Tag Archives: short story

The Lines (Very Short Story)

Decades away from a colouring book, he paused the pencil above the page’s lines of demarcation. He questioned: inside the lines or out?

In the light of last week’s post, Colouring Outside the Lines, I wrote this piece of twitfic.

How would you tell a story about learning something new? Write it in the comments.

The Tap (Very Short Fiction)

He watched the tap dripping, spanner in hand while his thumb rubbed against his wedding band. To fix the leak would destroy the charm.
Twitfic, twitter fiction, is a challenge to write a story in 140 characters or less.
Is it really a story?
Can you have a beginning, a middle and an end in such a tightly defined space?
It’s taking a snapshot of a moment within a narrative, a held breath implying the breadth and depth of the narrative within a few short sentences.
Last year I tried my hand at a few, The Slap and Polaroid Memories, and will continue to write and post them here on the blog.
Giving parameters to your creativity can liberate your thinking and provide new opportunities to produce new work.
Have a go at writing one yourself.
Post them in the comments.

Contrails

Contrails

Jack wound down the car window and felt the gush of summer air strike his face. His hands held onto the sill as he edged his nose closer to the invisible barrier between the interior and exterior of the car.

In the winter he would press his hands to the glass and bring his nose closer, but not quite touching, so he could watch the condensation form around his fingers. Taking a deep breath he experimented with different exhalations, from close, pursed lips to wide, open mouth and watched it condense on the glass and evaporate.

The summer wind grabbed at his hair and ruffled it with wild abandon. Jack was forced to squint into the force of the wind as he approached the event horizon of the windowsill. He observed the muted scenery through half-closed eyelashes, frequently blinking to push irritants out. The tears trickled out of the corner of his eyes and he felt them dry in the warm air.

“You ok back there, buddy?” his father asked from the front seat.

“Yeah, Dad.” Jack withdrew his face and let the wind continue to rush past.

Across the sky a miniscule spot moved, tearing the blue, leaving a scar of white. Jack followed the scar backwards until it grew broader and broke up, absorbed by the blue.

“Dad, are they clouds coming from the back of the plane?”

“Sort of. They’re called contrails.”

“What are they?”

“Contrails are clouds formed by the exhaust from the engines or from the change in air pressure.”

Jack looked back at the receding white scar, raised his hand, squinted through one eye and held the aeroplane between thumb and forefinger. Dropping his grip on the plane Jack extended his hand out of the window and let the wind catch in the cup of his hand. His arm rose and fell, a weightless object supported by the movement of air.

Resting his elbow on the will he expanded his fingers, letting star systems slip through. The landscape formed a blurred universe, his fingers in focus, in sharp relief against the smudged greens interrupted by splashes of red, blue, white and black cars.

From the tips of his fingers he imagined contrails, forming slowly and drifting into the quiet pocket of air behind his hand before spun like spider’s silk into the slipstream behind the car.

“What’cha doing, Jack?”

“Learning to fly.”

Create Because It Counts

We create not for fame.

Not for money.

Not for recognition.

Not for glory.

Not for the praise of others.

We create because it counts.

This principle came out of an article on pianist James Rhoades, “Find What You Love and Let It Kill You” from The Guardian newspaper in the UK.

Create because it counts.

James put himself through an extreme, almost ascetic regime: “no income for five years, six hours a day of intense practice, monthly four-day long lessons with a brilliant and psychopathic teacher in Verona, a hunger for something that was so necessary it cost me my marriage, nine months in a mental hospital, most of my dignity and about 35lbs in weight.”

I do not connect with the extremism (yet I can see the validity in it if you want to take something as far as you can go) but I do connect with the emotional response he has when he has put in the time and practice to learn and master a new piece of music; I apply it to writing.

“And yet. The indescribable reward of taking a bunch of ink on paper from the shelf … Tubing it home, setting the score, pencil, coffee and ashtray on the piano and emerging a few days, weeks or months later able to perform something … A piece of music that will always baffle the greatest minds in the world, that simply cannot be made sense of, that is still living and floating in the ether and will do so for yet more centuries to come. That is extraordinary. And I did that. I do it, to my continual astonishment, all the time.”

This is what counts: the emotional connection in creating, and in mastering a skill.

It is about the experience of joy in any creative endeavour. The joy in folding an origami crane for the first time; completing a short story; learning a new chord for guitar; finishing a water colour painting.

Doing it because it brings you a sense of completeness and wholeness as a person.

We do not have to go to the same extremities as James but his encouragement goes further to explore the “What if’s…?”

What if we used our time more wisely? Spent less time wasted on social media and engage in a creative activity? Spent a little bit of money to start a creative pastime like painting or photography? Knit? Crochet? Took our phone, shot some footage and made a short film? Used our time to engage with others in a writers’ circle? Wrote the story or novel we have been aching to tell for decades?

What if…?

So many possibilities. So many options.

And we create because it counts for something.

It counts for the children whose father draws a new picture on their lunch bag EVERY SINGLE DAY.

It counts for the short story writer, novelist or picture book writer creating worlds for others to inhabit.

It counts for the musician sitting in a cafe playing her guitar to six people.

It counts for the grandmother making a quilt as an heirloom for her grandchild.

It counts for the child who discovers the joy of the world through the lens of a camera and documents his journey to and from school every day.

It counts for the dancer at the bar, perfecting a pirouette.

It counts because we need stories and art and music and film and theatre and dance.

Creativity liberates your spirit. It enriches who you are, and the people who engage with your work.

Creativity is a mentality of giving; giving to yourself and others.

Creativity costs in terms of commitment, of sacrifice, of dedication.

You create because it counts.

Your Life In Centimetres

You stood beside me as the workmen gutted the kitchen, stripping the carcass to its constituent framework. Twenty-eight years of old Formica and lino, wonky hanging doors, spilled food stains and enough crockery broken through accident and anger.

“Hey Dad, I’m Jonah trapped inside the belly of the whale,” you said waving your hands beneath the exposed timber beams.

You winced as a crowbar jammed into the doorframe leading into the dining room and levered the old timber.

“Please be careful,” you said. Almost an invocation and the workman stopped. You walked over to the bending wood and ran your hand over the names and numbers. My hand followed yours down the lists like a medieval scribe interpreting the sacred texts and pictograms.

I remember when it started, when you were a wobbly one year old, unsteady on her feet. Against the doorframe between the kitchen and the dining room I measured your life in centimetres.

On the evening of each birthday you stood with your feet flat on the floor and I placed a ruler on your head and scratched at the mark with a pencil. You slipped out from under the ruler at the first instance to compare it against last year’s mark. I reached for the permanent marker and fixed your height against the wall like the rising marker of a flood level.

When you were smaller you bounced on the balls of your feet, pigtails dancing in unison, the tape measure in your hand. You wanted to hold the end of the tape measure flat to the floor, looking up it extended towards the ceiling. Scrambling up, you watched me scribe your height onto the wall, writing the secret code shared between us on the wall.

“How high am I now, Daddy?”

“How tall are you now.”

“How tall am I now, Daddy?”

“One hundred and twenty one centimetres.”

Sometimes I would catch you measuring yourself against the wall in-between birthdays.

“Measure me today Dad because I’m taller.”

“It’s not your birthday.”

“I can’t wait that long.”

“You’ll have to.”

A resigned smile followed by a mental calculation of how many days remained until your birthday.

Against the markers the extended family was subjected to a heightist conspiracy: uncles, aunts, cousins, friends. And Gary Brown remains the tallest person you know and measured against the wall, even taller than your younger brothers.

Your mother refused to be measured after a certain age, convinced she was shrinking. Especially after you celebrated the day your line passed your mother’s. You even tried to stand on your tiptoes to prove you were taller than me when you maxxed out at nineteen.

You charted and graphed the growth of you and your brothers for a maths assignment, logging the differences in height from year to year; the growth spurts and the gradual slowing down.

And when I thought you were too old to care about measuring your height, when your friends became more important, you sidled up to me as I was sitting in my chair working on the computer. In your hand was a ruler, pencil and permanent marker. You kissed my forehead, took my hand and pulled me towards the doorframe and said, “You have to measure me, Dad. It’s my birthday.”

Now the wall is flaking and peeling in a thousand layers of sunburnt skin. Or pulled up by the Batlow Red Delicious apple stickers (your favourite) applied around the doorframe. A trail of two hundred and twenty six minute green stepping stones traversing the frame beginning at the floor, following the markers of your height and extending beyond until it came back down the other side of the frame. It annoyed your mother but she relented.            

“At least she’s eating fruit,” she said.

This is your life, measured in increments, dated and catalogued until you were taller no more. This is my photo album, my filing system of memories.

At each evening meal you sat on my left hand side to see the television better but I watched your face and matched it to the lines on the wall.

And then there’s the photo on your wedding day, crouched beside the doorframe pointing at your first height marker. The freckles are still there, I know they are, hidden beneath the layer of makeup. You played dot-to-dot on your nose with a purple texta when you were seven. You scrubbed your face until it was red and raw. Going to school the next day you were so embarrassed about faint lines evident on your face.

Taking your hand from the wood the workmen continued and you waited for the delivery of the totem.

You cradled the wrenched wood as you would a child. Moving out of the noise of the renovations I followed you outside where you leaned it against the wall near the back door.

“It won’t be the same without the old height marker there,” I said.

“It would be nice if you started a new one,” you said. “For the grandchildren.”

You circled your stomach with your hand, looked at me and smiled.

Give Me Your Hands

Checking her watch in the dim light of the community theatre, Louise approximated the ending of the performance and gauged she would miss seeing her favourite band. At best, she could catch the last couple of songs of the set. Looking back down to her notepad with the programme folded inside the back cover, she skimmed over her notes.

In the shadows of the stage, a solitary actor moved towards a cardboard boulder. Sitting down, the stage lights focused on him and Louise watched his thick tongue protrude slightly from his mouth and move from side to side as he scrunched his eyes. His face took on a look of concentration, trying to recall information. He looked at his hands and then off stage, the pause lengthening causing the audience to shuffle in their seats, as he failed to remember the final lines.

A quiet prompt whispered from the side of the stage caused a wide smile to appear. Short hands and stubby fingers repositioned the ivy wreath crowning his broad and listing forehead and began.

If we shadows have offended,


Think but this, and all is mended,


Louise stopped scrawling notes for The Hopetoun Chronicle’s entertainment blog.  She had come along to the opening night at the invitation of the director, in order to spruik the performance. Shuffling back in her seat, Louise replayed the earlier mental conversation with herself.  Work was work and some things needed to be done to move up the journalistic ladder.  Amateur theatre was a rung above school theatre and musicals.  She had scorned the black skivvy and beret brigade at college, concluding that it would be ironic to not use a silencer should you need to kill a mime. 

That you have but slumber’d here


While these visions did appear.

Titania was a vision, entering the stage in a wheelchair, festooned like a Mardi Gras float. She pushed by a retinue of fairies and elves with the disjointed gait of legs like insects, or a pudgy waddle or felt their way across the stage with the aid of a long white cane. There was a party in the carriage of the Fairy Queen accented by costume and streaks of glitter reflecting the stage lights.

And this weak and idle theme,


No more yielding but a dream,


She scanned the list of actors’ profiles and found the actor playing Puck.  Andrew Davison.  His first performance, the program stated.  The glossy black and white photo showed a rounded, slightly pudgy face characterised with an expansive smile that creased the corners of his eyes and somehow captured the essence of life and innocence.

Gentles, do not reprehend:


if you pardon, we will mend:

Scanning back through the list of actors Louise noted the different abilities: Downs Syndrome, cerebral palsy, deaf, blind, spina bifida. Puck continued his delivery with the slightly slurred and mumbled delivery of a person with Downs Syndrome. Yet the cadence and metre of the Bard’s words shaped itself to the timbre of Puck’s delivery like water rolling over stones on the creek bed creating its own music.

And, as I am an honest Puck,

If we have unearned luck


Now to ‘scape the serpent’s tongue,

We will make amends ere long;

Louise scanned the audience and saw the attentive faces of fathers and mothers, aunts and uncles, brothers and sisters.  She saw in their faces a distinct pride, a connection with the actor on stage that Louise did not share. The faces in the program had family in the audience, all who had come to watch a play. They did not see physical impediment or intellectual disability.

Else the Puck a liar call;

It pricked at Louise.  Here in the forest, they were kings and queens and mischievous sprites. This was a world in which she had no connection.

So, good night unto you all.

When the lights would be turned up and costumes packed away, Louise surmised the actors would return to this world, existing as the forgotten ones; the shadows around the periphery of community, held at arm’s length as lower castes.

Give me your hands, if we be friends,

And Robin shall restore amends.

The audience erupted in applause as Puck walked to the front of the stage and bowed stiffly from the waist, his right arm across his stomach and his left behind his back. Here was life and love and acceptance. 

Louise realised her hands had retreated, firmly pushed into metaphorical pockets. Even the openness of the simple act of a handshake refused. She found herself applauding, not as Puck requested, but in the words she scrawled into her notebook.

Author’s Note: Last week I wrote a post, Speaking for the Voiceless, in which I outlined a little of my thinking regarding the focus of my writing. It reminded me of a story I wrote about 2 years ago for the now defunct [fiction]Friday. I dragged it out and gave it a little polish to present here. Still not perfect, but it captures the essence of last week’s post.

[FGC#9] Songbird

“Why does the fat lady get to sing the last song?” asked Claire. “I mean, it’s not like she’s Aretha Franklin or anything.” She dragged on the cigarette before extinguishing it. “This songbird’s gonna have the final note tonight. Fat chick be damned.”

The karaoke microphone was vacant, illuminated by a single spot light. Claire’s best friend, Rachelle, dubbed it The Truth Amplifier. The microphone revealed a person’s ability, she said. If they could sing, it magnified the singer’s competent vocal chords. If the singer was a hairbrush vocalist, it simply amplified their cat-being-pulled-by-a-toddler screeching.

Flicking through the karaoke menu, Claire chose her song. It was 2 am and the bar was emptying. MIDI strains of Bon Jovi clambered out of the speaker. From their table, Rachelle whooped her encouragement. Claire pulled the wireless microphone from the stand, feeling its weight, balancing it before winking at Rachelle. In her head she counted off the final bar before the lyrics started. On the last beat she spun the mic in her hand, caught it, leaned forward and breathed the lyrics, “If you’re ready, I’m willing and able/Help me lay my cards out on the table.”

At the first chorus she pushed the vocals, but deliberately held back from giving it everything, “Lay your hands on me, lay your hands on me, lay your hands on me.” Her hands followed the curves of her body, starting at her breasts, moving over her hips and towards her crotch before she extended her hand towards the crowd. A polite smattering of applause came from the thinning crowd, but Claire knew she had them. The second verse spun from her lips like caramel. Perched on the edge of the tiny stage, she could feel herself flying with the music. Grasping the mic stand in her left hand she threw her head back for the final chorus and released the diva within, finding the pure note and producing a sonic boom.

Putting the mic back into the clip, the audience erupted in whoops, cheers and whistles.

“Take that, you fat cow,” said Claire, dropping into the chair beside Rachelle.

Speak to Me – Does Your Character Talk to You?

How does a character talk to you?

Some writers claim a character comes to them fully formed, knocking politely on the door and waiting to be invited in and offered a cup of tea and a cream biscuit. All the necessary information about the character is formed in their heads.

Others begin with a basic sketch of the character, then develop the character through notebooks of detailed information, from date of birth, clothing, interests and hobbies, music preferences, even food allergies and the character’s belief as to why chocolate should be considered a breakfast food.

When I am writing flash fiction or a short story, I have a strong sense of the character, his/her internal and/or external motivation and decision making process. The need for detailed character development can be dispensed with in a short story or flash fiction. A few broad brush strokes allows the reader to imagine the character and to understand the immediate conflict they are facing.

I do not think of them as “fully formed” characters in the initial writing. By the end of the writing process the character has hints and suggestions of their past and who they are. The reader can extrapolate more of the character’s background and motivation from the story.

As I was writing a new short story recently, the more I wrote, the clearer the character became. It wasn’t the physical description (which I rarely use in short pieces) of the character that became clearer but the internal motivation and the way the character thought and saw the world.

I found it quite a profound experience coming to an understanding of this character and her reasons for her actions and her way of speaking. In reshaping and reworking the narrative, I have a clearer idea of the shape and form of the story because I understand the character better.

Which leads me to a problem…

A current collaborative WIP has me writing from the perspective of a male protagonist. I have the name, a setting, some background and that’s about it. The development of the narrative and the project depends on my understanding of what the character has been doing for the past twenty years as this impacts on the present.

After lots of thinking and mental composting, all I’m getting is choko vines growing over the fence. (The choko is the blandest vegetable on the face of the planet). I needed a chat with my collaborator to help produce a few tomato plants,  a passionfruit vine and a crop of pumpkins. And some lettuce to make the salad (better not labour this metaphor any longer).

After a chat, I sat down some time later to write my first part of the project. I still only had a sketch in my head of the character, but enough to know his internal motivation and how he would respond to the situation. However, as I wrote, the character became more than a phantom of my imagination and more of a ‘real’ person. I understood who he was and the kind of man he is. I am sure over the next few months he will become a defined person, less two dimensional, trope, caricature or stereotype, and someone the audience can understand and relate to.

I am also in the planning stages of another novel where the characters are beginning to form in my head and in my notebook. They are taking shape, no longer formless and void, but they need to become “real” for the audience.

In extending my writing to novels from shorter flash fiction pieces, I am coming to understand the complexity and depth required in knowing a character. A novel requires greater consistency and development in a character. The character needs to act consistent with the parameters of the world of the novel. Sometimes you watch the character through  CCTV and record your observations. Other times, you throw an obstacle in their way to see how they respond. Character affects plot and plot affects character.

In a YA novel I am working on, the characters are fully formed and I understand their internal and external motivations. They didn’t “speak to me” as such, rather, they developed as the novel has progressed.

This is still the beginning of the journey for me. I’ll revisit my thinking on character development after completing these projects.

How do you create characters? Do they come to you fully formed, sitting on the sofa drinking tea, or do you need to dress them like a child and teach them to speak?

2012 – Planning for the End of the World

Should the end of the world not happen later this year (it didn’t happen twice last year, although I get the feeling the toilet paper is approaching the end of the roll), I’ve made a few plans.

I’ve never been one for plans, resolutions, agendas or sticking at one thing for long enough for it to become a habit. The intention was always there, but the execution was lacking.

Therefore I’ve put together a one page table of projects I intend to complete this year. Included in this ingenious piece of planning is predicted dates for completion of drafts, editing, beta reading and “final.”

On that list is 3 novels (two YA and one lit fic), a novella/multimedia project and a handful of short stories. It’ s ambitious; the main focus is on the novels and novella, but I want this to happen. It means cutting back in some writing I like to participate in, like #fridayflash, but in order to achieve my goals, I need to prioritise my writing.

By posting my intentions here, I am declaring publicly what I intend to do. You can prompt me from time to time to see how I am progressing. I’ll keep you updated from time to time.

Now to indulge in my inner Arnold J. Rimmer, crack out the highlighters, and colour-code my projects and timeline.

Tis the Season for Giving

It’s the Christmas season, a time of giving and rejoicing.

Therefore, I have a gift for you. I have written a Christmas-themed story for you to enjoy.

Click on the link below to download your copy.

A Christmas Story – The Cracker Factory

If you would like a signed hard copy, send me your address. Please be careful not to post your address in the public eye (I want to protect your privacy).

Blessings and Merry Christmas

Adam