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Characteristics of flash fiction
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When I think of the word flash, I think about a bright light sparking for a quick instant of time. When I think of the world nonfiction, I think about biographies, almanacs, journals, diaries, documentaries, and scientific papers. If I put these two words together, I immediately think that flash nonfiction is a brief type of nonfiction but what exactly is flash nonfiction? What makes up flash nonfiction? Where and how did it originate? How does it compare to other types of nonfiction? And, where can I find more? After reading The Rose Metal Press Field Guide to Writing Flash Nonfiction: Advice and Essential Exercises from Respected Writers, Editors, and Teachers edited by Dinty W. Moore, those lingering questions involving flash nonfiction can be touched upon.
Define Flash Nonfiction’s Distinguishing Characteristics
Defining flash nonfiction can be very difficult because “literary writing is an art form, and no one definition can ever successfully pin down artistic production or product” (Moore XXIII). Therefore, in order to identify flash nonfiction, distinguishing characteristics must be highlighted. “Some components are truly unique – for instance, the extreme concision – while others – voice, point-of-view, structure – are familiar from other forms of literary nonfiction but often function differently” (Moore XXIV).
The brevity of flash nonfiction is a characteristic of flash nonfiction, but this doesn’t necessarily mean that it sets flash nonfiction aside from others. How a writer uses his briefness within the story is. Because it is short, the writer must illuminate the reader, and get the reader to feel. Therefore, word choice is so important in flash nonfiction because you have such a minute number ...
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.... Ed. Dinty W. Moore. Brookline: Rose Metal Press, 2012. 82-85. Print.
Silverman, Sue Wiliam. “Writing Through Innocence and Experience: Voices in Flash Fiction.” The Rose Metal Press Field Guide to Writing Flash Nonfiction: Advice and Essential Exercises from Respected Writers, Editors, and Teachers. Ed. Dinty W. Moore. Brookline: Rose Metal Press, 2012. 70-75. Print.
Sinor, Jennifer. “Crafting Voice.” The Rose Metal Press Field Guide to Writing Flash Nonfiction: Advice and Essential Exercises from Respected Writers, Editors, and Teachers. Ed. Dinty W. Moore. Brookline: Rose Metal Press, 2012. 57-63. Print.
Sukrungruang, Ira. “Bye-Bye, I, and Hello, You.” The Rose Metal Press Field Guide to Writing Flash Nonfiction: Advice and Essential Exercises from Respected Writers, Editors, and Teachers. Ed. Dinty W. Moore. Brookline: Rose Metal Press, 2012. 93-99. Print.
Writing with Readings and Handbook. 3rd ed. New York: W.W. Norton & Company, Inc., 2013. 52-57. Print.
"Unit 2: Reading & Writing About Short Fiction." ENGL200: Composition and Literature. New York: McGraw-Hill, 2011. 49-219. Web. 19 Apr. 2014.
Walker, Alice. "Everyday Use." Literature: Reading, Reacting, Writing. Ed. Laurie G. Kirszner and Stephen R. Mandell. Fort Worth: Harcourt, 1994.
Orenstein, Peggy. “What’s Wrong with Cinderella?” The New York Times Magazine. 4 Dec. 2006. Rpt. in Writing Communities and Identities. Ed. Cynthia Debes et al. 6th ed. Plymouth, MI: Hayden-McNeil Publishing, 2009. 50-54.
“Short Stories." Short Story Criticism. Ed. Jelena Krstovic. Vol. 127. Detroit: Gale, Cengage Learning, 2010. 125-388. Literature Criticism Online. Gale. VALE - Mercer County Community College. 28 February 2014
The story “ Idolatry” by Sherman Alexie is an example of flash fiction. It starts where Mary, an Indian, waited many hours for an audition without being impatient because her surroundings involved tasks that take a long time to finish. After a long time waiting, she got the chance to show her talent, but she was not expecting the response of the judges. She only sang the first verse of the song and got stopped. They told her “ You are a horrible singer” and “ never sing again” this kind of comment ruined her dream of becoming a singer. She learned in a hasty manner that her entire life was full of lies from her loved ones.
Ross, Michael E. "IN SHORT: NONFICTION." New York Times, Late Edition (East Coast) ed.Aug 14 1988. ProQuest. Web. 2 Mar. 2014 .
Hathaway, William. "Oh, Oh." The Bedford Introduction to Literature: Leading, Thinking, and Writing. Ed. Michael Meyer. 4th ed. Boston: Bedford, 1996. 593-94.
Tan, Amy. "Two Kinds". Literature, Reading Reacting,Writing. 5th ed. Ed. Laurie G. Kirszner and Stephen R. Mandell. Boston: Heinle, 2004.
... In Teaching Short Fiction 9.2 (2009): 102-108. Literary Reference Center Plus. Web. 2 Apr. 2014.
Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. 3rd Ed. Studio City: Michael Wiese Productions, 2007.
Nottingham-Martin, A. (2014). Thresholds of Transmedia Storytelling: Applying Gérard Genette’s Paratextual Theory to The 39 Clues Series for Young Readers. In Desrochers, N. and Apollon, D. (Eds.), Examining Paratextual Theory and its Applications in Digital Culture (pp. 1-419). Hershey, PA: IGI Global.
Ray Douglas Bradbury became interested in books and writing at the age of seven and aware of the "fabulous world of future and the world of fantasy," through the arrival of Buck Rogers in comic strips and the magazine Amazing Stories. Thus begun his journey into a life of fantastic and futuristic types of literature that would be synonymous with his name (Kunitz, 1955, p. 111).
The warm summer breeze lifts your hair from the nape of your neck. The tree’s leafs rustle above your head, as you sit at the foot of their tree. The edge of the pages from your latest fiction novel flicker as you hold the page down to continue your viewing of the world their author has created for you to read. You smile when the protagonist has a small victory, cry when they fail, and even laugh out loud to the jokes they tell. You are in the world made up just for you; you are in a land of fiction.