by Writing Workshops Staff
11 months ago
Zap, Pow, Bam!
Those words exploded on the screen of my youth (and maybe yours, too) during the famously cheesy fight scenes in the Batman TV series. I loved them. Their primal colors and expanding letters syncing with horn blares, punctuating the show with such onomatopoetic pleasure – who could resist? It was the psychedelic 60’s on the heels of the afrofuturism that began in the 50’s, and the art and streets were in full rebellion against, well, you name it.
This is an oversimplification, of course, times and people being what they are — complicated and variable. Besides, I didn’t know any of that then. Heck, I wasn’t even born when the episode at the bottom of this post first aired. But I am looking back on those scenes, overlaying them with colorized scrims of meaning for myself.
Why am I doing this? Because I’ve been ruminating on small packages of words that convey a lot with a little. In a word, I’m thinking about FLASH. Also known as sudden, micro, mini, prose poem and hybrid, flash pieces are writing of up to about 1500 words. We might think of them as works that make their own small screens and then fill them. My first book, (made), is a concatenated collection of such writing. Bhanu Kapil called a it “magical dictionary….It’s not trajectory. It’s not narrative. It’s vibration.” (Thanks, Bhanu!)
In these shorter works, the words do extra work. They do vibrate together. And so we must pay extra attention to how they are fitting together. And yet, we can also shoot out of the cannon without worrying we will fall to the ground before hitting our target because we do not have to go as far as we do in the short story or essay or novella or, god forbid, the book. So much possibility in brevity! Which isn’t to say that we need to think of truncating our expression; hardly. We can think of it as an explosion onto the page.
That’s one way, anyway. I also adore flash that sneaks up on me. Or quietly and kaleidoscopically turns around its subject creating prisms on the walls in the room in which I’m reading. There are so many modes for making in this form. I’m back to working on a few of them of late as helpmates to the multimedia novel I’ve been writing for a handful of years now. They serve to give me a sense of completion while I spend the majority of my days with the sense of leaving everything unfinished each time I shut down my computer.
And so I decided to share my process. To that end, I’ve created a Flash Writing workshop and the next section is now enrolling. Come write with me! You can write in fiction or CNF (creative non-fiction). It’s online so you can join in from anywhere. We will read, write, critique, and discuss these gems and also cover avenues for publishing. A one-on-one consultation with me on your work is included.
All the details for my upcoming Flash Workshop are here.
Instructor Cara Benson is an award winning writer whose stories, poems, book reviews, and essays have been published in The New York Times, Boston Review, Best American Poetry, The Brooklyn Rail, Fence, Electric Literature, Hobart, Vol. 1 Brooklyn, 3:AM, and in syndication. She has received a New York Foundation for the Arts Fellowship in Literature and has recently completed her second book, a novel. Of her first book, a hybrid prose collection called (made), the Huffington Post writes: “Benson does more with the two-word sentence than many poets do in two stanzas or even two poems, largely because it would be difficult to find even a single wasted word." Cara is represented by Akin Akinwumi of Willenfield Literary Agency and holds an MFA in Creative Writing from Goddard College. She has been a Visiting Writer for The New York State Writers Institute, Rhode Island School of Design, Evergreen College, Kelly Writers House at PENN, Stonecoast MFA, and Toronto New School of Writing. Currently, she is writing a series of short works on thinking and walking for Best American Poetry called “Dispatches from a Distance.” www.carabensonwriter.com or Twitter @cbenson67.
