Isn’t it cool how you can do so much with so few words?
I love it. 😁
It started as a mark.
By lunch, it burned, snaking past her wrist to wind ‘round the elbow and onto the bicep.
At day’s end, it spanned shoulder to shoulder, a wide band of flaking grey weeping crimson and cream.
Come morning, she stood,
swallowed head to toe,
in the bark of a ravening tree.
If anyone ever asks me how I get past writer’s block or get myself ready for the day, I’m gonna lead them to these 55-word shorts.
I love ’em.
Dainty girls break too easy.
Which is why, after the effortless snapping of bones
and easy tearing of too-tender flesh,
he craved a Stout Girl.
One with meat on her legs, a heft to her stride.
Pudgy arms, thick wrists.
Yes, that’s the ticket,
as Stout Girl bashed his head with a brick.
Just another little something I wrote – a fairly complete, hopefully intriguing story with a 55 word limit – while loosening the ol’ writing muscles for the day’s work.
I do think I’ll compile these into a collection someday. 🙃
I’ve knitted a shroud.
Or perhaps sewn is the right word.
Dollar store linen and bone-white thread beginning at my purple feet, past my arthritic knees and swollen stomach, onto my weeping breasts and blackened throat.
My knuckles knitting my sins into seclusion and shadow
once the smell becomes toxic,
I will be found.
See? You don’t need a ton of words to tell a good, creepy, screwed up story. Fifty-five words – maybe even less – is sometimes all it takes.
Perhaps I should publish a collection. 🤔
“I’m just going to tell you what I think really makes these novellas work and what makes me think Jonathan Winn is a brilliant young author. There are two things that really stand out for me. One is that Winn’s characters are fantastic, so incredibly well developed for such short works, and, love em or hate em, they make you feel something, and they make you interested in their fates. The other thing, and this one is huge for me, is that his endings are fucking perfect. Some of the hardest hitting, wickedly horrific finales I’ve ever read. Because of that, the stories stay with you long after you’ve read the last word.”
Now, on to the excerpt!
My stories do trend darker but I absolutely chose to focus on horror. Why? Because it’s limitless. I can be brutal and strange or sly and surprising. Horror is a big tent under a huge umbrella. What other genre can you turn a field of golden grass into something it’s not? Something sinister? Or a simple piece of string into the most horrific of inescapable nightmares? Or have an unexpected tattoo – one the character doesn’t remember getting – come to life, multiply, burrow under the skin and bring bloody retribution fed by guilt and regret? My imagination is allowed to run free when it comes to horror. I’m not sure it’d be that way with other genres.
You can read the rest over here.
The other day, while writing the sequel to Eidolon Avenue, I found myself facing a familiar fork in the narrative road. That moment when, like it or not, I have to put on the page something I find abhorrent and confusing and wrong. Something painful. Something only the most shattered of souls could even think of doing. Something the story demands, that the story has been building towards, but which still makes my heart wince and my soul sob.
As I said over on Facebook:
…I’ve just ended up on a road I dread because I know what’s coming next and it screws with my head and makes my skin crawl to have to write it. The depravity and pain and wounding and heartbreak is something I simply do not – thankfully – understand or comprehend.
How do you write what you write when it’s obviously so difficult to do?
Writers, in many cases, as odd as it seems, write what they know, to some extent. A lot of creativity and imagination goes into it, of course. And if you’re writing in a different genre – romance or self-help or something – then, obviously, the arc from personal to page doesn’t bend too dramatically.
But those who write horror are digging into their wounds whether they realize it or not. Only when you touch the darkest, deepest, most vulnerable parts of yourself, your psyche, can you put the worst of the worst fears on the page. And when you write with your body and soul, you feel that worst of the worst. You feel those wounds. You write with blood and tears and dread and hope.And that’s what readers respond to. There’s a tacit acknowledgement, more subconscious than not, of the courage it took to tell your story. As if the writer’s taken a metaphorical bullet in order to guide the reader, from the safety of the page, into the dark and then safely out again.
After some thought, I suspect the above is more accurate than I realized. And that’s why I strongly believe horror is a necessary genre. And the stories we tell – as dark and f’ed up and terrifying and “wrong” and twisted and boundary-pushing and unique and brave as they are – are as widely accepted and applauded as they are.
We’re the brave ones who forge the trail and cut back the brambles and, torch in hand, show you, the reader, the way into fears you didn’t even know you had. And then help you back to safe ground. Because we’ve been there. We’ve opened the way. We dug the earth with our bare hands to make the trail. It’s our home.
In writing our wounds, we, in some way, help the reader face and hopefully heal theirs.
Then again, this could be the second cup of coffee talking, so-
Honest. Satirical. Observations.
A blog for lovers of all things in horror culture and entertainment.
Treat everyday as a new adventure
Let's Get Digital
Author, Blogger, Social Media Jedi
Official Site for Author Armand Rosamilia
The Official Blog of the Horror Writers Association
Author • Poet • Advocate