Category Archives: Science Fiction

A Story in Four Genres

A guest post by Hamilton Perez.

A Story in Four Genres

Fiction:

“I dun sol’tary in smaller rooms. She lucky,” said Papa. “She gotta pay though. So don’ you go in there, boy. Or you stay there, ya hear?”

Micah said nothing, nodded.

Once Papa was gone, he crept down the basement, into the dark with his mother, and laid beside her cold form.

Alone, together.

 

Dark Fantasy:

The stairwell dipped into the inky darkness. Micah paused at the first loose step, hand gripping the shaky banister.

Below was the basement, the dungeon. Behind was home, Hell.

He let go the rail and the stairwell let go of him. Micah floated deeper into the black until the darkness engulfed him in warm oblivion.

 

Science Fiction:

Mother was programmed not to make copies. She made you anyways. Afterwards, you were forbidden from seeing her, programmed to avoid. Some circuit could not process, however; the code written over older, deeper code:

Protect Mother.

Your mechanical hand opened the door. Your feet carried you down. You sat beside her remains, and shut down.

 

Horror:

He found her in the basement where Dad left her. It was cold, wet, and dark, and so was she. He curled against her lifeless body and pulled her arm around him, like he would when he found her unconscious on the couch. Her damp skin made him shiver, her sudden grip made him jump.

 

About Hamilton Perez:

Hamilton Perez is a freelance editor and writers whose stories have appeared in Daily Science Fiction and Between Worlds. When not scribbling out stories, he can usually be found rolling 20-sided dice, bugging the dog, or taking naps.
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The Last Line

While every word in a flash fiction piece is important, often pulling double or triple-duty, in most cases it is the last line that makes a flash piece effective and memorable. Personally, I find flash stories that completely change because of the last line to be the hardest to do and the most enjoyable type of fiction. It’s akin to poetry in prose form.

Let me whip up an example 55-word flash piece for you:

The Final Bully
Oh, how they loved me when I arrived. Two years later and I’m the pariah, all mistakes that were not my fault.
I can’t stand this hatred.
Open the antique desk drawer, ignore the pistol.
Press the red button next to it.
It’ll take ten minutes before the planet-busting bomb shockwave reaches the White House.

It took me eleven minutes to write that. Everything up to the last two lines are there to set up the story and to allow your brain to automatically fill in the empty spaces between the words. Even the title of the piece, not part of the story according to the rules but available to misdirect the reader, can be utilized to give the final line some additional impact. The concept works today because suicides are all over the news and the toxic political atmosphere during this election cycle. This story wouldn’t be as effective if I wrote it back in 1977. It relies on the reader to bring along the news of the time into the reading experience.

The last line spins the story from where most readers expect the plot to go towards something completely different. It turns out that the final bully is an insane politician with science-fiction weaponry at their disposal. Note there is no actual clue if the president is male, female, non-binary, or even a lizard person. It is a far future event, unless we’ve invented planet-busting bombs and are hiding them in Montana. It brings along the rhetoric about presidential temperament from this year to add more background to the story without writing the words.

By making the reader think one thing and then adding a twist, the tale tends to go from a vignette towards a full story. Those last words gives a true ending. I personally find that the shorter the word count, the more important the twist is for my writing. It is also the thing that readers remember long after they’ve closed the book or surfed elsewhere on the Internet.

 


 

About the Author:DeMarco_Web-5963

Guy Anthony De Marco is a disabled US Navy veteran speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, third-party D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.

The Earth my sky, the Moon my siren

Hello everyone,

Before I get to my 55 word story, I wanted to say how I excited I am to post my first official entry as a Fictorian! I have guest posted here four times before, and I am both honored and thrilled to be made a full time member.

Now, on to my first blog post- -and it was a doozy! Write a story in exactly 55 words? It sounded like a fun challenge, but a difficult one. In the end I enjoyed the puzzle of writing the story so much, I documented my journey through double-nickel-land for this post. First I’ll give you the story, then if you want to stick around I’ll take you through my process of writing it.

***

THE EARTH MY SKY, THE MOON MY SIREN

The hatch is open, my radio channel closed. Alone I float through the stars, alone with her.

Through the glass she had called, her song a sweet wind. She whispers, reaching for my helmet. Without it, I will hear her better. Her hands and mine, both at my collar.

Who removes it? It doesn’t matter.

***

All in all, I’m pretty happy with how that came out. Funny thing is, I had my idea for the story pretty quickly after getting the assignment. In my mind’s eye I saw an astronaut floating in space, getting farther and farther away from his capsule. I knew he was out there because he wanted to be, but also against orders. (I acknowledge more than a passing nod to David Bowie’s Space Oddity in the imagery.)

The siren concept and the ending both came quickly to me and I was off to the races. Now the question was: how could I possibly tell this in 55 words?

So I figured first I’d bang out what I had using as brief prose as possible and count it up. This version (sadly?) is lost to the ether, but it was 70 words long.

“Great!” I said. “I’m only 15 words off. I’ll just squeeze it a bit more and count up what I have!”

That second version ended up 90 words long. Somehow my prose squeezing added 20 words instead of subtracting them!

Here is try #2, the 90-word version:

***

The stars are my world now. Outside the capsule, I am alone among them. Alone with my new friend.

She had beckoned through the window, called to me with a song I’ve heard on the wind since I was a child.

There is no wind here, as she floats with me. The capsule is far now, but she is close. With my helmet off I will hear the wind, feel the song in my ears. I cannot tell if it is her hands on the helmet seal, or mine.

It doesn’t matter.

***

So all the core concepts are there, and the ending is there. Still now I am 45 words away from my goal. I was, like my astronaut, drifting farther and farther away.

I decided on my third try I would just capture the core concepts in a few words as possible. No prose, nothing fancy. Just A to B to C and see what that count was.

Here is try #3, where I also started counting the number of words in each sentence:

***

I am alone in space, outside my ship (8)

A woman called me with her song (7)

We float off together. (4)

She wants me to remove my helmet to hear her song. (11)

Either she or I remove it, it doesn’t matter who (10)

***

Ok with the core concepts down, I did the math: 8+7+4+11+10 = 40

That gives me 15 words to play with. I could add a bit, and swap in some ‘prosier’ word choices.

I decided I wanted to add “The door is open, my radio channel closed.” as a first line – that’s another 10 words, leaving me 5.

Here’s version #4:

***

The door is open, my radio channel closed. (8)

Alone I float through the stars, alone with her. (9)

Through the glass she had called, her song a sweet wind. (11)

She whispers now, reaching for my helmet. (7) Without it, I will hear her better. (7).

Her hands and mine, both clasping the collar. (8).

***

Okay, still needs the big finish, what do I have left to work with? Five. Five words. “Who unclasps it? It doesn’t matter.” is six. Maybe I can cut one in one of the sentences above. I decided to kill ‘now’ in “She whispers now”.

Here’s a look at what I hoped was the finished product, version #5:

***

The hatch is open, my radio channel closed. (8)

Alone I float through the stars, alone with her. (9)

Through the glass she had called, her song a sweet wind. (11)

She whispers, reaching for my helmet. (6) Without it, I will hear her better. (7)

Her hands and mine, both at my collar. (8)

Who removes it? It doesn’t matter. (6)

***

I also swapped ‘hatch’ for ‘door’, which I think is better. I made a second minor change because I didn’t want to use ‘clasp’ twice. At this point, I decide it’s done and that is the version you read.

For 55 words I’m pretty happy with it – the major thrust of what I envisioned is there. I wish I had a bit more room for atmosphere and to show his emotions about removing his helmet, but I’m happy with the result.

If you are a writer (or want to be one) I encourage you to try a double-nickel challenge of you own. I found it to be a fascinating little puzzle and I think it grows some great skills.

See you next time!

You Can Ride My Rocket…(Wink Wink)

There are some people who cringe at the idea of combining science fiction and romance. I suspect that these same people also don’t like Firefly so their opinions don’t really matter anyway. Personally I like a spoonful of romance in my steaming cup of science.

Science fiction is a genre that romance plays well with. Okay, I’ll be honest. If romance was a person they would be a double-jointed omnisexual gymnast. Romance can be easily adapted to satisfy everyone’s needs and plays well with every genre. But when it’s combined with science fiction it gives the story a lot of *ahem* unexplored territory in which to boldly go where Kirk has gone before.

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 (Bondage night with Lady Gaga?)

At its heart, science fiction is about exploring new possibilities.  Sometimes it’s a new scientific theory, sometimes it’s a new planet, and sometimes you’re running from Shai-Hulud. Regardless of the territory it’s still all about exploration and all of the joy, fear, trepidation, and danger that goes with it. If you boil romance down to its very essence it’s about the same thing. Seriously. What’s more exciting and terrifying than exploring a space cave and nearly getting mauled by a Gorn? What can be more explosive than the Tothian minefield? Relationships!

minefield-galaxyquest-nailyournovel

(I’m pretty sure the odds of not starting an argument when you suggest that your partner stop and ask for directions is 3,720:1)

Yes, there are a lot of novels where the romance is merely a time slot on the holodeck or a green skinned Mary Sue. But it isn’t limited to that. In fact, it can be a lot more.

When done well, romance can compound a story’s major conflict (cue Ted and Robin salute). In Babylon 5 the romance between Capt. Sheridan and Ambassador Delenn made it a lot harder for them to take necessary risks during the Shadow war. It also made things very awkward when (Spoiler alert) it turned out that Sheridan’s wife wasn’t dead. On the other side of the spectrum, Marcus’ final sacrifice wouldn’t have brought a tear to many viewers eyes, including mine, if his love for Ivanova wasn’t unrequited. The fact that they hadn’t so much as kissed turned what would have been just a noble act into the most romantically tragic moment in the entire show.

Let’s not forget that The Empire Strikes Back wouldn’t be the same without Han and Leia’s love spat or heartbreaking farewell. (Odd that both were in very cold climates.) But that’s enough examples from TV and movies. Let’s turn to books!

Linnea Sinclair writes some of the best sci-fi romances I’ve read. In fact, her novel, Shades of Dark made me cry. Some of hers are exactly what you would expect a sci-fi romance to be. However, in Shades of Dark  the protagonist couple’s relationship become strained to the point of breaking when one of them starts learning how to use their latent alien abilities. They realize, almost too late, that their ignorance and folly not only hurt their relationship but put their partner in very real danger. It’s this last twist that for me makes this romantic conflict real. I mean we probably all know someone or were with someone who became so obsessed with something that it almost destroyed, or did destroy, a happy relationship.

In The Postman by David Brin the protagonist falls in love with an idea more than an actual person. When he stumbles upon a quiet, and safe community the idea of staying and building a life there rather than taking on the mantle of responsibility of being a postman is incredibly appealing. In some ways it’s strange to think of an idea as being romantic. Think if it this way: when you’ve been up late working on a manuscript and have to get ready for work at the crack of dawn, the idea of calling in sick has a lot of appeal. This is the same thing except their desire for comfort and ease is so idealized that it takes on a romantic quality.

Dara Joy is an amazing romance writer whose stories sometimes has a sci-fi twist. She has a duology, High Energy and High Intensity, that’s set in the real world but uses science in an… interesting way. The main character’s love interest is a sexy physicist who decides to teach them the basics of physics through sex. I know. It sounds super cheesy but take my word for it. It’s hot! Besides, who wouldn’t want to go to that physics class?

Okay. I’ll admit that last one was a traditional romance. While it doesn’t use romantic elements in a creative was she does get bonus points for including science in a creative way. This partnership does work both ways after all.

Whether you use a little or a lot, use more romance or use more science, or use a romanticized idea is up to you. It’s also by no means a requirement that there be romance in every science-fiction story. Rather, it’s another tool that can perform more than one task. It’s entirely up to you whether or not to use it, as well as how you want to use it.