Lovely original image by jaime cooper, on

Okay, I have a real post coming up for you, but I’ve been writing a lot of flash fiction lately and I have a project to tell you about. And I am JUST. SO. EXCITED. And full of coffee. AND EXCITED.


This is like my favorite time of year ever. Working retail has effectively ruined Christmas for me, and has also effectively meant I rarely get home for Thanksgiving. My birthday is boring, and I’m not religious, so Easter doesn’t mean much. Valentine’s Day is overhyped.

So that leaves me with Halloween. Which is all right, because I can’t think of a holiday more meant to fit me–we can wear a lot of black, talk about serial killers, and not pretend to be thankful for things? ALL RIGHT. That’s like the best holiday an Emily could ask for. AND I get to dress up like a zombie? Megasweet.


You’re fucking kidding me!

Anyway, with that said:

I’m going to do something a little different this year, and celebrate this lovely holiday with SEVEN DAYS OF FLASH FICTION. Yes. For the week leading up to Halloween (starting tomorrow, 10.24), I’ll post a mini horror story (1,000 words or less) with fun overfiltered horrorshow graphics ONCE A DAY. (Isn’t that font just full of camp?) Why, you ask? What good can this possibly do?

Probably none. But it’ll be fun.

An advanced warning, just in case you don’t usually follow this blog and don’t know me: none of these stories will be appropriate for little ones. Unless, of course, you take a laissez-faire view of parenting, and your bitty monsters have already seen Texas Chainsaw Massacre, or heard you drop the f-bomb in traffic. In which case, bring ’em on. 

We’ll see how I do. I don’t usually write a lot of horror, so this might be pretty terrible. But that’s what this blog is here for, right? Experiments. On you, my captive audience. Muahaha.


What Makes Writing Great?


Writing: Hard Work Isn’t Everything

Well, it’s a good question.

I’m not talking about proficient writing. Proficient writing can be accomplished easily–well-defined characters, a working plot, scenery described as much as it needs to be, a satisfying denouement. Good spelling and grammar. That’s all you need, for proficient writing.

But here’s the thing: there’s some strange and magical element that makes writing good.

I just read Never Let Me Go, by Kazuo Ishiguro. It was a good book. It’s won and almost won a ton of prizes, so I know other people agree with me. It was…well, to put it mildly, it was heartrending.

Ishiguro never goes to great length to describe scenery. His characters, also, are never fully ‘described’, in the traditional sense. Though it’s technically sci-fi–the sort of book people in horn-rimmed glasses like to call ‘speculative fiction’–the world in which the characters move is never laid down clearly, either. The plot, which isn’t much of a plot, exists pretty much solely to offer a slow dramatic reveal (which I can’t reveal to you, because it would ruin the story).

There’s nothing special about Ishiguro’s prose. The tale is told simply and personally in first person, largely through flashbacks (which is, according to a lot of writing gurus, a big no-no). His language is almost childish.

None of what I just said sounds very good. And yet–and yet. This is a great book. And I’m not the only person who thinks so.

In the indie writing world, there are a lot of folks who’ll tell you (and, if you let them, try to sell you) the ‘secrets’ to good writing. I’d argue that, from what I’ve seen, there’s a good deal more money in ‘helping indie authors’ than there is in actually being an indie author. And most of the advice I’ve seen (but will never, by God, buy) focuses on the things I mentioned in paragraph two–well-defined characters, descriptive milieu, rock-solid plot, etc.

Those things are good things, and they’re important. But they aren’t the whole game.

To write well–to write a good book–there is a little bit of magic involved. That’s something nobody wants to hear, but hell, that’s how it is. In America, a supposed meritocracy, we’re afraid of magic–we’re afraid of things we can’t necessarily control ourselves, that we can’t achieve through hard work and stubbornness. The American Dream tells us we don’t have to be especially talented, or smart, or pretty, or lucky, to succeed. It tells us we just need to work hard, and good things will come to us–a very unique sort of intellectual laziness.

If you want my opinion, this is why there’re so many goddamn murders in this country. You can work hard and succeed to some extend just on that, sure. But hard work will never make you a geniusit’ll only make you better. This is true for writing, just the same as anything. The ‘hard work’ comes in from the fact that you’ll only ever know what to leave in and what to take out if you write a hell of a goddamn lot, and ignore all the ‘How To Write A Great Novel In 100 Days’ type pamphlets.

Good writing–truly good–comes from instinct, I suppose. It comes from knowing when to say ‘answered’ and when to say’ replied’. It comes from taking risks, when risks are justified.

It comes from failing, occasionally. Never Let Me Go, which seems like a simple enough story on the surface, would’ve been complicated as hell to write. Mr. Ishiguro plays with suspense and dramatic reveal like some mothers play with a two month old baby. And his simple, golden-days reminiscent prose is perfectly calculated against the horrors deep within the story. It’s the sort of story that took a master to write.

And those of us who aren’t masters are going to fail, many, many times, before we write something like that. As I’m sure Mr. Ishiguro did. And most of us aren’t masters, will never be masters.

But you’ve got to try, right?

You’ve got to take risks. You’ve got to try. To learn anything, you’ve got to sometimes get away from well-defined this and that, and speak with silence rather than words.

The hard truth about good writing is, simply, that no one can tell you how to do it. There are no secrets that can be revealed in a 40,000 word pamphlet, for only $1.99.

I could talk, at great length, about all the elements that came together to make Mr. Ishiguro’s novel. I could talk about how they play together, which element evokes which feelings. I could tell you, more or less, how the book works.

But could I tell you what makes this book great? No.

So take a small dose of humility. Accept that none of us–no, not even Stephen King (given the uneven quality of his work, I’d say especially Stephen King)–understand precisely what makes writing good. We can talk until we’re blue in the face about composition and format, point of view and allusion. We can get PhDs in it, spend a bunch of time paying back our student loans, and still not really understand it.

So let’s step away from some of the common criticisms I see around here, and focus on whether or not a story works. Just because something’s F/SF doesn’t mean the world has to be described down to the last mudfish in the castle moat. Just because something is written as ‘literary fiction’ (more on this term and how I hate it later) doesn’t mean you need showy prose. A mystery doesn’t always need a complicated plot.

Ignore the ‘proficient writing’ formula. Ignore it. Ignore everything, in fact, except for how well something works for you.

(And I know the comment someone is going to make to this. I can hear it, in my head, right now: ‘well, you have to play by the rules before you break them’. I couldn’t agree less. Sorry. Do you need to know the rules? Yes. You sure do. But if you feel that a story needs to be written in second person present tense, goddamn you if you write it any other way. You’re just churning out crap, and derivative crap, at that. You’re operating, like an animal Darwin forgot, against your own instincts, for the sake of perceived safety. Have some balls. Accept failure and make it constructive.)

We can’t define good writing, but we can try to do it ourselves. And, in the end, if we try enough–if we’re bold enough–we might just get there. If nothing else, we will’ve made a hell of an attempt.