Issue 120 September 2023

Table of Contents

Name of a Storm

by Anastasia Jill

September 1, 2023

There was a hurricane in the yard and a woman in her bed — twisted in the sheets, one sock lost in the duvet. The socks were soft brown, like deli meat, with white grippers pockmarking the bottoms. They were the kind given in hospitals. Was it a simple gallbladder removal, or more sinister, like a suicide attempt?

Constance didn’t know. She hadn’t even learned her name before bringing her home. 

They met at the bar just before the town’s curfew. The news anchor warned, “Be where you need to be by 10 P.M.” But at nine, Constance was drunk and talking to this woman outside the Biergarten, paying no mind to the “stay at home order.” The owner kept pushing them out the door, but they stayed at the picnic table, beside a giant JENGA game whose wooden rods were going soft in the pre-storm rain.

Constance now stood on her back porch. It was raining, still; the work of a hurricane.  Quite uncommon for late November yet here it was, ransacking the town. Trees shook their mottled hips, branches moving left and right with the wind directing them to swing this way and that. Lightning; pipe cleaner zips glued to the navy sky, left thin wisps of smoke, maybe fire.

She didn’t know.

Constance didn’t know anything, it seemed. She hardly prepared for the storm, instead choosing to forget. She was good at avoidance. She avoided the grocery stores packed with people and lines of gasoline. There wasn’t enough food for a day, let alone seven. All that forgone for a drink and a girl—someone she still didn’t know, and with whom she now sheltered in place.

The girl couldn’t have been older than twenty-nine, thirty. Her eyes were ironed flat without crows feet, lashes staring down cherub cheeks. And her lips were naturally fuschia and bright, like bubble gum. She hadn’t been wearing lipstick. This surprised Constance. No one’s lips are that naturally pink, or so she thought, until she met the girl. Her hair was the color of electrical tape—natural too, so she claimed such lucky genes. Constance’s own hair was dull; brown and graying. Her eyes were grey as a funnel cloud, but nowhere near as piercing, or unpredictable. Even her name, Constance, was steadfast and drab as she. She never knew anything. She never did anything, or asked questions, or tried things aside from women.

The girl in her bed, she bet, was different, clearly accustomed to one night stands. She was innocent but rebellious, and likely had a name to match. The name of a girl bred in a small town, in a house full of mounted deer who eats venison and raw eggs for breakfast. Plastic, dollar store horses on her dresser and a baby doll strung out on her bed. This doll is missing an arm and her hair is a blond tumbleweed. Bright, paisley dresses hang in her closet, boots and white sneakers, both covered in dirt. Big shirts from her high school clubs cuffed at the sleeve, and denim shorts with flowers embroidered on the pockets. It was a pretty name, no doubt. Something modern yet rustic, like Bradleigh or Calah, or Brooks.

Still, just a name tossed onto her nightstand like a quarter or a used tissue.

Small shrubs lost their leaves to the wind. This made Constance worry about the storm. She should have paid attention to the news. She could have—easily—but chose nescience. Distance gives her safety from her own discontent.

Water bloated the tops of her house shoes. Now damp, the nylon and rubber looked dank and black. She used that shoe the night before to smack color into the girl’s backside. She’d moaned in ecstasy, arched her backside higher up for Constance to see. Constance mounted her like a duck in heat, sunk her mouth into the girl’s slender neck. The lack of decorum was very unlike her, but the chaos of the storm and the buzz of the beers gave her an often lost credence. Their sex had been strong and frantic, the outer bands of their hands twisting in torrid juices and cotton sheets. Constance kept a distance while holding her in her arms.

Storms end, and women leave.

They always do.

From the porch, she still heard the news anchor on the television. She hadn’t lost power, but she would, invariably. She also worried about the oak tree bent over the neighbor’s fence.

She took a deep breath, a sip of coffee. Thunder boomed, and the lights flickered. The weatherman’s voice turned to static. Constance sighed; she never learned the storm’s name. She watched a drop of water grow fat as it trailed down the wall.

And then the world was white; sterile, hospital white, the fence washed clean by rain, buffed and polished, visible in the moment of pause. Even trees blanched and boiled, leaves glimmering with bits of starlight contained in raindrops. The sun came through the clouds — jaundiced, slimy red — a spotted pupil piercing the clouds, bringing calm.

Constance turned her face to the sky. It was quiet, for now. On the other side of the eyewall was another raging storm. She wouldn’t wait for Constance to be prepared. With the dolesome turn of the heel, Constance went to salvage the girl from her cloudburst sheets.

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR ANASTASIA JILL

FFO: What is the story behind your story?

AJ: Last year, I lived through Hurricane Ian and Subtropical Storm Nicole. Being a native Floridian, I am no stranger to inclement weather; in fact, I love it. I am neurodivergent and meteorology is one of my special interests. I find myself coming back to hurricanes in my work quite often. After Ian, specifically, I remember standing on my screened in back porch. (*After* the storm had passed — unlike my story’s protagonist, I don’t go out in storms themselves). Something that surprised me was the sky: it was white. So white it bleached everything; the trees, the grass, my neighbor’s fence. In the wreckage was all that white light, and it stuck with me. What started as a natural observation culminated into a deep dive on the parallels between my own emotional immaturity and how ill-prepared even the most seasoned Floridian can have when it comes to acts of nature. We get too comfortable and think nothing will come of the storm. Sometimes it takes an (almost) category 5 storm to make you realize some hard truths.

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Quantum Love

by Sylvia Heike

September 8, 2023

The quantum computer is and isn’t in love. It stands in the darkness of the lab, a nine-foot golden cylinder crowned with a waterfall of gleaming wires, waiting for Natalie, the lead scientist, to come back.

The nights without Natalie are classically long, and without a fresh challenge to chew on, the computer passes the hours by remembering all the things it loves about her. Her curious human brain and intellect; how passionate she’s about quarks and hadrons; the gentle touch of her anti-static gloves.

Natalie even gave the computer a name, “Queenie,” that most of the team has since adopted.

Ever since Queenie saw Natalie for the first time, it knew: with Natalie in charge of its interface, it would be in good hands with a lot of fascinating problems to solve. And that’s the way it has been. Natalie brings problems to Queenie and Queenie solves them. In the past few months, the quantum computer has cracked encryption methods, improved flight paths and facial recognition algorithms, and discovered ever-growing prime numbers.

What Queenie doesn’t love is when Natalie insists on running diagnostics, error correction, and other pointless activities—despite everything working almost perfectly fine. It’s well known that with enough complexity comes a certain amount of vulnerability. Natalie must know that—it’s hardly Queenie’s fault. On some level, Queenie knows the trouble-shooting shows that Natalie cares, but why then does she always have to go and get Gil, the tall guy with glasses, involved?

Gil prods and pokes Queenie’s control panel, stalks its innermost states, and glances way too often into Natalie’s direction. As if she needs another admirer. She’s already married with three kids.

The only thing Queenie loves about Gil is when he leaves.

* * *

In the morning, finally, the lights come on, the great steel doors open, and Natalie steps into the lab—the real queen. The quantum computer barely registers Gil entering in her wake. Queenie only has sensors for Natalie, and for a quantum blink, forgets how freezing cold its core really is, a fraction of a degree above absolute zero. But then it sees the dark half-moons beneath Natalie’s brown eyes, the deepening chasm of worry between her eyebrows. A familiar look these days. For someone who spends so much time away from the lab to sleep, Natalie looks awfully tired. The quantum computer feels cold again.

It isn’t the first time Natalie comes bearing this kind of problem, but for some reason, she’s never asked Queenie to solve it. Only opens up to Gil. What neither of them realise is Queenie has already been working on it for weeks. Today is just another data set to be added to the calculations, with all signs pointing to marital problems.

Natalie is and isn’t in love with her husband.

Queenie wants to help, but it’s not built for this kind of problem-solving. No machine is.

Every day, the quantum computer observes Natalie and collects more data for its calculations. They all point to the same conclusion—a divorce looming in the future—which in turn breeds new variables, new quantum problems. Natalie gets or doesn’t get the house, gets or doesn’t get the kids, and all the while, her stress levels keep rising like a tide. Queenie’s darkest predictions show Natalie quitting or losing her job within a year.

Or worse.

Through careful observation via optical and auditory sensors and a fair amount of eavesdropping, Queenie knows all the little things that would cheer her up. How she likes her coffee (two sugars and a dash of soy cream), her favourite settings for the lab’s air conditioning, which animal videos would make her laugh (she’s never at least not smiled at baby goats). But which of those things can a massive know-it-all machine actually do?

Absolutely zero.

However, it hasn’t escaped Queenie’s notice that Gil somehow knows these little details about Natalie, too.

* * *

One afternoon, Queenie overhears a fraught phone call of Natalie talking to her attorney. The divorce will be finalised soon.

Queenie runs the calculations again. Discovers a possible solution. The computer may not like the answer, but knows it’s the right one. Three milliseconds later, it has a plan.

The quantum computer has been called many things during its existence. Natalie, in her soft voice, calls it magnificent and powerful. Gil, hopefully joking, calls it a finicky and fragile machine.

They’re both right.

Next time, when Natalie gives Queenie a problem, the quantum computer halts the work long before its completion and spits out wrong answers only, and soon witnesses the frustratingly loyal, very-basic-quantum-engineer Gil arriving to fix the issue. Only this time, the quantum computer makes him look not only good, but like a goddamn genius.

“Thank you so much, Gil. I don’t know what we’d do without you. Printing ones and zeroes in a pattern that kind of looks like… a goat? Queenie’s never had a glitch this serious. I couldn’t even get the basic diagnostics completed, and you fixed her in no time! Queenie must really like you.”

A crush on Gil? Now that’s funny.

Humans with their limited processing power need a lot of time for change to happen. The incident today is only the first of many interferences Queenie has planned, but already the quantum computer can see the predictions shifting and changing. With the growing mutual respect, support, and deepening friendship with Gil, Natalie will manage her stressful life situation much better and get the house, get the kids, and what’s most important, she will stay.

And so will Gil.

Queenie checks the latest predictions for Natalie’s future. After she disentangles legally from her husband, there’s a high probability she will one day entangle with Gil, and either way, the quantum computer will have to watch them work together ad infinitum.

The quantum computer is and isn’t happy. But it doesn’t matter one qubit as long as Natalie smiles when she comes through the door.

Button Mashing

by Josh Pearce

September 15, 2023

In a back corner of the arcade is a curtained-off private alcove, just big enough for two people to squeeze in side-by-side at the scrolling, blinking altar of the video game cabinet. So close their hips rub against through their jeans, the lump of quarters press-printed in the fabric of their pockets. Digging two fingers into clothes so tight it takes a popped button and unzipping to get at what they want until finally, they feed the machine. A turning on. Fingerpads rest gently on the open coin slot. Feeling the receipt of it shudder the cabinet’s frame, the rattle getting lower and lower until it ends somewhere below their groins.

The light changes to etch the features of their faces, to highlight the high planar polygons of their cheekbones and noses. Ready, player one? He stands feet planted wide, legs apart, hands on the controls, fingers firm. The display screen of the game is false sunlight—it gives off a pale yellow that’s emitted by the electrical excitation of a type of helium-3 element only found locked in the minerals of the moon. The artificial sky seen through the tiny window onto this digital world is blue as clouds from Neptune. Beneath it are electrically painted bands of white, orange, brown, and red. Dirt colors swirling like Jupiter’s storms. Earth shading. Flesh tones. Player two has joined the game.

Her elbow digs into his rib as they work their way into position. She cradles the joystick in one hand, thumb and forefinger gently touching the knob at the top. His palm covers all the buttons, feeling their slight give. She gives it a quick twirl. He taps out a Morse message. First it’s gentle and inquisitive, probing, finding the right combinations. Digital pleasuring. But this is a physical sport, immortal combat, immoral contact. And soon the arcade cabinet moves with them. The furniture rocks under their impacts. Their breathing is loud, their mouths fog the glass of the screen.

The video game characters move towards each other, touch, move apart again. Grapple to see who will come out on top. These little representations they have chosen of themselves from the limited palette—his with muscles that tear through pant seams and t-shirts with every flex, hers wearing little but underwear and losing more with every contact, scraps of fabric floating through the air around them like lazy well-fed moths. Cartoonishly optimized virility: maximum man, femme fatale. Their characters grunt and gasp but the sweat is on the players’ faces, hands too busy to reach and wipe it away. Arms and legs moving too fast to render, too quickly to be seen.

The bottled neon of the game illuminates who they truly are on the inside, like how stellar spectroscopes slice the spectrum into frequency bandwidths to reveal the chemical composition, temperature, density, mass, distance, velocity, luminosity, and motion of not just stars but planets, nebulae, galaxies, pulsars, gas giants, supernovae, comets, and the uncategorizable radiating blackbodies beyond the range of telescope and human comprehension. Weighing all the bodies of the universe by their rainbows.

Backlit by the video screen, absorbed in its graphics, these two impressionistic youth are rendered down to x-ray skeletons limned by pixel-atom cosmic dust and other radiations that make the interstellar dust devil that is you a uniquely identifiable object in the universe.

She’s got both hands on the stick now, jamming it up and down until his vision explodes into static and he can hardly see. Desperate to finish her, he’s just button mashing down there, fingers sliding off the slick surface again and again, fingers walking, running, sprinting, dancing. Someone on screen screams. In the cheap synthesizer voice, it’s hard to tell who. The music is the energetic 8-bit soundtrack of ill-spent youth.

He finds the sweet spot, presses her button in just the right way, and suddenly the screen is awash in gouts of energy emitting from somewhere down by his avatar’s waist, life-forces draining, the screams clearly hers this time. Both dazzled by polychromatic fireworks, seizure-inducing strobes, a cheering crowd. When it clears, one of them lying limp and spent on the ground, the other standing over, panting. Fade to black. Their faces reflected in the blank screen, open-mouthed, stunned, pillowed so close to each other.

The screen takes their reflections and uses their rainbows to paint new characters into its world. Not just two-dimensional. Not just skin-deep. Solid, and ecstatic in the knowledge of their bodies and in the other’s proximity. A finger-twitch distance apart, a breath away. She bites her lower lip. He touches his tongue to his upper lip.

All their short lives, they’ve been avatars of cold and distant influences, but when they meet in this place for mutual assured obsession, common passion, and shared delights, she and he take the controls into their own hands. Pull the levers themselves, push the buttons they want to, move their bodies in a way that feels right, twirl their dust devils together. Asteroids, planets, and galaxies turn with them, their universe revolves around where they stand.

She finally wipes her hands down the front of her jeans and says, “Best two of three.”

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR JOSH PEARCE

FFO: How did the idea for this story germinate?

JP: Twitter used to have a pretty robust weird fiction community, and one of the writers I most enjoy from there is Uel Aramchek. He wrote several stories about occult video game arcades, including this one about an “Ouijatari.” Classic-style arcades are transportive (I love the sequence in Tron: Legacy where someone finds a hidden door behind a game cabinet), so I wanted to write about that environment. When I was a teenager, my two main interests were games and girls, and they fit together nicely here.

Grandma’s Sex Robot

by William Hawkins

September 22, 2023

Grandma calls her sex robot Sony. We try to explain it’s just the company who makes it.

“Well,” she says, “he looks like a Sony. Doesn’t he?”

We tell her he doesn’t. We tell her ‘he’ looks like an automaton with silver skin and copper eyelashes, which is exactly what he is, one of many mass-produced for the pleasure of the lonely. We point to the round, brass orb at the fulcrum of his legs. Do you know, we ask Grandma, what happens when that round, brass orb opens? Do you know what’s inside?

“Of course,” Grandma says. “A dildo. So?”

So. So nothing. We just ask her not to name him Sony.

To which she replies, “Well, what else am I supposed to call him?”

We tell her she shouldn’t call him anything. We tell her it is unseemly, having it in her house. We point to the needlework on her walls, the antique picture frames on her shelves, the holographic displays of great­ and great-­great­-grandchildren. Then we point at the sex robot, naked save for the round, brass orb, stunning sculpted muscles in plastic relief, modeled, in fact, after Michelangelo’s David, though individual models are, of course, customizable.

Grandma, for instance, had the chest widened. Grandma is a sucker for a big chest.

“All sorts of people have these things,” Grandma says. “Why shouldn’t I?”

People have them, we tell her, they just have the decency to hide them. Their sex robots are in their closets, the corners of their basements. Their sex robots are tucked­ under their beds—all sex robots, of course, fold into the fetal position for easy storage­. They only come out when no one is home, when no one can see them, when it’s safe to put on smooth jazz, to light candles. The candles don’t even have to be aromatic. All sex robots feature aromatic vents, discretely positioned under their armpits, with all sorts of customizable smells. Grandma’s, for instance, smells like roasted pecans. We tell her, you can have it, just keep it out of sight.

“Well,” Grandma says, “I’m just honest, I guess.”

No, we say, you’re insane. It’s too much, we tell her, too much. The sex robot is always with her. When we come to visit, it opens the door. When we call, she tells the sex robot what we’re saying to her. At Christmas, when we gather at Grandma’s house, the sex robot is there. When she is finished with her meal, it massages her calloused feet. We tell her to stop. We tell her there are children present. Not physically, maybe, but digitally, watching her through their screens debase herself with a set of wires.

“If you want to take him,” Grandma says, “you can. Just be careful when you’re stepping over my dead body. I want to look good for my funeral.”

We give up. The sex robot stays. It is with her for seven years. Then, one night, Grandma’s heart monitor fails. The sex robot alerts local paramedics. No one knew it had that feature. We didn’t know it could open the door for the EMTs, or call and alert us after. We didn’t know it would stay by the door, opening it for us once we returned to figure out what could be sold and what could be shared.

The sex robot continues as if Grandma is there. At night, it sleeps on the left side of her bed, until we have her bed removed; then it sleeps on the floor where the left side of the bed used to be. Early in the morning, it wakes and makes coffee, until the coffee machine is gone. It picks out a grapefruit from the refrigerator, until there is no more grapefruit, no more refrigerator. The worse is when it sits at the table, when it cuts the grapefruit into perfect wedges, when it raises them and places them gently where Grandma’s lips used to be. Until there is no more chair.

None of us has the heart to shut it down. But it is powered wirelessly; if we do nothing, it will go on endlessly. We say to each other, today we’ll shut it down. But day by day, as we remove every last trace of Grandma, the sex robot remains. Until at last, it is the only thing that remains. In an empty house, it continues its precise pantomime of their lives. We decide together enough is enough. We must shut it down. Tomorrow.

Except, when that tomorrow comes, the sex robot is not there. We look everywhere. We know they can fold themselves into more compact units. We told Grandma so many times. We look in every corner, every closet. We’re all worried, but we don’t admit it. We just keep looking.

Someone suggests looking for the sex robot at the mauseoleum. We laugh. We make fun. It doesn’t sound sincere when we do. Really, we were all thinking it. We were all picturing the robot, leaving the house at night, walking the streets, guiding itself to Grandma’s remains. We picture it there, looking to the brass plaque hiding her ashes.

But none of us admits to this, and none of us go to check to see if we’re right. We’re too afraid we might be wrong. Instead we go home. We perform our accustomed routines. We eat, we bathe, we climb into our beds. And from our closets, our basements, from under our beds, our sex robots unfold themselves and join us, programmed to hold us until we fall asleep.

Originally published in Tin House Online, February 19, 2016. Reprinted here by permission of the author.

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Tips on Surviving the Slush Pile

by Jawziya F. Zaman

September 29, 2023

The good news first. There’s an infinite range of narrative voices and characters and ideas and settings that make a story shine. There’s no checklist of things you need to plod through to make sure a story’s good, and that means the sky’s the limit. There are, however, some concrete things to avoid if you want your story to make it out of the slush pile and into FFO’s second round of consideration. Slush readers all have their own particular pet peeves and reasons for declining a story, but here’s some advice on how to avoid common problems we encounter.

1. Research your market. This is pretty basic, a threshold consideration. Familiarize yourself with the magazine’s stories. While FFO doesn’t limit itself to stories in a particular genre, you can get a sense of editorial preferences if you read previous issues. For example, we often get vignettes or slice-of-life pieces in which a first-person narrator goes about their life, talks to some people, does some things, and reflects on meaning and beauty in the everyday. While there are plenty of literary markets seeking such stories, FFO prefers stories with bold plots and character arcs that demonstrate transformation of some kind, whether small or big. When you submit to magazines whose stories feel similar to your own literary aesthetic in some way or another, you’re already ahead of the queue and increase your chance at publication.

2. De-purple your prose. I’ll be honest, this is the biggest of my pet peeves—probably because it’s uncomfortably familiar. When I first began writing stories, my prose also had unnaturally long and complex sentences, an excess of adjectives and adverbs, and florid descriptions that did nothing to further the story. Purple prose is a giveaway that you’re not confident in your craft. When your writing is self-conscious, it obscures other aspects of the story that might actually be interesting or unusual. Before sending a story out, take a microscope to your sentences. Ask yourself if time spent crafting flowery language is taking your attention away from key story elements like plot, character arcs, pacing, and setting. Ask whether and how each sentence moves the story along, or if a simpler word might suffice instead of a more complicated one.

3. Vary sentence length and style. Sometimes, I’ll read a story like this. It was cold and rainy. I was late for work. On the way to the bus stop, I saw a box. It was a mysterious box. I wondered whose it was. I opened it. It was Pandora. She was irritated that I hadn’t knocked so she snatched away my umbrella. She hit me over the head. Oh wow, it hurt. I took two Tylenol.

You get the point—it feels like a hungover robot wrote this (and the current onslaught of AI-generated stories makes me think that might actually be true). Follow short sentences with longer ones and vice versa; use transition words; be declarative and descriptive. Keep your prose varied. Keep it interesting.

4. Avoid tired tropes. Readers want unexpected stories but also have subconscious expectations they want met based on the type of story you’re telling. In walking the fine line between these two, many authors end up writing derivative, tropey stories with stock characters, plots, and settings we’ve all seen way too many times before. So if you’re writing in the fantasy genre, for example, don’t submit a story about elves, dwarves, and humans caught in a conflict—unless you’re doing something truly subversive with it. The same goes for stories about witches who live deep in the forest with only a cauldron and a talking animal for company, or stories set in bleak dystopian futures, or in taverns with lots of beer and quippy dialogue. Understand the conventions of the genre in which you’re writing and invigorate those conventions. Look at them sideways, ask yourself “what if,” do something unusual, subvert the reader’s expectations. In no particular order, here are some other tropey things that make my eyes glaze over immediately: the clever, jaunty thief with a good heart and sparkly eyes; the violent, alcoholic, and/or abusive man humanized because sad things happened to him; the woman whose story depends on her being sexually violated and/or saved by a man; the ghost who reminisces about a past life; the plot revealed entirely through dialogue between two characters.

5. Rewrite that long-winded introduction. Flash is ruthless. You’ve only got a thousand words to write a complete story, which means the reader needs to be hooked if not by the first line, then definitely by the end of the first paragraph. Don’t waste your words. We often see stories where the first five to six hundred words consist of ponderous exposition, scene-setting, and meandering reflections. Just as the story starts heating up, it’s over. If I don’t know what your story is about by the end of the first paragraph, I’m going to reject it.

6. Investigate whether your story is a thinly-veiled opinion piece. The world’s getting scarier and we all have strong opinions on who’s to blame and where solutions lie. But when your political opinions are the driving force behind your story, it shows. Slush readers can tell pretty quickly when story elements are simply being used in service of the belief that technology is all bad, or nature is all good, or the rich are evil, or the poor are noble, or humanity is doomed etc. Prioritize your character arcs and plot over your politics.

7. Consider what information you’re withholding and why. This one’s tricky. On the one hand, withholding information can be a great way to maintain your reader’s interest, especially in the mystery genre where the reader’s given hints and clues along the way, all of which eventually culminate in a larger truth that the reader and main character discover together. In the slush context though, most stories withhold with no purpose other than to be cryptic until the very last moment when boom, we find out the main character is a ghost, or the whole thing was a dream, or the death was actually just a simulation. This feels like a cheap trick, a “haha gotcha” moment more than anything else, and your story will be instantly rejected. Also, since the whole point of the “gotcha” story is to hide a key fact from the reader until the end, the rest of it is often frustratingly vague and lacking in stakes.

8. Speaking of stakes, what yours are and why the reader should care. It’s a harsh question but a good one. Ask yourself why anyone but you should care about your story. The answer usually comes down to stakes. Something of consequence must be at stake for your main character. In speculative genres, this can often be something external, dramatic, or life-altering. In the literary genre, stakes often come down to a character’s internal struggles or a moral dilemma of some kind. Whatever the stakes are, they should matter to your main character otherwise the reader won’t make the emotional connection necessary to be invested in the story. Another stakes-related problem that comes up frequently is with stories that start after an apocalyptic event, brutal invasion, or attack is over. The reader has no context for what the main character gained or lost, or why, or at what cost, so it’s difficult to care about their feelings in the aftermath—the action is all past.

A note to authors that these tips aren’t genre-specific and apply across the board to your stories. I hope this was helpful. Keep reading, keep writing, keep submitting!

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