Flash Fiction Friday

Happy Halloween!

Theme: Creepy, Scary, Eerie

The Mystic’s Price

By Paige Duke

I hope to God nobody sees me here, I keep thinking while The Mystic takes her sweet time. She’s been in that back room for ages, all to get me the little magic pill. I mean really, how hard can it be? Unless she’s like, back there making it from scratch. But that would be some weird, creepy voodoo, right? Joan didn’t say anything about that—“Just go and see The Mystic, you know that tiny shop on the strip. I thought it was all just nonsense before, but I swear that happy pill she made me is working like a charm! I’m down twenty pounds and I just won my Mary Kay Cadillac!”

Ok, this is stupid, I’m leaving. I’ve got my hand on the doorknob when three of my students walk by outside. I twirl out of sight, praying they weren’t looking.

Light splinters on the far wall, there’s a cabinet of weird little glass figurines I didn’t notice when I came in. I duck beneath the windows, and move to get a better look. They’re all human, incredibly detailed, like someone froze time and shrunk ordinary people. Some of them are beautiful and serene, but some look just positively tortured. This one woman is crouched and burying her face in her hands, I want to put my arm around her and tell her I know what she’s feeling, promise her that things can get better. I’d tell her I know what it feels like to try anything to be happy again.

I hear The Mystic shuffling in the back room, so I return to my chair. What is wrong with me? Having imaginary psych sessions in my head. A second later, The Mystic to comes through the beaded curtain. She’s looking right into me with her mascara-caked eyes, she knows something.

“Okay, Julie, darling,” she hands me a tiny green velvet bag, “take this first thing in the morning on an empty stomach with orange juice—has to be fresh squeezed, do not skimp on that detail, it makes all the difference.”

Inside the bag I spy a perfectly rounded shiny pill, more like a marble, and a slip of folded paper. “Um, ok. Thanks, fresh orange juice, I’ll make sure. What do I owe you?”

She settles a hand on her generous hip, “Joan didn’t tell you?”

“No . . .”

“I see. Well, dearie, you won’t like it—you pay me in blood.”

Uhm, okay this is sounding more like the creepy voodoo shit. “In blood? Did you say in blood?”

“Mhm, just a tiny drop, no more than a pinprick, right here.” She holds out her copy of my receipt, indicating a blank white box.
Now I’m seriously thinking of backing out, but I hate the way she’s looking at me, like the deal’s already done . . . and I really really want this, I think of that glass woman.

It’s just a pinprick, I can do that, right? “Okay then, let’s get it over with.”

I stick out my finger, there’s a quick sting, I swipe my blood, and I’m ready to get out. But The Mystic stops me with a hand at my elbow,

“Your blood signifies a binding contract. Do not break the terms.” She holds on for a silent moment, her eyes blazing, then lets go and nods to the bag in my hand, “It’s all in there.”

***

“Fifty percent of profits my ass!” I whisper to myself for the third time today. The Mystic’s terms didn’t mean anything to me when I was just swallowing some gypsy pill, but now that my new CEO husband’s bonus is rolling in and I’ve won my school a national scholarship, I’ve got a bill from The Mystic. And I do not want to pay up. There must be some kind of loophole. I mean, all she did was sell me the pill, she’s not responsible for my success.

Except when I went to see her about it, the shop was boarded up and I can’t exactly ask Joan . . . I miss Joan. I wish I knew where she went. It still feels wrong, the way she just up and left. But no one seems to know anything or care. I keep hoping she bought a private island and just went off the grid or something, all that money. Except that now I need her here to help me with the damn terms of this blood oath.

Ugh. No. No. I’m not paying that woman a penny. That’s all there is to it. Plus, how do I even know that pill worked? True, I’m happier than ever. But she had nothing to do with finding the love of my life or growing my career. I’m the one who did all the work. Yep, nothing to worry about, I decide as I crumple up The Mystic’s terms and chuck them in the trash.

***

We’re moving again, I can always tell when it’s about to happen. Things get loud and frenzied. My vision is limited, a glass figurine can’t move its head, you know. But I can see movement, I can still hear the noise. I can’t believe what a fool I was, thinking I could buy myself a new life. I didn’t know happiness was a thing inside a person. That seems obvious now. I’ve learned loads since defying those terms. Acceptance is another one—to see and accept what is. Like that blood oath, God, that oath was binding, yes sir. Amazing how many people try to get around it, they’re my companions now, The Mystic’s little trinkets. Immortalized in colored glass. That’s one thing I try to be grateful for. That I’m not alone. And Joan, dear Joan. She’s here with me. I can see her just from the corner of my eye, standing as tall and graceful as ever. And happy, she looks happy.

Nightmare Queen

by Dani Nicole

The memory still permeated her mind, and Rae shook, curling herself into a ball and pulling the sheets over her head. Just a dream. Just a dream.

But even the words her therapist told her to repeat to herself did not alleviate her terror. For it was at night when all the dreams came to her. When she shouldered the nightmares of the world and took them all in herself, so that others could sleep peacefully.

And she was left alone to put herself back together.

A great chill rolled down her spine as she remembered the suited man from her dream. The man with the auburn eyes. He’d wanted something from her, but Rae couldn’t remember it. She only remembered the man’s eyes and the surety of her terror.

She willed it all away, squeezing her eyes shut, but a memory resurfaced of her very first nightmare when she was just two years old. She sorted through hazy details, her mind reaching to grab for something she should remember. And then she did remember. Her first nightmare had been of a man with eyes the color of dried blood.

She swallowed. Surely she was overreacting. It couldn’t possibly be the same dream. With so many nightmares in the world, she never had to repeat one. That was her only solace. But this one… it had seemed so familiar.

She pulled the blankets from her body and stepped out of bed. When she stood she shook her shoulders and exhaled. She could do this. She was the Nightmare Queen, after all, and it was only a curse if she let the nightmares win.

She stepped toward her bedroom door, which she kept shut so as not to wake her parents with screaming. Turning the doorknob, her heart raced, but she didn’t know why. She was only going to the kitchen to pour a glass of milk, as she did when the dreams were too much. When she needed comfort and didn’t want to wake anyone.

She placed one foot across her bedroom threshold, and the hardwood floor creaked. As she trekked down the long hallway to the kitchen, a thought distracted her.

She should check on her parents.

She was sure of it, but again, she did not know why. She tiptoed to their room, not trusting the creaky floor to be quiet enough. And when she reached their bedroom door, she cracked it slightly.

Her parents’ bed was empty and perfectly made.

What the hell? She kicked the door open and turned on the lights. They flickered on slowly, revealing a certainly deserted room.

Rae walked to the bed and ran her fingers over the smooth comforter. Where are they? Why did they leave? She pressed her nose to her mother’s pillow and could still smell the perfume she sprayed after her bath.

They had been there last night. They had slept in that bed. And now? Now they were gone. Rae couldn’t help the tears streaming down her cheeks. The dream had been too real, too familiar. She couldn’t distance herself from it. She needed her parents. She needed her mother to stroke her hair and her father to hum her a song.

She turned back to the hallway, wanting to get her phone from her bedroom and call the police. But when she turned into the hallway, she froze.

For there at the end of the rows of doors, at the end of the creeky floor, stood a suited man with auburn eyes.

 

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How to Create a Literary Masterpiece

My usual beta reader, Aslan.

My usual beta reader, Aslan.

Most people think writers just pop out books and they are immediate best sellers. I would say most of those people aren’t writers, but that’s not really true. Every time I pick up a pen there’s some optimism there that maybe I will just write a really awesome first draft. Maybe I will be the next YA prodigy.

But the reality is, there’s an entire process to creating a great piece of literature. Here are some foolproof steps to get your book ready to pitch:

  • Write the damn book.
    It’s pretty difficult to keep writing a scene that seems out of place, keep giving an underdeveloped character dialogue, or keep using a setting that’s overly cliché. But the key to success on the first draft is to simply write and don’t look back. If you get through a scene and want something else for it, add that something else on top of it. Don’t go back and edit. Not till the end. Not till step two.
  • Read your book and try not to cry.
    The fetal position will help with this step. Put your book on Kindle or Nook and read it as quickly as you read the last Harry Potter book. Don’t take too long. Just get through it so you can get a big-picture idea of what you’re working with. During this read-through, you will simultaneously feel like a god and like the most untalented person ever. That’s okay. That’s normal. Chocolate helps.
  • Fix your shit.
    Ernest Hemingway says, “The first draft of everything is shit.” Well, cheers to you Hemingway, because you’re right. Your good parts will need to be better, your plot lines will need to be tied neater, and your characters will need more character. This is the part where you start to mold your clay into a shape. When you’re done with this draft, you should have a pretty good idea of what you’re writing.
  • Happy trees.
    Now it’s time to go Bob Ross on your landscape. Fill in the holes, enhance the beauty, and bring out what makes your book unique. This is the time for embellishments, last minute wishes, small repairs, and validation that you’re a good writer after all. Do this in as many drafts as you need, until you can’t figure out what else to fix.
  • Let real people read it.
    Your cat is probably tired of hearing your plot problems by now, so give it over to trusted beta readers. Let them read your book all the way through and accept their criticism with civility. Keep in mind that only you know how to write the book you’re writing, but beta readers can help you pinpoint what is unclear and what doesn’t work.
  • Polish.
    Now it’s time to get your book polished until it damn near sparkles. Read it and read it again. When you get to the point that you can’t find any way to improve it, then congratulations! It’s time to query.

What are your steps to crafting a novel (or painting, song, etc.)? Leave a comment below.

 

-Dani Nicole

 

 

Flash Fiction Friday

Apocalypto by 88grzes, deviantART

Apocalypto by 88grzes, deviantART

Rookie Move

by Paige Duke

I set my feet like he taught me, tighten my grip, and nod. All too fast, the ball is flying at my face and I’m swinging with all my might. At nothing. Again. This was fun the first six times, but the novelty is wearing off.

“Okay, rookie.” Mateo says, walking toward me, doing his best to hide that smug smile. “I’ll show you one more time.”

“Nuh-uh, I don’t want your pity coaching. Throw it again.” I play tough girl to show I’m not mad, pretend I don’t mind looking ridiculous.
Three more failed attempts and I can’t keep up the act anymore. My back is burning, and the adrenaline rushing through my tensed muscles is screaming for release, willing me to take flight.

I drop the bat and walk in a little circle to calm myself. I’ve mastered my impulses. I’ve learned to suppress my powers day after day, and this is the thing that’s going to unhinge me? That I can’t hit a baseball. Pathetic. Mateo walks to me across the dirt field and with each of his steps, my frenzy loses ground.

He picks up the bat and holds it out to me, “Come on, let me show you one more time, I think you’re getting there.”

I roll my eyes, “Right.”

But I take the bat anyway and walk to stand in front of him. Maybe I’m missing on purpose, I realize. Because when he puts his hands on me to fix my grip on the bat, to guide my arms in the swing, to hold me against him a second too long—I can forget myself. Forget myself utterly. Inside his arms, I’m not a creature who slipped through the Veil, this forever caged and crippled halfling, I’m just a girl falling for a boy.

But it’s dangerous to forget. Selfish to let my guard down. And yet, I don’t know any other way. I can’t go back to those friendless, terrifying early days. Mateo is my only light in this gray and foreign world. I can’t give him up, but it’s not fair to hold him back either.

“Like this?” I say, swinging one more time, letting his arms guide me.

“Mhmm, all the mechanics are there, just gotta keep your eye on the ball.”

“Yeah, it’s that easy,” I say, ready to pull away, but he’s still got hold of me and his breath is hot on my neck.

He’s kissing the curve of my jaw and I’m just letting him, drifting into that fog of oblivion.

“Pax, you suck at baseball, but you are a goddess. Anyone ever tell you that?”

My eyes snap open, “Not in so many words.” I pull away, but his fingers are insistent against my elbows.

He turns me gently to face him. “Why are you fighting me?”

The world is chirping crickets and cool wind all around and the electricity of Mateo’s fingers against my skin. And there’s that absurd thought again, Just tell him. You can trust him.

Right, because a girlfriend who suddenly sprouts wings won’t be a problem. Love conquers all . . . all you need is love . . . all that human optimism will break down in the face of the Other.

But his eyes are so insistent, so pure, and then he’s kissing me, and I’ve lost myself. And against my will, I’m kissing him back. His fingers are restless, at my cheek, my back, my waist.

Alarm bells go off.

I tear myself away. I am aching and guilty and selfish. The hurt on his face is unbearable.

“Pax—”

I take two steps back, ignoring my better judgment, willing myself to do the right thing, to cut this off before I can hurt him any more. “I have to tell you something—show you, I mean. I’m sorry I’ve hurt you. But we can’t—I’m not—you won’t . . . ugh.” I don’t have the words to do this. So I turn and run, lightning fast, unleashing my power for the first time in so many months. I pull my jacket off and feel the wind at the open back of my shirt, soothing the fire that’s raging there at the unfurling of my cramped wings.

I’m airborne, I am free. I’m gaining height, soaring over the empty fields. Just get out of sight, far enough not to see him. I won’t have to face him again, he won’t come knocking at my door after this.

A whooshing fills my ears, and suddenly I’m spinning out of control, my arms pinned to my side. The sky is tumbling.

I’m falling. Plunging. But I can’t get at my wings. And the ground is too close—

The impact never comes. I’m floating, right side up again, set down gently onto my feet, looking impossibly upon another winged creature.

“Is that all?” He says, grinning.

“How—?”

“What, Pax? You thought you were the only one who ever wandered through the Veil?” Mateo laughs, “And here I was thinking I smelled bad or something.”

He is a thing of beauty, his bare skin in the fading light, the gloss of his wings jet black. But the sight of him is blurring through my tears. It’s all catching up to me: I’m not alone, I don’t have to hide, I won’t have to hold Mateo off.

His arms are around me again, his laugh is soft at my ear, “Aw, Pax, you’re such a rookie.”

Once Before

By Dani Nicole

Sunlight.

That’s all I see when I open my eyes. When I blink away the veil of my previous life and inhale the breath of a new one. I scan my memory, searching for clues. 

How did I die? Who am I now?

But as I think of my life so far, it answers me in haze of darkness. Nothingness.

I am nothing except what I am now. I stand up in a field of grass, hills rising up all around me. I’m in a valley, where the setting sun casts shadows that dance across the green.

One foot in front of the other. One exhale after each inhale. This life smells like fire. In the distance, smoke swirls up toward the sky, consuming a falling building.

Did I die in a fire?

I try to remember the sensation of burning. Of my skin consumed with flame. Did I choke, or scream, or try to put myself out? Did I die instantly, or did it take millions of seconds impossibly compressed in the span of minutes?

More steps toward the smoke, away from the place I was reborn.

Cold air frosts my bare arms. The tank top I wear does nothing to shield me from the ruthless wind. I wrap my arms across my chest and duck my head as I walk into the gust, away from comfort and warm and… knowing things.

As I walk, a song comes to mind. One that I’m sure I wasn’t supposed to keep.

In the sun,
In the sun she fades
Gone is the girl, the angel brave

She rides toward the earth
And rests upon her grave
Gone is the girl, the angel brave

And yet, there is a familiarity around me that shouldn’t be there either. The electric feeling in the air, the looming presence of danger.

I’ve been here before.

Impossible, but surety ripples through me. Assurance. I know these hills. I know that fire, that smoke and when I look at it, that desire. That desire to burn, to watch whatever’s inside crumble to the ground.

It was me.

I set the fire.

Memories prickle in my head like goosebumps on my skin. Flashes of ash and light and heat and sorrow and screams of death. The sun shifts in the sky and out of my peripheral vision I catch my shadow. Two eloquent, long wings extend from my shoulder blades, the feathers waving in the wind.

But when I reach behind me, I am greeted with only flesh and bone.

How to stop using clichés in fiction

Charlie Peverett, Cliché box, Flickr

Charlie Peverett, Cliché box, Flickr

Cut clichés. That’s an early lesson we writers learn, and for good reason. Clichéd phrases cheapen our writing. They may be helpful in everyday speech, so instantly recognizable that they’re like the traffic signs of language. But it’s precisely because they’re so glaring that they are toxic to the written word: they are trite, overused, unoriginal. If watching out for clichés is on your revision checklist, it’s easy enough to spot them:

  • Better late than never
  • A clean slate
  • Down and out
  • Icing on the cake
  • Keep an eye on
  • Live and learn
  • On the tip of my tongue
  • Too good to be true

Just to name a few. (If they’re not on your revision checklist, now might be a good time to add that. There’s no time like the present.) I don’t want to give the impression that you should never, under any circumstances, include a cliché in your writing. They do have a place when used intentionally. If you’re trying to achieve a certain tone or voice in a piece, cliché’s can help you do that. Used in character dialogue, clichés can give readers a strong sense of personality or setting. But reading a story riddled with unintentional clichés can quickly start to feel cheap and unsatisfying.

But clichéd phrases aren’t the only kinds of cliché that can sneak into our writing. What about stereotypes, overused tropes, and outworn genre conventions? Have you read a book’s back cover and promptly reshelved it, thinking, “Oh, I’ve read that before”? It’s this type of cliché that I want to focus on because it’s so easy to find them slipping into our stories. I wrote a short story not long ago, revised it a few times, and still found myself frustrated by how blasé it felt. So, trying to get a fresh perspective, I submitted it to my writing group for critique. They pointed out that one of my main characters was a pretty blatant stereotype, and they were right! He was right there under my nose It was obvious, but I couldn’t see it.

So, when we do find these in our writing, what can we do about them? One technique I’ve found incredibly helpful is to employ nuance. Stereotypes, like clichéd phrases, exist for a reason—because they’re almost accurate, they reflect a type of person or experience in the real world. But the inaccuracy of a stereotype lies in its rejection of nuance. So, yes there are ditzy cheerleaders and dumb jocks and nerdy gamers and soccer moms and workaholics . . . but what if you don’t have to chuck them out completely? What if they’re variations on a theme? Maybe your ditzy cheerleader was raised by a single dad and can change her own oil and fix a flat tire without calling her boyfriend. Maybe your nerdy gamer comes from a long line of famous chefs, so he can make a flawless six course French meal. Can you see the possibilities? Add an extra trait, another dimension, and you can see new avenues opening up or old ones rewriting themselves. To get to that place, though, of thinking differently about your characters and storylines, teasing out the possibilities is often the next step. One way is to ask yourself questions to get the ideas flowing. See if any of the following questions help you think a little more deeply about stereotypical characters or overused plot lines:

  • What else?
    • What else is possible for this character?
    • What else is in their past that makes them unique?
    • What else might they like or believe or long for that would make them more complex or that might explain their behavior?
  • What am I overlooking?
    • What is at this character’s deepest psyche that I’m not seeing?
    • What is he or she most afraid of?
    • What is this character’s greatest wish/highest ambition?
  • What’s unexpected?
    • What could happen to this character that would shake him to his core?
    • What thing, if she lost it, would completely transform this character’s life?
    • How can this character’s problem be heightened even more/what would push it to the next level?

If you’ve done this revision work already and had no success, then maybe it’s just time to start over. Sometimes that’s the best thing, but it’s worth the creative exercise to try fiddling with it first.

This is the hard work of writing and revising, right? It’s easy to be attached to our characters and storylines as they are and just ignore that nagging feeling when they’re too easy or too obvious or whatever it is that’s making them cliché. But that doesn’t serve our efforts to be strong writers or to thrill and enlighten our readers. There’s a phrase in yoga that I think is useful to the writing craft too: “Play your edge.” In any given yoga pose, that means you come to the absolute edge of what you can do in that moment, and then you hold the pose, grow in that space, rise to a new level of strength and flexibility.

 

How can you play to your edge in your work-in-progress or in a self-identified weakness in your craft? What other techniques have you used to work through clichéd prose or story problems?

-Paige Duke

Flash Fiction Friday

920 by scheinbar, deviantART

Originals

by Paige Duke

The tall man in the fedora walked brusquely through the library’s lobby, unaware that every eye turned to follow his progress. He had become accustomed to being watched because, well, shifters weren’t usually hired to impersonate normal people. But it wasn’t that. He was still thinking about what he’d seen. About the knife in Mr. Calvert’s desk drawer and how he just wanted to be holding his box of originals in hand as soon as possible. He hadn’t meant to go snooping, it was a rule he upheld at all times. No snooping into clients’ private business. That was the quickest way to get into trouble in this line of work. He’d only meant to find some paper to take down a note from Mr. Calvert’s secretary, and there it was. The thing was lying in the desk drawer, covered in blood, sealed in a sandwich baggie. It was a miracle he’d managed to get the secretary’s note down at all after that little shock.

So he’d made some excuse and got out of there fast. That was the second biggest rule: Don’t run out on the job. But he thought this might be an exception. Dean wasn’t squeamish. He had been willing to look the other way, that was practically part of the job description. You didn’t hire a shifter unless you were into something on the side, it was always shady. But Calvert’s desk was like a crime scene now or something. He’d called to tell Mr. Calvert he was terminating the job early. Had redialed so many times he’d lost count. Why won’t he pick up?

Dean was sweating, he realized as he stood in line at the front desk. He prayed the two people in front of him would be quick. Usually he didn’t mind shifting. It was fun—being someone else for a few days, driving nice cars, flirting with beautiful women, stuff like that. But this was crossing the line. He was not gonna let the likes of Mr. Neil Calvert III get him caught up in something illegal.

The thought made him go cold. No, he had done that to himself already. He was underage. He was only trying to stash some money away for college, but the courts wouldn’t care about that. He was shifting illegally.

Oh my god.

If I get caught, I am in the shit.

Hurry up!! He pleaded under his breath. Miraculously, it worked. The person at the front of the line stepped away from the counter. Only one guy left, then Dean would just get his originals and go.

Most of his colleagues kept their originals, as they called it in the business—clothes, keys, wallet, ID, the usual effects along with their DNA pills—at banks or other high-security companies that dealt exclusively with shifters. But, as Dean was trying to keep his operation under the radar, he’d had to go with something less institutionalized. The local library rented out lockers for community members and guaranteed they were vigilant about security. It seemed suddenly ridiculous, irresponsible, he felt so exposed—keeping his originals in the library!

Dean forced himself to calm down, to be reasonable. John Malcolm has the only spare key. It’s alright, you’ll be back in your own skin in no time. Yeah, he was being ridiculous. He would hand John his key, the man would go back to the lockers, return with his box as usual, he’d make a quick trip to the bathroom to shift back, and he’d be out of there. Home free.

The man in front of him moved, and the scene played out just as Dean had seen it in his mind, as he had done it hundreds of times before.

But in the quiet of the bathroom stall, as Dean was finally calming down, lifting the lid to his box of originals, he began to shake.

The box was empty.

The Dark Witch’s Dagger

by Dani Nicole

17 was the worst one.

50 was better.

When I got to 100 I stopped feeling the pain. But it came back at 200.

920… 920 lashes. 920 piercing cries. 920 fingers breaking and forging again. 920 times my body will be taken apart by the Dark Witch, and 920 times it will be put back together again.

She hovers over me, her face delicate and pale. I wonder how it would bleed. Would her blood be the same violet hue as mine? Or would it be something wretched and ugly as her heart?

She cursed me to this, and oh… the things I would do to her… as she –

901.

That one stung. It was a lash. She likes those. The sound of the whip on my bare skin, the crack of flesh, the oozing blood. She delights in it. She chuckles, giggles, with a hint of mania bubbling beneath the surface.

905.

My curiosity peaks as we get closer to the final number, but 906 feels like I’m dying. She breaks four of my left fingers. They shrivel, turn gray. Then I breathe life into them and they heal, the bones poking the tender flesh, the nails piercing beneath cuticles.

Do this, let her do this, and you will get yours on 920.

As she cuts my arm with a blade, number 914, I wonder if the words I hear chanted in my mind are just false hope. What if this prison of torture is my permanent home? What if I’m not even alive?

917 is more lashes.

918 is a broken shin.

919 is the sound of my mother’s voice when the Dark Witch murdered her. Her screams fill the cavern. The chains which bind my wrists and ankles quiver. Or maybe it is me. Shaking with the fury of 919 strikes, cuts, broken bones. 919 moments of pain.

She circles me once, looks into my eyes. “Let me try something special. Something to change things up. I’ve lost count by now, but it seems as though I’ve been doing the same thing… over and over… and yes, how I’d love to see a new look of pain on that pretty face.”

She takes her dagger from the stool, places it near my heart. “For someone so indestructible as you, I wonder if a blade to the heart would finally bring you down. You see… you see at first,” she laughs “at first it was just a game! The look of pain on your face was just too much fun. And the way you reacted to your mother’s screams… oh yes, you gave me quite the show. But now…” she yawns, “now I grow tired.” She grips the knife, presses it against my skin. “Now it’s time to end this.”

She smiles, her teeth perfect and white, then drives the knife into my heart.

Pain rips through my body, cuts me in half. I fight to sew my sides together, to keep my soul rooted in my being as it begs to drift elsewhere. When she removes the dagger, the hilt starts to glow violet – the color of my blood.

A voice fills the room, this time not my mother’s. The same voice that’s chanted in my mind all this time. And in the moment of the Dark Witch’s greed, the one she captures will be freed. The victim’s blood will pay the price, the Dark Witch shall end her gruesome fight.

The purple swirls up the hilt, onto the Dark Witch’s hands. It stains her skin and sears into it, causing smoke and the smell of burning flesh to permeate the air. It spots her skin in hundreds of places, until she falls to the ground writhing.

The knife she holds turns on her, and drives itself into her heart.

As the sizzling stops, the smoke fades, the chains around my hands break. I walk over to her, tapping her body with my shoe, but she falls limp, the dagger still stuck in her heart.

Number 920.

 

The Frenzy, The Insanity, The Insomnia

Image from unwire.com.

Image from unwire.com.

Sometimes passion is a good thing. Like when you’re reciting vows to your future spouse or holding your newborn for the first time. And yes, even when you want to write a book.

Passion is beneficial most of the time. It keeps you doing what you love without any recognition, without any compensation, and without any definite payoff. It enables you to do what you love for free because that’s the only thing you’d do for free. You do it without any real promise of a future, because you believe in yourself enough to make the future.

But what passion really boils down to in my life, is going freaking insane. It’ll happen to you if you’re the creative type – you just wait. You’ll be out having drinks with your friends, maybe even a significant other, and all of the sudden the most awesome plot twist ever will pop into your head, and you’ll be so frazzled that you won’t even know where you are, what day it is, and what you’re drinking. You’ll have to go to the bathroom just so no one sees you scribbling notes on your phone in a frenzy, like your life depends on it. Or you might entrust Siri with the task and use the voice texting option. But you’ll end up with numerous typos. Instead of “skilled man” you might get, “are you still a man?”

And a few minutes later, maybe 30, you’ll walk out with a smile on your face and a compulsory itch to write more. Don’t worry, your friends will just think you’re drunk.

You might forget about it for a second over your Mai Tai, but God forbid you want to sleep. The minute your head touches your pillow you’ll be thinking of that plot twist again. But you’ll think of more than that. You’ll think of how that plot twist changes the whole story line, changes your character arc, and how basically, you’re not even writing the same book.

So you’ll go to bed at like 5 a.m. to wake up at 7 a.m. and go to work like a zombie, and everyone will just think you’ve been out drinking too much. Little do they know.

You’ll promise yourself that you’ll sleep the next night, because that night you’ll have to. But when your head touches the pillow again, your book will find you. In your sleep. It will hunt you down and try to kill you.

Because writing a book means becoming a slave to it. It’s hard to keep your head above water when your passion is pulling you under. And as much as writers like to complain, it’s a beautiful kind of misery.

And I wouldn’t have it any other way.

 

-Dani Nicole

 

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Flash Fiction Friday

br, deviantART by DelilahWoolf

br, deviantART by DelilahWoolf

Counting

by Paige Duke

Ten cherry red fingernails.
Two bruised knees.
Twelve succulents in a crate.

My finger halts its counting, resting above the prickly bunch . . . succulent. That’s a word used somewhere else, isn’t it? A succulent roast, maybe. The two ideas stand together in my mind, totally incongruous. So absurd—the roast and tiny cactus sprouting stick-figure arms and clasping hands in my mind—that I can’t stop giggling.
I bury my face in my elbows until it passes, I don’t want anyone to find me and spoil the whole thing, my five minutes of privacy, this glorious and rare distraction.

Four pristine white walls (painted last week).
Six tall windows.
Eight zigzag boot prints (Mom’s rain boots) across the slat wood floor.
Mom . . . in my mind I see her out in the rain yesterday, drenched, but still insisting on the boots. She can’t have kept an inch dry, the way it was coming down. I count to cope; Mom plants. Despite the fact that everything she puts in the ground dies shortly thereafter. It’s something of a joke—has to be, I suppose, otherwise it’s just too sad. Too ironic.

Three orphaned shoes no one ever bothers to toss out.
Two towering stacks of books, Dad’s overflow.
I squeeze back tears—for the first time today, that has to be a record. It’s just that overflow . . . it’s so opposite of everything DAD right now. I count; Mom plants; Dad stares. Sits and stares, where he used to sit and read. Where can a mind go for so many hours? Nowhere good. To blame or darkness or self-loathing, surely. Wherever it is, it’s not here.

Two identical frog umbrellas for two identical boys.
The twins, a godsend of noise and busyness, the forgivable interruption to our collective grief. They force us to be normal again in a million everyday ways. And break our hearts in the same breath because they can’t understand, will never know who they’ve lost.

I search the room—this mudroom, the time capsule of our house—for anything else. But I’ve counted everything already, everything but one.

One growth chart, its six penciled names glaring, conspicuous for the truth that we are now only five without Michael.
Michael. Our light, our miracle. The boy who was supposed to die but who lived seven years, seven years of borrowed time.

But death forgives no debts.