One of the many reasons we find ourselves getting “stuck” when drafting a new story is that we have unwittingly written ourselves into a very boring place. How did this happen? We had such a great idea!
The answer likely resides in your descriptions.
Consider your “go-to” descriptions of settings and characters. What do you think of when you see the words “hospital room” for example?
the beeping monitors
a nurse in a “starched white uniform” (not sure they even wear those anymore!)
How about a waitress in a diner?
She’s wearing a name tag, of course. Maybe her name is Candy. She has a pencil behind her ear and she is chewing, no “smacking” a piece of gum.
Do you see where I’m going with this? These descriptions write themselves. In the process of drafting, if you find yourself falling into these clichés, the rest of the writing will likely follow suit. You begin to bore yourself.
I urge you to make every single part of your flash fiction so fresh and new and interesting that your reader (or slush pile reader) sits up and takes notice from beginning to end. With fewer words at your disposal, the description you do include needs to be strong, palpable, and carry a lot of emotional or narrative weight.
With this in mind, you should also consider how you describe ordinary things. Can you look at those things with fresh eyes? In Susan Minot’s connected collection of stories, “Monkeys,” she shows a character plunking down a crumpled up napkin and saying that it “bloomed” on the table. Can you see that? I can and it’s perfect. What a thrilling, fresh description!
The following is an exercise I use in my online workshop, Fast Flash, and it always results in strong, fresh, original pieces of writing that surprise even the writers themselves. We writers need ways to overcome our natural tendency to write scenes in the way they have always been written. This exercise is designed to give you a new way in to your material.
I want you to imagine a scene in a commonplace setting. One you’ve seen in fiction many times. A hospital room, a bar, a dining room, a park, a school yard, whatever. No doubt your brain already conjures up certain images and descriptions just by reading those words.
Now, I want you to insert some unexpected detail. Don’t give this too much thought and don’t worry about making sense, just insert the strange detail.
Examples: a clown at the train station, a daisy growing out of the sidewalk, an old man walking backwards, an animal in a hospital room, etc.
Perhaps the odd detail will drive the scene forward or perhaps it will remain in the background, but what this exercise does is trick your brain into writing a scene in that setting that has, I promise you, never been written before. You have given yourself permission to write outside the box. You have “primed the pump” of your subconscious and now all bets are off.
***Consider also describing something ordinary within your setting in an extraordinary way (like the napkin that “bloomed” in the Susan Minot story).
You might also try this on a story you’ve been stuck on! Have fun!