Introducing the Novella-in-Flash | Tom O'Brien | Skillshare

Introducing the Novella-in-Flash

Tom O'Brien, Writer

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9 Lessons (36m) View My Notes
    • 1. Introducing the Novella in Flash

      1:58
    • 2. What is Flash Fiction?

      3:27
    • 3. What is the Novella-in-Flash?

      3:22
    • 4. Starting from Scratch

      6:27
    • 5. Build on Existing Work

      3:44
    • 6. The Words

      5:15
    • 7. Structure

      5:48
    • 8. Rewriting & Editing

      4:38
    • 9. What Next?

      1:21

About This Class

The Novella-in-Flash is a hybrid form that’s becoming increasingly popular. Flash fiction, stories under one thousand words, is also blossoming and a novella is a way of linking several of them together in a way that's more than a collection. 

Combining several pieces of flash fiction into a larger tapestry creates a satisfying whole that is greater than the sum of its parts.


Description

My class will show you how to write not just one piece of flash fiction but how several combine into a mini Novella-in-Flash. 

We will look at numerous techniques, from writing on to the blank page to breaking down existing work, to find the core of each piece; then how to rebuild it into several smaller pieces.

No prior knowledge is required, just a willingness to write.

I’m looking forward to sharing what I’ve learned in my writing life, and reading what you produce in this class, and beyond.

In this class you'll learn how standalone pieces of flash fiction combine into a larger story, a collection of linked pieces.

You'll learn how to craft these individual pieces, to rewrite and edit them to a high standard. 

We'll look at how to combine and expand those stories into a larger novella.

By the end of the course you'll have written several pieces of flash fiction, reworked them and planned how to build on them for a larger collection.

You'll know how to interrogate a piece of fiction to remould it into one or many stories. 

I'll also point you toward resources that will help you find places to publish both your work individual pieces of flash fiction, and your novella-in-flash.

This course is for anyone with an interest in creative writing and an interest in learning. 

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Transcripts

1. Introducing the Novella in Flash: way. Welcome to this introduction to the novella and flash. In this course of the sharing what I've learned writing and publishing countless pieces of flash fiction and writing my own novella and Flash, which will be published later this year. You can find the details of all that on my website, which are linked to in the notes. First, we're gonna look at flash fiction in its own right what it is, how to write it, how it could be developed into a series of longer stories. These smaller pieces of the building blocks of the novella and learning to craft them is key. You'll examine what they're made off on how to make them. Then you write at least one piece of flash fiction and explore the tools to write many more . Moving on to the novella and flash, we look at the roots of this style of storytelling from the longest average story cycle form, where short stories combining toe a novel to the more specific novella in Flash. You may even find you already have work that could be mined and combined into a novella, either by breaking it down, are expanding it where they have a piece or several pieces to work with. We look at how they might fit into a larger narrative sequence of stories. I'll spend some time on structure and how it can help you control the longer piece of work made up of those little building blocks. You'll also learn about the vital skills of rewriting, editing and finishing during the course. I want you to write and to read, to share and to feed back. I'll join in and hope to learn as well as teach. Provide a reading list of sample pieces, including some of my own work, as well as the best of what's out there, a point you towards some websites where you can find inspirational work. I want to give you some sense of what's possible with this angle. ASL e inventive form. If you're new to flash fiction, welcome. If you're an old hand, I'm sure to find some new perspectives here. I'm looking forward to working with thing 2. What is Flash Fiction?: definitions vary. The flash fiction is basically a piece of prose under 1000 words. It should probably offer some story our character development or change, but this congee as profound or subtle as you like after that pretty much anything is possible. There are further subdivisions. The six words story tweets I stories, 50 word dribbles, 100 word travels or micro fictions, sudden fiction of around 750 words. Publishers and websites will often have their own variations. In any case, a piece of flash fiction should be complete in itself. The reader might be left with questions at the end, but they should be satisfied with what they raid. A good story is likely to have a beginning, middle and end, as well as a progression of some sort in a character or situation. And this is true. A flash, too. Though the shift may be small, these aren't rules. Their starting points shapes supports to help you. You're likely to write and read work that seems to break with any or all of these. That's fine. That's great. If something is good enough, it doesn't matter how it was constructed. Having said that, there is often more structure, progression, story or sub takes hidden in a piece than you think. The art of the writers in concealing this scaffolding wild benefiting promise The best way to find out what flash fiction is and can be is to read lots of it. A subs. Fables could be called flash fiction on other gentlest introduction, but there are more current examples than that. That's only one reason to read as much flash fiction as you can get your hands on its valuable training. I posted book titles on screen and in your resources to get you started, along with links to sites full of great stories. Some names to look out for our flash fiction specialists like Make Pa Chris, Cathy Fish, Lydia Davis and Diane Williams. But Ernest Hemingway, Margaret Atwood and Jennifer Egan have all written fine examples, of course, read widely and in every form. Remember, Flash has its own special traits, and the more of these you encounter the better writer. You would be read first for pleasure, then go back and see what's concealed. How did the writer craft the peace? What decisions did they make? Think about point of view who the main character is when and where the story is set. Look at language choices. How dialogue is used of specific detail evokes of white or mood. These are the kinds of questions you can ask of any piece of creative writing. But keep the context of flash fiction in mind. Think about precision and concision off the short, single sitting experience of the reader. As a writer of flash friction, you have a particular control over the mood of your reader for just a few minutes, but you want to use that to leave a lasting impression. Reading flash fiction also helps hone something that's a particularly personal and hard to learn. When is a piece finished? What does that feel like? You get a nose for it. You can find great writing listed in your resources. Your exercise will be to seek them out and make a reading list. Share this with the group, comment and re common, compare and merrily steal from each other, Then seek out some or seeing in the next lesson and have you reading 3. What is the Novella-in-Flash?: Thena Valley in flashes the flash equipment of the short story cycle. Those collections of link short stories with narratives designed to tell a larger story. When Red is a group, these collections be their short stories of flashes can all stand alone, each individually containing a beginning, middle and end. There could be satisfactory right out of context began extra resonance in the group reading . These will give you a sense of how stories, characters and events interlinked, even if the scale is sometimes a little larger. The principles are the same. The novella and flashes to new and fresh enoughto welcome innovation. If you write one, you're in a position to help define the form, like their larger cousins, summer character late. Others moved the story to the foreground, while others keep it in much more discreet, somewhere loose and more poetic. All of this is true of fiction in general, but the ExcelAire here is that the stories themselves can vary in tone style, point of view, on form to a much greater degree. There's a lot of writing flexibility in this approach. Well, it's entirely feasible to write a novella and flash from start to finish you're far more likely to move from story to story. As one informs the other. There's no denying that to challenge producing anything from nine or 10 complete standalone stories that share link narrative talk to maybe 80 of them, but it also has its compensations. If you're wrestling with one story and it's temporary winning, you have the option to move to another one. This can be invigorating a release valve in my experience, because each piece informs the other when you return to it, there's a better chance of resolving whatever the issue was with the first story. When huge bonus of writing a novella and flashes that you end up with finished pieces as you go along these air pieces, you can submit online or in print entirely independently of the larger work in progress. I've had server of the individual pieces of flashing my forthcoming Normally and flash. Yes, I do like saying that published online, but as I still retain the rights of them and you should, my publisher is happy for that to be the case. If anything, the act is an advert for the book. On that note, it's worth bearing in mind that when every story will be its own standalone piece, not every story will be the hit single you want to send out into the world. Some of them will be album tracks. In writing these stories, you need to have an awareness of the other stories in the collection, either at the conception stage or through the development phase you will need to take controlling hand. I've listed some fine and current examples of the novella and flash on screen and in your resources, but I particularly want to draw your attention to some books from Rose Metal Price. It has a field guide to flash fiction full of great advice. It also has my own very end of the universe, which is a particular gold mine, as each of its five novella in Flash has an accompanying essay full of insight and inspiration. The exercise for these classes to expand your reading list to include novella and flash again share what you find with your fellow students. If a story or book or right or moves or intrigues you let the others know by the end of that process, you should have an entire course load of fine and often free material to learn from and enjoy. And don't worry, you get to do some writing soon 4. Starting from Scratch: since I said that a piece of flash fiction can be anything as long as it's under 1000 words . What's there to tell you other than start typing and stop before 999? Well, nothing. If the arch takes you, Flash responds well to inspiration to that breathless race to get everything down as quickly as you can tape or write or dictate. Don't pass up on those moments. Grab them if you can. At the bus stop are on the train waiting in line or in the lunch break. Write it down. There's a class on editing and rewriting later, and you can worry about making sense of it old there. In reality, writing isn't always like that. Waiting for inspiration is an unproductive business, so we look at some tools and tips to get you writing. The piece of flash fiction themselves are the building blocks of the novella. You may be coming to this part with a blank page, not having decided what to write, or you may have some pieces of flash in mind that you feel could be part of something bigger. We get to using pre existing work in the next section. Let's look at the blank page scenario first. How do you kickstart a piece of writing? The true but unhelpful answer is by using anything that works. Let's have a look at a few options. Free rating is great. Just start rating. Remove any filters and don't stop. Don't daters blurted onto the page or screen and see where it takes you. This is the closest to the state of mind in inspiration and opens the door to all sorts of new ideas. If you got a notebook, either a physical one are on your phone. Have a rummage through that. See if there's anything that sparks a response in you. That's what you want, something that makes you feel snags your attention. Not necessarily an idea as such, by the way a notebook is like free money to a writer. Jack down any lines. You think of something I did. You see a line you here in the street, how a small child followed a speck of light like a cat. Over time, it feels up with all sorts of half forgotten things that you can revisit from a different angle. As a more experienced writer, some people use lines from poems, headlines online, prompt generators. What they see, why looking out the window of a car or train, taking anything they see as their first step. These air triggers and good practice, but best uses starting points, a photograph or painting, maybe one you have some connection to can be a great stimulation for a story. Can you see yourself in the scene? Can you think what the person is thinking? What are they doing? Can you imagine doing that? If going for a walker run helps you even better, open yourself up. See what clicks into place revisiting a time in your life. Your childhood, for example, can be fruitful. Think about details. The yellow bike you had when you retain the logo on the 10 fruit. They just don't make any more that your grandmother gave you after school every Friday. This is a form of research, and that's something that in itself can be used to generate work, investigate something you're interested in, see what stairs is. You read or watch or talk to people. If there's a topic you want to write about, think about the smallest element that refers to that If competition is something that stars , you think about a chess breaking the tape in a running race, a tree stretching to be higher than the others. It can be an image our characters feeling are just a mood. Something to get you started more mechanically. Get a sheet of paper and write a word, a character, a scenario. Draw a line from that and write another using whatever connection you like, realistic or emotional. Draw a line from either of those words to another. Make links spot conflict. Ask what if, which is a technique in itself. Ask what if off anything. And this is one time where the more stupid the question, the better your brain will be short circuited for an instant and something new. Sleep scene. Alternatively, since you got your crayons out, write a word on one end of the page, then another. Its officers on the other end think about how to get from one to the other. How many character our world have to change. What might they have to do to move from one state to the other water? Who might resist that change? Is there a story there actually don't even worry about that. Is there a moment there something This journey this change pivots on rich to poor, happy to side, broken to healed. In all of this, you're looking for moments, images, emotions, single elements to build your story around. Ask questions of the image. Quane. Where who, how, most of all, why be very free with your words of the stage trying out to censor? This is about gathering, capturing, finding the ingredients that would become your story. By the way, any of these could also be the track for your whole novella. Not just one story, but many bounce one of these single elements against another. Having to core ideas in the story is a good thing. Not many more fit in a flash for the exercise and going to ask you to use whatever technique you like to generate. A new piece of writing any length is fine. With Shorter is easier for your fellow students to read. At this stage, you can develop it later embraced the idea of a first draft no needs polishes or editors were at the idea stage here. Even if you have something ready, try a new piece. I think it's worth doing. It may not be the piece you continue its that your coal, but if very least, you'll have something to work with. In either case, if you have a core idea for your novella a guiding principle, you can use this to steer your choices but not to limit them, but also like to know what technique you used to generate the writing, something based on the suggestions above or something else entirely happy writing. 5. Build on Existing Work: another approach and one that's well suited to the novella and flashes to look at what work you already have. These could be existing pieces are notes about people or themes, times or places you have more to say about. They may not be in the form of Flash or a novella. They could be a short story, a long story, a lot of notes as well as giving you raw material. Thes stories looked at in this light may tell you a lot about your writerly obsessions. Your interests. There are many ways to break those down into chunks of work to put them side by side, see how they react to each other, what new ideas they trigger. Mechanically, it may be useful to write each title on a post it aren't. Index carried us on the electronic equivalent, where you can move them around on the wall, the floor on your screen. If you have a short story that's not quite working or even an existing piece of flash, have a read of it as a reader. If you have enough distance on it not making notes, then pull up a blank page and write what stands out about the piece. What stays with you? I don't mean the writing, your no doubt wonderful pro style. But what the piece was about, what happened on one hand on what was the story on the other? How could you use these elements again, perhaps in a different context? Likewise, How about that character you like so much? Maybe not even the main character. What's their story? What might their story be if you shifted the world there in around a little, or move them to another city, time or planet? Remember, none of this damages the story or scavenging from you always have that. Assuming you saved a copy, you don't need to be restricted to what happened in that story. Now it's a statue have melted down to pour into a new mold or perhaps a lot of little flash size molds. Another approach, particularly for dismantling the larger pieces, is to look at the sequence of things that happened in the story. Could you explore those further into separate scenes into pieces of flash? Look at the gaps in between using your original stories, the spying. Can you add layers? Storylines delve deeper. However you sift through your work, you probably find a lot of these ideas are contradictory. That's fine. This isn't time to shut anything down. Everything is possible at the start of any project. Decisions will have to be made, but that's after you have a piece of writing to work with. You can build out from them when you have them. Look for commonality and look for gaps. Don't worry about point of view, voice or even format this stage. What you want is something that will tie these together a storyline, a theme that can evolve a period of your life. You want to examine a character in a situation for the exercise, Break a story into at least three pieces, either by cracking open a larger story of are finding ways to expand a single idea. These could be the plan for the separate pieces of flesh, or you can go straight into writing. That's often where you work out what you really mean, as not everyone would have worked lying around, have supplied a story of my own called ties in the resources. It's a simple piece, but think about it. If it was yours, how you might go about expanding it into a series of stories. Some of the places to split it and expand. It might be obvious, but think beyond that. What stories would you add? What might you juxtapose in the elements of this story with? Of course, if you have something of your own that you can use, use that please feel free to share happy writing. 6. The Words: Theo words on the page screen the reader, the audiobook to be the best ones you could have chosen the ones that best tell the story. Engage the reader, paint pictures and all the other things we want his readers. This is true of all fictions or limit myself to those that loom largest in flash fiction. A great opening line is always a positive, but a great opening paragraph of Chapter might be good enough in a novel. The opening and closing lines are particularly important in flash fiction, if only because there are a larger proportion of the piece. You want the opening line to do as much as it can to attract the reader to draw the main. To intrigue them to set the world up, established the voice of the peace, make a promise as to what's to come. You don't want to waste time on any of this. Think in terms of words, not sentences in the in the body of the peace. You'll develop that opening, but you want to make the development fresh and surprising, while still believable and relatable in the context of your story. World again, every word, every image of vote has to earn its place. Ah, well placed, detailed, specific and true carefully chosen Comptel the reader. More than 10 lines of description. You plant the seed of change in this section. The magnitude of this change depends on the story of telling, but a tiny shift in a character's point of view. Is Justus, valid as they're sacrificing their life for a cause in storytelling terms. By the way, this seeding of the seemingly inevitable is often done on the 2nd 3rd 5th draft. After you know how the story ends, you create the illusion it was always there as a favor to your reader. There's often not enough time for a plot to drive the story as such. But if a character can undergo a honest, plausible transformation, however small, this is a narrative. By the end, you want that change to have occurred. That thing to have happened, the world have shifted. The end line doesn't need to be a twist and probably shouldn't be unless one occurs organically. But if it can throw a new light on what's gone before, then that's worth exploring. Try things, push characters and situations further than you might be comfortable with you can always come back. The opposite is true as well. If things are getting too operatic or the writing is getting a little pretty for your taste , take a section. Go all Ernest Hemingway Short, sharp sentences where the subtext does the work he rolled linked flash fiction. By the way, you can sift through the mess you make, getting it all down later to see what treasure it might hold. The joy of flash fiction is that you can try anything, make anything work. Each piece might have to be a strong as it can be, but you're not committing to writing with no punctuation for the rest of your life to having each line in the form of a cryptic crossword, taking the point of view of two traffic lights in low trapped on either side of the road. Have fun try things go somewhere different in your writing. Outside of all of this, perhaps the usual principles apply. Your story should be about something the reader needs to care to be moved intellectually or emotionally, or both. Both if you can do it without being over the quirky give character something distinctive in their speech there. Manner, something they do. It could be the detail that brings them to life. For a reader and for you, mind your interior life to get power to your characters, tweak it and twisted as much as you like. But if you're once obsessed with ring pulls, are counting starlings or running the length of your street in under a minute. Dig into that. The details can be great, but it's the sensation, the dry, how it felt to want that. That's what you want to find and to pass on to a character, even if their experience is very different to yours. Even if they live on Mars or in a fairy tale kingdom, bad things happen. People respond, if only by avoidance, and we find out who they are. Use all the senses. Get into your character's head. Stand where you have them standing. What do they see? Smell, feel. What is it like inside their skin? Are they feeling sick, horny, irritable, joyous. In that moment, you don't have to write it down, but it will be surprising if that knowledge didn't inform what you do right. In all, writing sensory detail is powerful in flash fiction, it has the advantage of being efficient. It puts the reader in the story world and is a great form of showing over telling trust that odd side Georgia character seems interested in. If for some reason you find yourself going into way too much detail about the pattern on the site of a cup, go with it. Maybe that's because the pattern is the same as Grandma used tohave. Or that you saw on a family holiday as a child in a long forgotten memory of a town you never knew you'd be, too for the exercise. Look at the piece you've written. What can you do to improve it? Line by line, word by word, that opening line that ending. What about sensory details? Can you give us more? Make the reader feel more? Make the words work harder? Come back and little C. Happy writing 7. Structure: structure is sometimes a dirty word in literary fiction, though for some writers it's fundamental. I don't feel like you have to pick a side on this. Like everything else. What works for you is the right answer. It might be when you get to a point where you feel a story may be emerging or when you've gathered together some of those building blocks, or even when you are drafted to in any of these could be a good time to think about structure. What shape do you see your novella having? Do you want to define a shape that the type of structure you want would inform your decision making, usually in helpful ways. For example, when deciding when and where your flashes are set, it could be useful to know where they sit in your story arc. Are you setting the scene? Introducing characters are the world knowing that might result in a very different story than if this was a climactic showdown off whatever sort are you, Amy, for a loose patchwork? How you make this more than just a collection? Not that there's anything wrong with a collection. It can be something simple dinosaur by Adam Locke used the back and forth structure, moving between two characters in alternate stories. Simple and effective, at very least for your own story. Outline in a few lines. What the big story our concept would be. What do you think your book is about, what you want it to be about? No, down the scenes of scenarios that would be likely to be in that story. These may not be the scenes you end up with, but how many of those could be stand alone stories The day your uncle took you to the fair , the morning you robbed a bank the moment you saw the man you would love forever. Is there a scenario or image that springs to mind? Note any of these. Follow the threads, right. What comes to you? The fragment you write gives you something to work on. It could be that it's a first reaction that you need to get out of your system. Are could hold the core of another piece. Do this for each element seen moment and you will begin to have a Siris of starting points for the stories that make up the book. Not all of them will make the cut. Some of them would subdivide into sequences of stories. Others would be single moments the morning rob. The bank might break down into planning the highest, carrying it out with the escape or not. If your story has a linear narrative over short time period, keeping things straight may not be an issue. If that's the shape of your story remembers. Take advantage of the format by not getting bunk down in linking up what would be scenes or chapters, but can stand alone as flashes with less explanation. If your timeline is over a period of years or decades, even how you express the time has passed in discrete stories. In my novella, I may have wavered over whether to cut a line like before my husband died, but I suspect a few readers may appreciate that I left it in. In three Sisters of Stone, Stephanie Hutton introduces each piece with the date simple and helpful. You can use period details in the standalone story. This is the power of specificity, which is pretty much always a good thing. In terms of the overall novella. It lets the reader know where they are and when they're deliberate. Repetition is one useful tool in how to make a window steak. Charmaine Wilkerson refers to a certain event more often in flashes than she might in the chapters of a regular novella. It works well both in the standard loans and the overall arc of the novella and anchoring event, for example, of Grandma's Funeral. Your graduation when the part burn down these can help. What happened before, during and after that could be made clear with the smallest of references. These are the types of signifier you might use in any story, but the ones you choose conduce double juicy, enhancing the story there in but also echoing another event. The reader highs or will encounter point of view has a structural aspect. Perhaps the flashes for one character in the story would be in first person, but everything else is in third person. This creates a hierarchy without ever telling the reader overtly. It also helped orient the reader as to who this particular flash concerns in a relatively subtle way. None of these issues need him you in, but using them consciously can solve some problems and for you up to shape the stories and the novella in a Controlled Way. Sofie Van Loon says she was near the end of writing bottled goods when, with some resistance, she did a Hollywood style be cheat for her story. Some elements of conventional structure were already in place, but knowing that others weren't allowed her to make informed choices for the next draft. Don't be afraid to give those or something like them ago. If you haven't already, they at least force you to look at your script through fresh eyes. Always a good thing. I might even solve a problem or two you've been tussling with for the exercise. Look at your three pieces are notes for peace is what order they change. It wants the impact on the stories themselves. Do you need to move some information around? Smuggle it in somehow, go further if you feel like it, map out the beats of your potential story. If that's not a familiar concept, think about a simple three or five X structure. If that brings you out in hives and break a story into beginning middle and end, what have you changed his story? It is try to make it Maura thriller a mystery or remains anything but what it is. The pieces you knocked loose by shaking your work around would give your layers of texture you might never otherwise have found. Have fun breaking things. Tell us what you find happy writing. 8. Rewriting & Editing: once you're writing, to be precise, evocative, fresh, nuanced, engaging on all those wonderful things we want his readers. And over time, these things do come more easily on the first pass. But you still need to rewrite. Need to edit. For most of us, a dissing in creation are different states of mind. You don't want to stem your creativity to early those little mistakes. Odd word choices Chains of Thought can be just the thing that bring your story to life. Your subconscious works faster than your pain are your keyboard. Let it drag you along with it afterwards. When the words are on the page, you can remold them. Rewriting is where you examine the decisions in your first draft and choose which elements to enhance, which to remove. Re writing and editing helps to tighten up your work, but it can be difficult. What to caution went to stop may not be clear, and you may change your mind more than once during the process. It's time to test what's missing. What's nice writing but doesn't help the story. Dialogue and flash should be pared down, so it moves the story forward and reveals character. It sounds believable without being like, really speech with all the arms and arms, and repeat and have finished thoughts. Powerful images and crisp sentences don't count if the narrative isn't there to give the whole thing purpose does. Your story makes sense to a reasonably attentive reader. Do they have a fair chance to know are in for what you want them to? Getting someone else to read your work can help with this when thinking about ending and author should always consider Will my reader be satisfied unless you're going for a particular effect? You want clarity and freshness, and you're writing in the images you plant in people's heads. In short fiction, the best word is the one that gives clear information. But also a layer of mood are subtext. Adjectives and adverbs can get a hard time, but I don't think they need to be completely forbidden. Just use sparingly in prose terms, adverbs have to be fresh and precise. Likewise, specificity is hugely effective. A concrete detail reassures the reader grounds them in the reality of the story. World creates an image in their hate test every image to see if it works, if not improve it or lose it, you specific information to show instead of tell. They may have to be exceptions to this simply to keep the story moving. But given the choice, go over the detail that plants a concrete image in the reader's mind. Time to test that opening line again. Can you make it doom? Or to hook the reader hard and keep them like a ways with the last line? Could it stunned the reader? Make them cry or laugh? Turn the whole story on its hate? Maybe not. But aim for that. You're unlikely to have continuity errors in a piece of flash, but that can easily creeping over the course of a novella. Read your work out loud. This is a good practice. Whatever you're right. You'll find things you've missed when you try to say them out loud. Many people also prefer to print out their work again with a view to freshening their gaze on, making it easier to scribble corrections. Writing is proactive, conjuring words and images where there were none. Rewriting solidifies this magic expands on some decisions, cuts away others. Editing is a response to all that creation, but it's not. It's opposite. It's time to refine your work to support your earlier efforts to reach your goal. You're their software tools, like pro writing aid order Chris in the Hemingway up, and they all have their uses outside of highlighting actual grammatical issues. They force you to look at your writing in a fresh way, and that's always a good thing. You do have to be careful not to become a slave to them, which is surprisingly easy. Their tools and should be used as such. Working with a human editor is generally a more thoughtful and insightful process, but they're not exclusive practices. In fact, getting your work into the best possible shape before working with an editor is both professional and practical. Consider your workflow. Your practice may vary, but the default to produce the whole of then review it. Replacing flash words with more vivid ones, reshaping descriptions and rebuilding phrases, closes, sentences and paragraphs works well. Your exercise is to rewrite an agent at least one of your pieces of flash, to take away the safety net of being able to say it's only a draft to say this is finished . I look forward to reading your finish pieces, happy rising 9. What Next?: way we've looked at writing the individual pieces of flash, and we thought about gathering them together as a novella in Flash. How do you continue with that work? My advice is to keep making new brakes more than you need. Think about the larger story, the character. If you're building your story around one, whatever the spine of your novella is going to be, go wide, then go deep. By that, I mean you may write a piece of flash that doesn't make the cut, but within it there would be something you can use a concept, a beast, a character note or a detail. You can fold into one of the stories that does end up in the book. Maybe try submitting some pieces. There are some suggestions in your resource packs about how to find places to do that. Keep going. Let me know about your journey. Let me know also, if there are other elements you'd like to look at, things you'd like to go into more detail and, of course, happy right thigh