Tag: terribleminds (page 29 of 31)

Flash Fiction: Burn

Courtesy buyisa.wordpress.com

Because Chuck wanted a brand new monster…


I don’t remember much beyond the tank. Floating in some odd solution, tubes hanging out of me, the mask on my face giving me air. I don’t know how I got out, or why I was there in the first place. The first thing I remember is running down the cobblestones.

I look over my shoulder and see the mansion burning. Plumes of black smoke billow into the night. I can feel the heat on my… not skin. I look down at my arms, my body. There’s some soft flesh on my underbelly, but most of me is now covered in layers of scales. I can’t remember if I was born this way or if it was the result of the tank. With the way the mansion is burning, I guess it’ll be difficult to know for certain.

There are fires in the village below, as well. I head in that direction. Most of them are little torches, sconses by the doors of homes or hand-held lights the villagers wield. But there’s a big one in the square. Most of the villagers are gathered there. Some are wearing scarves or thick jackets. It must be a cold night. I don’t notice.

The villagers are staring at me. Most of the women are turning colors and averting their eyes. Men twist their faces into frowns, but none approach me. They just shout. I can’t make out what they’re saying. I’m looking at the fire in the square. There’s a long post in the middle of it. And tied to the post…

I move without thinking. In a moment I’m on top of the burning wood. The fire doesn’t catch me. I destroy the ropes holding the man and leap away with him in my arms. I lay him on the ground and pat out the flames on his body. Half of it is blackened and broken, but I recognize his face, his eyes.

I saw those eyes on the other side of the tank. Looking up from clipboards, monitors, canisters, other equipment. I saw him arguing with other humans. Sitting in the corner thinking of something. But always, always, he’d walk over, look up at me, and smile. All the tension would melt from his features. He’d touch the glass. Peace would come to him.

Here, he struggled to breathe. His eyes focus on me. His hand, all but stripped of flesh, lifts towards my face. For a moment, that peace comes to his eyes. Then they lose all focus and a breath rattles out of him. His arm drops limply to the ground.

There’s something stinging my eyes. They’re wet and it’s difficult to see for a moment.

I stand and turn. The crowd has closed in. Men clutch weapons. They’re afraid of me. I look down at the dead man at my feet and back at their faces. None of them understood who he was, what he was trying to do. I’m not sure I do either, but I understand my feelings. This man, mad as he may have been considered, loved me with all his heart, and these people killed him for it. My father is dead at my feet, and his murderers are approaching.

I see pitchforks, hatchets, a couple of bows. Lots of torches. I want to laugh. One of them looses an arrow at me, and it shatters on the scales of my shoulder. The moonlight glistens on my claws. Rage and sorrow well up from my belly and explode out of my mouth, lighting up the night.

I love my father. I wouldn’t want him to burn alone.

Flash Fiction: Another Three Sentences

Bard by BlueInkAlchemist, on Flickr

Brevity is the soul of this latest challenge from Chuck Wendig.


The protagonist has reached this point through trial and error (mostly error) but the goal is now within reach, allies close by and enemies poised to strike.

The audience is expecting a resolution to the conflict, be it a happy ending, one involving varying degrees of sacrifice or even something where the goal is achieved but our protagonist does not see that achievement because they have to die or become crippled or board a ship with elves on it or something.

So… what happens next, writer?

Flash Fiction: Enter the Bishop

Bishop's crozier

Over on Terribleminds I’m playing The Numbers Game.


He’d fought his way through her fortress, her brainwashed goons slapped aside as gently as possible.

They were innocent, blameless. The silent plague they’d caught had done this.

He entered the throne room at last, finding her on the wide dias, sampling ripe grapes.

“You did this.” The Bishop narrowed his eyes. “It was your enzyme.”

“Perhaps.” Ivy stretched across her throne, indifferent to the holy man’s indignation. “What, exactly, will you do about it?”

He gripped his staff and called on his inner righteousness. The sword caught fire immediately.

“May God have mercy on your soul. Because I certainly won’t.”

Breaking That Damn Block

Courtesy West Orlando News

I know for a fact that writer’s block doesn’t exist.

It’s a phantasmal construct, a conjuration of minds desperate to make words appear on pages but struggling with an inability to do so. Every writer, from the best-selling novelist to the mommy blogger to the spinner of rhetoric deals with it now and again. The desire to write is there, hungry and unplacated, but the words are not. They simply do not appear.

Those are the times when a writer is tempted to reach for the “writer’s block” excuse.

The fact of the matter is that many factors can contribute to a lack of words. Too many distractions. Not enough rest. Too much caffiene. Or not enough. Hunger, frustration, despair and doubt. Tangled emotions can wad up in the neurons of the writer and, yes, block the flow of creativity.

It’s the closest writer’s block ever comes to being real.

But along with the term comes the notion that it’s wished into being by malevolent forces. A writer can believe that if writer’s block is indeed the cause for a lack of productivity, there’s little that can be done about it. Here’s proof that you couldn’t be more wrong.

That’s another thing that can cause a writer to believe in the so-called “block”. A sense of futility. It can seem like there’s no new stories to tell. An article on politics or gaming or frighteningly effective sex toys can appear redundant. This very post on writer’s block feels a bit like repetition.

So what?

Just because a particular story has been told doesn’t mean you can’t tell it differently. Maybe even better. You won’t know until you try, and the alternative is making nothing happen at all.

In the words of XKCD, fuck that shit.

We all have bad days. Everybody struggles. Not every moment is going to be full of the creative juices flowing freely from your brainpan through the dream-tubes in your arms to the paper or keyboard or tablet or paint-stained wall.

And you know what? That’s okay.

What’s not okay is letting it stop you from doing something about it.

Maybe you won’t write today. Maybe you feel your drawings suck. Maybe you think you suck hard at something you enjoy or want to excel in doing. Welcome to the human race, now stop beating yourself up over not being perfect.

Let the issue drop. Stop worrying about it. Gnaw no more on your fingernails and insides. Take a break. Grab some food. Make yourself a drink. Find something pleasurable to do. Go the fuck outside.

When you get back, the work will still be waiting for you. But you will no longer feel ill-equipped to deal with it.

You will, instead, kick its ass.

If writer’s block did exist, consider sentiments like this your sledgehammer. I’ll happily help you swing it.

Book Review: Revenge of the Penmonkey

Courtesy terribleminds

You know those books about writing out there? Novels and Groupies for Dummies? The Idiot’s Guide To Being The Next Stephen King? How I Did It by Stephenie Meyer? That’s amateur hour. Kiddie stuff. On the battlefield of serious writing, where the freelancers struggle every day to make something happen, to feed themselves through words, to put bloody words on the page, they’re the armchair generals.

Chuck Wendig, on the other hand, is down in the trenches, right next to you, asking why in the hell you weren’t issued booze and an iPad along with the spades to dig your foxholes.

Revenge of the Penmonkey is the third book of writing advice he’s put on Kindles, and the veteran status of his work shows. This is a guy who’s been through the wringer. He’s struggled, hand over hand, one word at a time, to carve out his own place as a storyteller and an iconoclast. He doesn’t just show you how to make it as a novelist, short story writer, freelance penmonkey and menace to society – he shows you why.

He gives you a “day in the life” entry that puts any office experience to shame. He explains in exhausting, knuckle-popping detail why your action scenes need to jump up, crane-kick and actually mean something. He shows you why self-publishing that limp piece of purple prose in your hand is a really, really bad idea. And he explains why he can say as much as he does with as much authority as he does. He’s been there, man. He’s seen the enemy. Looked it in the eyeballs. And it’s us.

Read between the lines of Revenge of the Penmonkey, moreso than his first two advice books, and you’ll see what Chuck is really trying to tell us, what he wants to scream at us while shaking us by the lapels: Snap out of it. The words won’t write themselves. Nobody can tell your stories but you. Forget the fact that the market’s flush with the kind of thing you want to do. You can do it better. You can. But you have to take the first step. Write the words. Make the magic happen. Get off your ass. DO SOMETHING.

The fact that he laces his heartfelt plea with anecdotes, the praises of gin and bucketloads of profanity is, really, just icing on the cake.

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