and Development of Imagery: Example Sheet of Published Work; Submitting Your Work to Literary Magazines & Other Venues Looking for Photos: Cover Letter Tips; Photographic Resources to Check Out!; Tips for Writing about [Our] Art; How to Match Your Photographic Style to your Writing Style; Ekphrasis and You: Writing in Tandem with the Visual Arts; and Tips for Writing Fabulous Writer/Artist Bios. There will be a private group for students to discuss our creative process and share daily responses to each prompt and for sharing of literary resources, such as markets and quotations about the image-making process.
starting Friday, May 3, 2019
COURSE DESCRIPTION: Ever wonder how to go from scratching drafts in a notebook to sending poems to literary magazines that will get chosen for publication? Ever pondered what editors look for in literary journal submissions? How should we keep track of poetry submissions, and should we do that odd thing: “simultaneously submit?” Ever started a manuscript only to find it all a bit daunting to know what poems to include and which to omit? Want to prepare a chapbook or full-length collection but not sure where to start? How do we get past stalled drafts or stalled manuscripts to persevere and find our writing and reading community? If you've wondered any of these questions, then this is your workshop! Learn real-world, first-hand advice and tips from a poet who has judged poetry contests, published chapbooks and a full-length collection, and regularly submits poetry to literary magazines. Just because it’s chockfull of practical information, doesn’t mean it won’t be fun.
In this four-week workshop, we’ll explore what literary magazines look for in submissions, how the instructor as well as several other poets put together chapbooks and/or larger collections of poems, and insider advice for editing work with an eye towards publication. Students will read Ordering the Storm: How to Put Together a Book of Poems edited by Susan Grimm as well as excerpts from Poetry Power by Melanie Faith. There will be a private group for students to discuss the literary life, ask specific questions related to putting together a submission and/or manuscript, and for sharing of literary resources, such as markets and quotations about the poetry writing and submission process.
Topics covered will include: Best Foot Forward: Arranging a Poetry Manuscript; Journey without a Map; Finding, Unifying, and Revising the Body of Our Work; Throwing Poems at an Editor to See If They Stick; Keeping Company: Thoughts on Arranging Poems; Write Opportunity, Wrong Timing; Wild Cards: 8 Tips for Choosing Poems for Submission; The Art of Offering Feedback; The Plandid and Other Splendid Editing Options; Lavender Disappointment: on Adjustment of Expectation and Stalled Drafts; 76 Rabbits out of a Hat: or: The Quirky Tale of How One Poem became a Whole Book; 21-Century Publishing & Guidelines for Finding Your Ideal Audience; Spring out of a Writing Rut! 8 Tips for Getting back to Business, and more.
My spotlight article was published today at Women on Writing. Enjoy!
“Three Reasons Why Flash is the Genre for You”
By: Melanie Faith
Don’t let the small size of flash fiction and nonfiction fool you—there’s a ton to recommend this little-genre-that-could.
· Got sci-fi? Got a personal essay? Got romance? Got magical realism? Great! Flash is diverse in subject matter. Just like its longer contemporaries, flash is a hot genre sought by many markets. I’ve seen seeking-submission ads just this week for flash fiction in anthologies, magazines, and for conferences. One market sought speculative fiction, which includes science fiction, fantasy, magical realism, and slipstream subgenres. Another market asked for flash memoirs, romance, horror, adventure, and cowboy tales. Still another market seeks environmental and travel narratives in flash. I’ve seen (and submitted my own flashes to) markets for humorous flash as well.
Both fiction and nonfiction flashes are prized by editors, so whether you like to write about yourself or to create characters, there’s room in flash for either. Or why not try writing flash in both genres? In my craft book, In a Flash! Writing & Publishing Dynamic Flash Prose , I offer oodles of practical tips and prompts for exploring and marketing flash in fiction and nonfiction.
Clearly, just about any topic you could spend a novel, novella, (auto)biography, or short story writing about can translate well as a subject for flash, too.
· Another advantage of flash is that most markets want multiple flashes at once. This is great news, because if they want three or five stories at a time, then you have three or five chances to wow them. Include what you think is your strongest flash first in the submission packet. Not sure which is your strongest piece? Ask a friend which piece stands out to them.
· Worried about not having enough plot development within such a small space? No worries. Many of us writers are already used to writing texts and Tweets. Trying our hands at flash in its many styles should be a snap.
Flash is economical but also has wiggle room to fit any plot. While the top word-count for flash is often set at either under 1,000 words or 750 words, that’s not the only length markets seek for flashes they publish.
Ever head of the “drabble?” That’s a flash of exactly 100 words. There’s an excellent book by Michael A. Kechula, called Micro Fiction: Writing 100 Word Stories (Drabbles) for Magazines and Contests , that details more about how to write and submit these 100-word gems.
There are also fifty-word stories, two-sentence stories, and even six-word stories (you read that right). I’ve seen contests and literary magazines, like Narrative Magazine , that seek six-word stories and often pay for them.
Whatever subject, style, or word-count works for you, there’s sure to be a market eagerly awaiting your flash submission!
Want to learn more?
Check out my upcoming online workshop that begins on Friday, March 15th. Here’s the scoop and the skinny:
Signed copies of my book for writers that is chockfull of great tips and examples for nonfiction and fiction flash writers, In a Flash: Writing & Publishing Dynamic Flash Prose, available at WritePathProductions.
A sale book bundle, of both my flash- and poetry-writing books, is also available for book lovers at Etsy.
Books and prompts make the BEST holiday presents.
Get a jump-start on your shopping with one of my three AWESOME books and some prompt cards to boot. Hey, stockings also have to be filled, right? ;) I’ll be happy to sign the books with any inscription you’d like. :)
Peruse these classics, make your list, and no need to stand in line or check twice! :) Just break out your gift wrap and surprise them with these inspiring treats:
For the writer of fiction or nonfiction in your life: In a Flash: Writing & Publishing Dynamic Flash Prose. (New to my shop this season!)
For the poet in your life or your favorite poetry workshop or classroom (sponsor a classroom with this lovely book— guaranteed to make students from middle school through grad-school smile and make a teacher’s day): Poetry Power: An Interactive Guide for Writing, Editing, Teaching, and Reflecting on the Life Poetic. (New to my shop this season!)
For the history-buff, teacher, poet, deep-thinker, and/or librarian in your life, there’s this wonderful historical poetry collection: This Passing Fever: 1918 Influenza Poems. (New to my shop this season!)
For the journalers and writers in your life. Makes a perfect gift for Secret Santas or to tuck into a care package for your favorite college student. Renewed: 30 Affirmation Cards.
Does your friend, love, or family member prefer the ever-so-thoughtful and personalized? I’ve got you covered. Commission your own poem. Le voila! Meaningful Poem Art—Typed.
My Prompt Cards make the perfect addition for inspiration for any traveler, writer, teacher, student, or creative in your life. Also, a great stocking stuffer.
My craft article was published as a spotlight today at Women on Writing. If you’re interested in writing more flash, check out my online class that starts on November 2nd. :) In a Flash
“How Sweet it Is: Writing Resonant Flash Prose”
By: Melanie Faith
When I was a kid, my dad used to stop on the way home from work each night to get the newspaper for my mom and a candy treat for me and my sister. One of our favorite treats was wrapped in a long, thin piece of see-through cellophane. Inside, was a string of thick white floss that had elasticity, and strung along this floss were shiny, bright candies. These circular gems, in popping pastel shades of yellow, pink, orange, and blue, were vaguely-sweetened like fruit and floral flavors (the yellow was slightly tart yet banana-ish and the blue, I recall, tasted like a cross between raspberry and the way a rose smelled).
Each candy bead had the kind of brittle crunch that a child relishes—chomp-chomp!—but which would make my adult teeth weep. The hues of the candies melted with each chomp until the string was bare and vaguely pinkish-whitish-yellowish-blue-orange by the time the last candy was presto-change-oed. After just a few moments, the candy dye bled onto fingertips, tongue, and face, revealing opaque-white candies’ underbellies.
A vivid sense memory I repeat is the internal debate—holding the cellophane-wrapped treat, after a hug from my dad: should I rip into the cellophane immediately and wear the candy-pretty necklace (sometimes I doubled it around my wrist like a fancy lady’s bracelet)? Yet, there was the candy, so tantalizing, that who could resist just a tiny bite? On the other hand, once bitten into, the string was sticky and not really conducive to wearing—destroyed, in a sense, for displaying.
It was a catch-22, albeit one of the best kinds, and the tension between knowing when to hold onto something and when to begin was the kind of life lesson that doesn’t have a perfect answer and yet which gets repeated, unbeknownst to the child’s mind, again and again in life. Timing— whether strung on a string or not, whether involving choosing a major or a love interest or a house or a car or another job or having a child— is an infinite loop of weighing pros and cons and, eventually, just diving in. A lesson, as a Type A elder daughter, I struggled with endless times, weighing the sour against the sweet, second-guessing myself: Was it too soon? But could there be a too late? Even after the satisfying crunch, the soggy, lone string.
In the above flash nonfiction, I began with a simple note I’d jotted this morning in my writer’s notebook while still half-asleep and making my to-do list for the day. Idea: candy necklaces we ate as kids. Hours of student correspondence, errands, lunch, and dishes passed before I sat down again, opened my notebook on my desk and commenced to write the above passages.
Clocking in at just under 400 words, my creative process and this piece highlight some of the best facets of the flash genre. Let’s examine them:
· Flash begins with—well, a flash! Ever used a writing prompt? Sure, most of us have encountered them in writing classes, writing groups, and in books. The genius of a prompt is that it revolves around one idea. Good flash starts with a kernel of a topic which the reader then writes into in discovery. In the case of my candy-necklace flash, my random memory (which popped into my head after seeing a necklace online of white beads) became the prompt I explored.
· Flashes are focused. Notice above how I say “one idea?” In flash, there’s not room for asides or diversions. Any details about the rest of my childhood—the scented dolls I adored, the children’s jokes I loved to tell and invariably flubbed the punch lines of, have no place in this piece—they need to be moved to their own flashes. One is plenty in developing flash.
· Flashes are about what they are about, and they are also about something bigger than their subject, too. In other words: readers learn about you and your characters but they also learn something resonant about humanity. Sure, this is a flash centered on a personal memory, but it also has a theme that readers can connect with their own experiences: timing. How do we know when it is the right, or the wrong, time to do anything? The reader should walk away asking and connect to circumstances in their own past or present. Consider universal themes.
· It’s all about the imagery, baby! Without hitting readers over the head by spelling out theme, how can we explore themes and other literary language? One of the easiest ways is to develop imagery. Just like in poetry, another condensed form, flash nonfiction and flash fiction often employ plenty of sensory images to get the job done (as does this flash with taste, smell, auditory/sound, and visual imagery).
· Flashes include tension. Without the final paragraph of my flash, there wouldn’t be a lot of resonance or conflict in my piece. Most of the other paragraphs are a nice memory involving candy—perhaps interesting for my nieces to read or some other Gen Xer or Baby Boomer who remembers this type of candy, but not the stuff of literature per say. The final two paragraphs introduce the pressure of both leaning on one’s own internal judgment and the suggestion (without spelling it out) of external conflict/judgment over choosing something too soon or being too late to spoil the fun.
Try this exercise: Set a timer and write for fifteen minutes without stopping about a food associated with your own childhood. Incorporate at least three of the five elements of successful flash either as you write or when you return to edit your piece after writing.
The fine artistic folks at Nunum just published another of my craft articles! Check it out: "Raising the Stakes in Flash Fiction."
They also feature great work & interviews with visual artists, such as Jon Fox, other articles about flash fiction (such as this one by Amie E. Reilly: "So What if You Don't Get Anywhere in a Flash"), as well as writing submission interviews (such as with literary luminaries Duotrope) answering the insightful questions: "How much do you want to know about the person submitting to you? and "If you publish writing, how much of a piece do you read before making the decision to reject it?"
Image by: Andreas Fidler, www.unsplash.com