Category Archives: Short Story

Long Story Short

Gazebo in the main square, Canary Falls

I’ve asked around, and it seems normal not to want to look at something you’ve created after it’s finished—though I’d hate to think Shakespeare read Hamlet just the once. The subtext here is that I finally completed a writing project! My creative coach, Ziva, had tasked me with entering the Writer’s Digest Short Short Story Competition. I was still drafting, editing, and proofreading thirty minutes before the deadline.

After I submitted the piece, I never wanted to see it again—which didn’t stop me from tossing and turning that night as I reflected on its flaws. These gyrations were purely mental, as there was a 45-pound dog lying across my legs. While my feet fell asleep, I lamented numerous aspects of the work I had delivered with my entry fee:

  • Length. The composition was based on a synopsis I had written for a story intended to be 3,000 to 5,000 words. Contest entries, however, were limited to 1,500 words (hence, “short short”). Telling the tale was like trying to squeeze a size-ten foot into a size-six shoe.
  • Word choice. Every time I proofed the story, I would change certain words—and then change them back in the next pass. I should have changed them one more time.
  • Perfectness. I had only two weeks to write the story, so I wasn’t able to craft it to the level I desired. Ziva had advised me to take my perfectionism down to 70 percent, even speculating that 70 percent could turn out to be 100 percent. I still don’t get the math.

The result of the exercise described above appears below. Should you decide to read it, please forget the negative things I just said about it. To pique your interest (or save you seven minutes), the story is about a combat journalist who experiences a close call in the field and returns to her hometown.

Canary Falls

Thirty-seven-year-old Leigh Forrester had been scared before: When she started prep school mid-semester. When her first boyfriend asked her to have sex. When a 1974 Ford Cortina collided with a black bear, making her an orphan. But as a cable news reporter from the globe’s conflict zones, she possessed a preternatural composure. Untrained to deal with dangerous situations, and protected only by a helmet and bulletproof vest, she never considered she could die. Her determination to capture major world events, sustained by adrenaline, insulated her mind from such thoughts. Nor did she worry when her lover, Michel, a war photographer, hadn’t made contact since Christmas; he always resurfaced.

Embedded with U.S. Marines in the volatile Helmand province of Afghanistan, Leigh confronted her vulnerability. On a bright, brisk morning, as she recorded footage outside a reopened clinic in a district liberated from the Taliban, rocket fire from the city limits spread mortar bombs over the area. One landed on the hunter-green Afghan police truck in which she had traveled, sending shards of metal and glass in all directions. Shaken, Leigh realized she needed a respite from peril. She didn’t even wait for the network’s approval. Rather than return to the Notting Hill flat she shared with other combat journalists, however, she wanted to feel the comforts of home.

Leigh walked into town carrying her duffel bag as the sun, still below the horizon, started to color the sky. She barely remembered arriving in Canary Falls, though she knew she must have taken planes, trains, and a bus to get there. She feared she had a concussion from the blast and made a mental note to visit the physician—for as much as a mental note was worth to a person with a brain injury. She had heard Dr. Starr passed a while back and was replaced by a young woman.

The local diner, Logan’s, hadn’t opened yet, but Leigh noticed activity inside. Approaching, she marveled that the business looked just as it had in her youth: mint-green walls, mismatched tables and chairs, tchotchke-stuffed shelves. The eponymous proprietor, who already seemed old when she was a girl, unlocked the door and led her to a hickory stool at the counter, next to an antique cash register. He gave her a big breakfast free of charge.

Leigh set off toward the Dandelion Inn, where she planned to spend a week under a floral quilted bedspread. The breeze carried spring’s freshness, with a hint of summer’s warmth. “I used to love a day like this,” she thought. “In this picturesque New England burg,” the correspondent in her added. After a few minutes, she stopped in front of a two-story, sky-blue house with a wraparound porch. Fifteen years earlier, she had sold the dwelling, furnished, to a young family. She wondered if the Kims still lived there and, if so, why “FORRESTER” still appeared in faded black letters on the white mailbox. Aware she might be committing a felony, Leigh eased the metal door toward her; it creaked a tune she recalled from childhood. Inside was an envelope bearing a single word in a graceful hand: “Leigh.” She slid her thumb beneath the barn-red wax seal, impressed with a calligraphic C. A shiny key fell into her palm. She must have sent word ahead and forgotten.

The walls were still buttercup yellow with white molding. Vintage rugs still dotted the maple floors. Leigh recognized her grandfather’s cushioned rocking chair, beside the brick fireplace with a built-in niche for logs. Her gaze lingered on a framed photograph of a radiant couple on a beach, holding hands as they ran in the surf; she always thought of her parents this way. Leigh crossed the living room to a lampshade painted with violets, which she recalled “improving” with a purple crayon; she fingered the fabric, which was unmarked.

Upstairs, Leigh filled the claw-foot cast-iron tub from a faucet mounted on the rim. She stripped, lowered herself into the steaming water, and closed the pink pinstriped curtain around her. Settling back, she sought to understand how her home from ages eight to eighteen had remained intact and immaculate since she exchanged it, following her grandmother’s death, for enough cash to leave her comfortable. Did the Kims never move in? Do they rent the place out to vacationers? She would go into town and question the selectman or the gossip, whichever she encountered first. Back downstairs, in her old bedroom off the kitchen, she dressed in khakis and a white button-down shirt; in the field, she would add a scarf or jacket as necessary.

Through the textured glass of the double front door, Leigh thought she saw a carriage, drawn by two white horses, waiting at the curb. Indeed, roses, tulips, irises, and dahlias filled the spokes of the wheels. A plume of white feathers adorned each steed’s head. “Welcome home, Leigh!” the townsfolk shouted upon seeing her. When the team reached Main Street, Leigh found herself in a parade. The thoroughfare was lined with people displaying congratulatory signs and shaking ribbons on sticks; they smiled, waved, and yelled her name as she passed. Leigh viewed a truck-drawn float decked with streamers up ahead, and heard a marching band behind. She never expected such a reception, despite being a television personality. She laughed, her eyes filling with tears, and blew kisses to the crowd.

The procession ended in the main square, where lemonade was served, and a three-piece band played Dixieland. Leigh joined former friends and acquaintances, though none could provide insight into the old Forrester cottage. A message spread that a community barbecue would take place at five o’clock. Exhausted, Leigh excused herself; she was hoping to see the new doctor. On the walk over, she mused at the demographic shift in Canary Falls. The inhabitants seemed generally older, with a smattering of middle-aged folks and hardly any children. Perhaps others of her generation had also moved away.

The name on the shingle confused her: “Dr. Richard Starr.” She should have checked her sources; the doc’s wavy hair was still carrot-colored, without a trace of gray. “You’re the picture of health,” he announced, after examining her, “and will probably live forever.” He attributed her mental lapses to the trauma she suffered. Strolling home, Leigh noticed a familiar-looking dog with a curly brown coat. “Babette!” she called out. The mutt trotted over for an ear scratching and went on her way.

Burgers, ribs, chicken, trout, and vegetable kebabs cooked on innumerable grills. Side dishes—corn on the cob, zucchini, asparagus, sweet potatoes, coleslaw, baked beans, biscuits, ambrosia—were ubiquitous. Assorted pies, cakes, and cookies blanketed a long table. Donning the sleeveless plaid-print red dress she wore under her gown at her high school graduation, Leigh wondered if this cookout was being held in her honor. Her answer came after sundown, when Zack St. James, the town selectman, invited her up to the central gazebo, its columns wrapped in garlands of white stargazer lilies. Zack directed everyone’s attention to a theatrical screen hung on a building bordering the square. “Leigh Emily Forrester, this is your life!” his voice boomed over the mic.

The highlight reel mesmerized her: Running around the house in Dad’s gigantic shoes. Getting a shot, slurping a milkshake. Swinging on the veranda with Gramp while it rained. Riding in a car, blindfolded, with members of a secret society. Crossing into Darfur on a moonless night. Making love with Michel in his Paris apartment. Lying on the dusty ground in Bost, bloody, unmoving.

The final image faded, but Leigh remained transfixed. “Could I be dead?” she murmured, staring at the blankness.

Zack held the microphone to her lips.

“Am I dead?” she demanded.

“As a doornail, dodo, or mutton,” he replied, garnering laughs from the audience.

Someone squeezed Leigh’s right hand. She turned to see her mother’s sparkling eyes. When her knees gave way, her father caught her on the left. Behind each parent stood a set of grandparents. A sweeter reunion could not be imagined.

“While you get reacquainted,” Zack interjected, “I’d like to thank the former residents of Canary Falls for making this homecoming possible. You all got together and, through collective concentration, created this remarkable replica of the hamlet we cherished on earth. Sudden transitions can be difficult, but as you can see, Leigh is doing wonderfully.” The assembled souls applauded. “Soon you will be returning to your usual forms and roles, but for now, enjoy the party!” They cheered. To Leigh, he added perfunctorily, “Your guides will be in touch.”

Assuming she had eternity to catch up, Leigh took her leave after a while. In her mind, she still needed sleep. As she neared the house, she was startled by a shadowy figure on the steps.

“The village is adorable.” He used the French pronunciation. “Just as you described.”

“I am a journalist,” she responded. “Or was. You know you’re dead, right?”

Michel grinned. “C’est la vie.”

Hand in hand, they went inside.

Read Me Like a Book

chaucer's

Chaucer’s Bookstore, Santa Barbara

When I sit down to read, Sophie gets scared. She’s unfamiliar with the scenario. What is that bound stack of papers receiving my attention? She’s especially unnerved by the whoosh of air as I turn the pages.

Over the years, I have made excuses for not being a more ardent reader:

  1. I did a lifetime’s worth of reading as an English major in college.
  2. When I was doing a lot of editing, I read manuscripts all day; I didn’t want to spend my free time doing the same. (Does a barista want to make coffee when she gets home?) Moreover, when I did read for pleasure, I didn’t enjoy it; I was always looking for errors.
  3. I wanted to be a content provider not a content consumer. I wanted to be the comedian, not the person who goes to a comedy show.

In his classic guide Writing in General and the Short Story in Particular, former Esquire fiction editor Rust Hills proposes that a beginning writer could learn more from books about how to read literature than from books about how to write short stories. Taking my cue from him, over the last several months, I have semi-voraciously consumed short fiction, the genre that is my current focus.

Following are lessons about writing short stories that I have gleaned from my reading, by source. These personal takeaways are based less on analysis than on casual observation.

The Best American Short Stories, 2015
best american short stories
Lesson 1: Negative is positive. Troubled characters are interesting. Be disturbing, dystopian. Make the reader uncomfortable. Show how challenging it is to be human.

The New Yorker
new yorker
Lesson 2: Go deep, not wide. Concentrate on a single occurrence or a limited series of events. Adhere to Aristotle’s unity of action, place, and time. Plunge into characters’ psyches and motivations.

Philip K. Dick
philip k. dick
Lesson 3: Plot meticulously. Keep the action moving forward, continuously engaging the reader as each scene follows logically on the last. Use details that mean something.

O. Henry
o. henry.jpg
Lesson 4: Shatter expectations and assumptions, after setting them up. Give the reader the delight of being surprised. (Bonus lesson: Be irresistibly droll.)

Jacob M. Appel, Einstein’s Beach House
einstein's beach house
Lesson 5: Craft your language. A short story has limited real estate. Choose your words carefully, lovingly. Avoid unnecessary repetition. Make each syllable count.

Stephen King
1408.jpg
Lesson 6: Don’t trim all the fat. Marbling adds flavor to the meat. Let the narrative and dialogue flow naturally. Don’t edit the life out of them.

People write for approximately a million reasons. They write to inspire, educate, or entertain; to sort out feelings, share beliefs, or express a passion; to connect with others, be a positive influence, or change the world; to gain fame or leave a lasting mark on the planet. I can identify with all of these motivations.

Mostly, though, I want to write so that someone else can read.

All Q, No A

I have spent a full month writing (but not finishing) the first short story of a planned collection of ten. (Eight, actually—I expect to ditch the weakest two. They don’t know it yet.) At this point, I can safely say I have more questions than answers. The opposite would probably be worse, though; having more answers than questions might feel like a multiple-choice test, and tests are stressful.

In the last four weeks, the following mysteries, among others, have presented themselves to me:

  1. QsHow much craft should go into a first draft? I’m a poet and I didn’t know it.
  2. Do they call it a draft because it has holes? Come on, I’m serious.
  3. Which is more important: sticking to the schedule, or taking the time to get it right? Within reason, as defined by a perfectionist.
  4. How much is too much backstory? Do you need a narrative providing the history of this question?
  5. Is it normal to crave frozen yogurt? Chocolate-vanilla swirl with rainbow sprinkles.
  6. Is it okay to write to entertain, rather than to be literary? My dream is to have a story published in a middle-school anthology.
  7. Literary magazines have length limits, so am I shooting myself in the foot (or accomplishing some other gory metaphor) by writing 5,000- to 6,000-word stories? Sounds like a job for an editor!
  8. How fully realized should the main character of a short story be? Same question for secondary characters. Screw the tertiary characters.
  9. How much time should I allow for research? Isn’t it easier to make facts up?
  10. How important is it to follow rules about writing? I’m not much of a lawbreaker.

I welcome answers to any of the above, and the sooner the better!

A Numbers Game

old londonReflecting on the second season of the classic TV series The Twilight Zone, creator Rod Serling observed that a third of the episodes were “good,” a third were “passable,” and a third were “dogs.” I just finished writing synopses for ten short stories in about as many weeks, and I can only hope for a similar breakdown. Fingers crossed, there’s something worthwhile in there! You see, for each story idea, I could have spent more time searching for the characters, plot, and setting that expressed it perfectly. Instead, I latched onto the first scenario that seemed to work.

The bad news, then, is that the stories arising from this initial effort could be better. The good news is that I am in possession of ten fleshed-out story ideas rather than one or two (or maybe zero, the perfectionist in me opines). The even better news is that there’s tremendous room for improvement! According to author Jacob M. Appel, “Profit comes from book number five.” In other words, it’s a long road. And I’m finding comfort in the fact that I’ve left so much material untapped.

In the process of nailing down the parameters for these soon-to-be short stories, unexpected themes emerged: houses, heart conditions, 911 calls, first kisses, small towns, murder, religion, prison, motherhood, empathy, England, technology, and the late 1800s. Perhaps a psychoanalyst could help me figure out why these elements recurred—though I’m not sure I’d want to know the answer. Unsurprisingly, some stories also feature dogs, baked goods, and references to Shakespeare.

synopsis filesStarting September 1, my plan is to write one story per month for the next ten months. This is when the real research happens, the characters are developed, the plot details are filled in, the setting is described, the dialogue is crafted. (I’m using the passive voice here, which probably means I haven’t yet accepted that I will be doing all this work.) My main goals are to entertain and surprise. Correspondingly, my greatest fear is that my writing will be derivative, hackneyed, and predictable.

Or that I’ll go back into the files from the last three months and see, repeated over and over, “All work and no play makes Jack a dull boy.”

Sunny-Side Up

neuron

This month, I have explored the connection between synopses and synapses. Though only one letter apart, these words have very different meanings. As you may recall from grade school, a synopsis is a summary of a novel, movie, play, etc. (Another name for this: book report.) A synapse is the small gap across which nerve impulses pass. (Remember the illustration of a neuron in your science textbook, the fried egg with a long tail?) When all your synapses are firing, you’re focused and your mind feels electric.

To write synopses for stories that don’t exist yet requires that your synapses be firing—allowing communication from one brain cell to the next, thereby facilitating the creation of characters, plots, settings, and themes. But synapses are squirrelly. They don’t like pressure. They won’t produce synopses on demand. All you can do is ask them a question (“How does the protagonist get from point A to point B?” “When does he learn to speak German?” “What are good names for conjoined twin sisters?”) and then wait, as patiently as a perfectionist with a self-imposed deadline can, for an answer.

So far, I have written synopses for six short stories in six weeks, and I’m working on the seventh (out of ten). I won’t lie; there has been a fair deal of panic. I choose a new story idea every Thursday. When Saturday rolls around, and the characters, plot, setting, and theme aren’t clear yet, I’m tempted to yell at the synapses, “Think harder!” At this stage, I can be seen staring into space a lot. I know I must commit to something, any direction, and start writing—because it will be next Thursday before I know it.

Each synopsis feels like an experiment: I am discovering something unknown, and it may or may not be viable. I won’t know if it holds together until I flesh it out in 5,000 words. And even then, I won’t know if it’s any good until someone reads it and feels like he or she hasn’t wasted half an hour.

I anticipate further panic.

So Far, So Good

 

Grace Kelly charades

Grace Kelly playing charades aboard an ocean liner en route to Monaco, 1956

I have completed the first month of my 16.5-month plan to write 10 short stories. Oh, the excitement of being 6 percent of the way toward my goal! Some highlights since June 1:

  1. I watched a Writer’s Digest tutorial about how to craft a collection of short fiction. I learned the six key principles to consider in putting together a book of stories. It would be indiscreet of me to divulge those principles here; if we were together in person, however, I would have no qualms about pantomiming them to you. The tutorial’s presenter, Jacob M. Appel, offered to share PDFs of his work. I read his story collection Einstein’s Beach House and highly recommend it.
  2. I decided that two stories I wrote (or partially wrote) for a class a year and a half ago are salvageable, with changes (and endings). I may try to publish these pieces, once revised, as I continue to write the others.
  3. I refined my list of story ideas (now numbering close to 200). The challenge will be figuring out what on earth I meant by some of the shorter entries, such as “birthday,” “maintenance,” and “walk-in.” (Thanks, self.)
  4. I said I was going to limit my reading about writing, but I couldn’t resist buying a book called The Emotional Craft of Fiction. If there’s one thing I want to accomplish with my writing, it’s to engage readers with emotion. Unless that emotion is hatred for my writing.
  5. I ordered a guide for getting stories published; it lists fiction publications, contests, and the like. I had it shipped via snail mail because, well, you can’t publish something that isn’t written yet. When it finally arrived, it was a book about finding a literary agent! The customer service person submitted a replacement order and told me to keep the extra book, with the following advice: “Do whatever you would like with it, be it donation or origami.” I think I’ll keep it, in case I need an agent 15.5 months from now. Plus, I don’t know how to do origami.

twilight zoneThe overall theme of the stories I’d like to write (at least for this current experiment) is a subversion of reality that reveals human nature; accordingly, I have been binge-watching The Twilight Zone on Netflix. Rod Serling, creator of the classic series, said, “Coming up with ideas is the easiest thing on earth. Putting them down is the hardest.”

And coming up with cool ideas that Serling didn’t already come up with is nearly impossible.

Taking My Umbrella

ray bradbury square

Ray Bradbury

Lately, I’ve been getting ideas for short stories, from things I see, read, listen to, or just find myself thinking about. Ray Bradbury suggested writing a short story every week. His reasoning was excellent: “It’s not possible to write 52 bad short stories in a row.” But I think a would-be author might find this advice difficult to follow, presuming he or she is employed in some other activity in anticipation of becoming an author. I might be able to write the synopsis for a short story in seven days, however. Extrapolating, I have constructed (concocted?) a 16.5-month time line for penning a 50,000-word compilation of 10 short stories.

poster edgesThere’s a 90 percent chance this is a false start like many others I’ve had. And I’m being generous giving myself a 10 percent possibility of success. (Please, no wagering.) Then again, when a meteorologist predicts a 10 percent chance of rain, you almost always find yourself running to your car with a handbag over your head. I am considering enlisting the support of my creative coach as well as writers at local meetups. And limiting my reading of short stories and my research about short story writing (tempting delay tactics), relying instead on the resources I’ve collected and internalized thus far.

Here are the best intentions paving my road to hell:

  • Week 1: Review the short story form
  • Week 2: Refine my list of story ideas
  • Weeks 3–12: Write synopses for 10 short stories (one per week)
  • Months 4–13: Write 10 5,000-word short stories (one per month)
  • Months 14–16.5: Edit 10 short stories (one per week)

I’m sure I’ll have to make adjustments along the way. Perhaps one story will want to be 2,417 words long. Another might need to be a novella. Maybe I’ve given myself too much time. (Ha. Ha-ha!) If my plan works, I’ll write a book about it. The title will be irresistible, something like, Crafting a Collection of Short Fiction in Just Under 17 Months.

Subtitle: Ray Bradbury Could Have Done It in 10 Weeks.

On Purpose

necklace

My writing talisman

At least one subscriber to this blog has noticed that my posts are always published at the same time: Close to the end of the month. Very close to the end of the month. The last day. Sometimes a few minutes before midnight. Many months, I doubt I will be able to fulfill my self-assignment. Doing so requires that I place as much importance on what I wish to accomplish as on what others expect or need of me. In other words, I have to be as responsible to myself as I am to others.

menuDue to various commitments, it would be a relief to take this month’s post off my plate. Yet if I don’t cobble something together, here’s what will happen: At some point, I will search my blog’s archives, and there will be no entry for March 2016. I won’t get a failing grade, Earth won’t be sucked into a black hole, but I will know I didn’t meet my own minimum writing requirement. (Ironically, I have now completed the second paragraph of a post I didn’t have time to write. Similarly, in junior high, I wrote a poem called “If I Could Write a Poem.”)

Over the last six months, I have completed the first drafts of 2.5 short stories. (One needs an ending, and another needs a new ending—hence, the decimal number.) Next, I would like to take a novel-writing class. But my work projects are too demanding right now. I feel frustrated that I am devoting so much time and energy to activities that have nothing to do with what I perceive as my purpose in life—to share my ideas through writing.

I don’t know how many people ponder their purpose and whether or not they are living according to it. In New Age circles, this inquiry is hugely popular. Two individuals whom I respect recommended the same book to me on the subject, about creating the “great work of your life.” According to Kindle, I made it through 14 percent of it. Ultimately, I don’t believe my purpose is related to what I accomplish in the world—even if that is sharing my ideas through writing.

miami vice

“Miami Vice”: half pina colada, half strawberry daiquiri

In other words, I can still fulfill my purpose if I never publish a book or write one or even edit one. I can fulfill my purpose at the grocery store, on an airplane, or walking my dogs. I do it by being an example of love. Only love is real. To become aware of love’s presence, and to let it shine out through me, I need to let go of my grievances, which attack love. No matter what I seem to be doing—or seem too busy to be doing—I can always practice my real purpose.

Of course, I have found it is easiest not to hold grievances while vacationing in a tropical paradise . . .

 

Does the Paranormal Have to Be Proven?

rainbow_paint daubs

Earlier this month, I accompanied my husband to Florida for an art event in which he was participating. We shared an Airbnb property (“vintage Spanish revival with pool”) with six other street painters. One morning, one of the artists and I were the last two left in the house. We got to talking at the breakfast table. I described a pair of short stories I had been working on: a ghost story about conjoined twin sisters born in Victorian England, and a science fiction tale about a physics professor who invents a device to talk to the dead.

She said the subject matter appealed to her, and we shared that we both had an interest in the paranormal. We never knew this about each other, despite having been acquainted for over 10 years. I think there is a stigma associated with curiosity about phenomena that aren’t conclusively supported or explained by science, such as aliens, angels, energy healing, near-death experiences, and reincarnation. This stigma tends to keep us quiet, especially in the presence of vociferous proponents of “rational thought.”

A skeptic is someone who questions the legitimacy or genuineness of something alleged to be factual. Some skeptics automatically reject claims that do not fit their worldview or that challenge the status quo. The Skeptics Society tries to distance itself from these “cynics” and “grumpy curmudgeons.” The organization’s mission is to investigate the paranormal by “continuously and vigorously” applying the scientific method to it. “We must see compelling evidence before we believe,” the group says.

While this approach sounds reasonable, it makes a major assumption: that science can prove the truth or falsehood of everything. What if certain aspects of reality can’t be measured by the instruments of science? Albert Einstein said, “One thing I have learned in a long life: that all our science, measured against reality, is primitive and childlike.” In other words, science is too rudimentary to account for all of reality. Interestingly, there are non-paranormal occurrences and circumstances that science can’t explain satisfactorily, including ones we consider basic scientific principles, such as gravity, magnetism, and time.

Furthermore, does “compelling evidence” have to be scientific in nature—arising from a double-blind experiment conducted in a laboratory setting? Do personal experience and observation have no value? Is a mountain of anecdotal reports not persuasive? Why can’t we study and scrutinize phenomena ourselves, and then use our intuition to assess their validity? Such an approach would probably sound like sacrilege to a skeptic. But to quote Einstein again, “The only real valuable thing is intuition.”

I understand the appeal of science. Its systematic organization of knowledge imposes a sense of order on a world that can often seem chaotic. Its testable explanations make the universe seem predictable—and predictability is comforting. I also recognize the role of science in facilitating technological advances that improve our lives. Moreover, scientific insights and discoveries are often completely fascinating. But I am not willing to limit my inquiries about life to what science alone is capable of proving.

Fiction is a socially acceptable outlet in this regard. It lets us play with the acceptance of things that can’t be verified. What if there is an afterlife, and we can communicate with those who have passed on? What if aliens are visiting us? What if angels intervene on our behalf? What if we come back to earth in different forms, lifetime after lifetime? We can explore these “what ifs” in stories.

And then maybe the stories will open our minds, little by little, to the potential reality of the paranormal.

The Short of It

Dublin

A street in Dublin

Last month, my husband and I flew 5,200 miles to Dublin and spent three nights there. Then we came home. We didn’t tool around the continent, the British Isles, or even nearby towns. A 72-hour trip to Europe sounds crazier as I write about it here than it seemed at the time, although a woman at the hotel bar pronounced us “fantastic” for making such a whirlwind visit to her country. We were in Ireland’s capital long enough to have afternoon tea, take a selfie by the River Liffey, walk the city, catch a cold, and test the medicinal properties of Guinness.

When we returned, I felt a surge in creativity—to a degree I hadn’t experienced in years. Traveling to a far-flung destination had interrupted my routine, and my routine ways of thinking. I hoped to capitalize on this sense of inspiration by enrolling in an online short-story-writing course I had wanted to take for several months. It started on a Thursday, which was the same day I considered getting my money back. After reading the lecture materials, I discovered that the first assignment—the beginning of a short story—was due in just three days! I didn’t even have a topic.

reviewsOver the next four weeks, I met my deadlines and produced a 3,200-word first draft. Waiting for my instructor’s feedback was almost as agonizing as reading it. (I discovered that I would much rather be the person with the red pen.) According to my custom, I focused on the negative aspects of the critique and disregarded the positive. As I proceed to fix the issues with the piece (namely, its lack of an ending that works “in dramatic terms”), I will try to remember and be encouraged by my instructor’s favorable comments.

In the process of penning my first short story since I was a teenager, I made a number of observations:

  1. Writing is tedious; having written is thrilling.
  2. Writing is challenging. It makes you appreciate your day job. (“What I wouldn’t give to be proofreading an index . . .”)
  3. Adding your byline under the title is a heady moment.
  4. The instant you have a creative breakthrough, the dog needs to go out.
  5. I can still pull an all-nighter if necessary.
  6. I understand why writers go on retreats, because writing comes (at best) sixth or seventh, after work, chores, errands, exercise, spiritual practice, meeting the needs of others, etc.
  7. When you’re writing, every word is a decision.
  8. It’s good to have a plan, but you have no idea what might come to you in the moment.
  9. Nathaniel Hawthorne was right: “Easy reading is damn hard writing.”
  10. I don’t know why I waited so long.

The question is, will I continue to write creatively outside the construct of a class, without the threat of humiliation for failing to turn in an assignment? I think I have a shot, because I am so good at humiliating myself.