Tag: flash fiction

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Writers Chat

Writers Chat Recap for November

Writers Chat Recap

Writers Chat, hosted by Johnnie Alexander, Brandy Brow, and Melissa Stroh, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

Come Write with Us: Having Fun with Flash Fiction with Sophia Hansen

Novelist and flash fiction editor Sophia Hansen shares tips on writing short stories—less than 1000 words—in this fun and creative “Come Write with Us” episode. From there, she leads us in developing a story idea based on a character bio and three prompts provided by Story Dice (a free app). These basic ideas are fleshed out with an imaginative brainstorming session by participants who write in a variety of genres. Whether you write short stories or mega-novels, this episode is like an ice cream cone on a hot summer day–fun and refreshing.

Watch the November 5th replay.

Sophia Hansen is an organic author, using no artificial ingredients in her stories—unless absolutely convenient. She writes and edits flash fiction for Havok Publishing and her debut novel, Water’s Break, released in January, 2024 to critical acclaim. Sophia, who resides in the South with her husband of thirty-six years, can be bribed with good coffee, crispy bacon, and dark chocolate.

The Way We Share Truth Matters with Annette Marie Griffin

In a world where truth is becoming more and more relative, people still search for real answers to life’s deepest questions. But instead of looking to the Church or the Bible for spiritual guidance, the go-to source for enlightenment is now Google. In this episode of Writers Chat, award-winning author, Annette Marie Griffin, covers how Christian writers can impact the world by using Google analytics and best SEO practices to ensure their online content reaches those searching for truth.

Watch the November 12th replay.

Annette Marie Griffin is an award-winning author and speaker who has written hundreds of top-ranking articles for Salem Media Group, she’s a columnist and acquisitions editor for StarLight Magazine for kids, and she teaches workshops and training classes at local and national writing conferences. When Annette isn’t writing, speaking, or teaching, she loves making memories with her brilliant husband, 3 adult children, 2 teens, and 3 adorable grands!

Thanksgiving Roundtable: Sharing Blessings

The Writers Chat community counts our blessings while playing “Thanksgiving Roulette.” Our illustrious host, Johnnie Alexander, drew questions from her writing box and posed that question to someone in our audience. We had questions like: what is your favorite Scripture for writing? What mentor has blessed you? Where is your favorite writing place? What lessons did you learn the hard way? Where would your dream writing retreat be? And so much more. Be sure to check out this episode if you need encouragement, laughter, or simply want to see a delightful show.

Watch the November 19th replay.

Disclaimer: The opinions and viewpoints presented by the cohosts and guests are their own and do not necessarily reflect the opinions and viewpoints of Writers Chat or Serious Writer, Inc.

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET
on Zoom. The permanent Zoom room link is: http://zoom.us/j/4074198133

Categories
Fantasy-Sci-Fi

Flash Fiction FUNdamentals

Flash fiction may sound new and alien, but it’s been around longer than you think. The query that inspired the first flash fiction contest was, “How short can a short story be and still be a short story?”

As a result, Short Stories From Life was published in 1916, featured81 stories from the Shortest Story Contest. Further questions raised as the project grew were:

  • When is a story not a story, but only an anecdote?
  • When a story is a story, is it a combination of plot, character, and setting, or is it determined by only one of these three elements?
  • Must it end when you have ended it or must it suggest something beyond the reading?

These are still some of the questions asked about flash fiction, but let’s clarify.

Flash Fiction is a form of short story, usually between 300 to 1,000 words.

Why should you write flash fiction?

  • It’s a good way to get past writer’s block—and writing prompts are a fun way to jumpstart creative juices
  • You get to play with a new story and the rush of finishing
  • You’ll learn to write and edit tighter
  • You’ll have content (aka lead magnets) to offer your readers
  • Getting published is not as arduous or prolonged

Publishing flash fiction is not automatic, but the barrier to entry is not as steep as for a full-length novel.

Getting down to business

Every story needs a beginning, a middle, and an end whether it’s spread over a seven-book series or a 50-word fiction. You need a beginning that will hook the reader, a middle that engages them, and a satisfying ending. And you need to do that in 1,000 words.

For plotters, here’s a basic structure for a 1,000-word flash fiction story. I’m pretty committed to pantsing—but people who plot say this is helpful.

  • Intro: ~150 words – setting and characters–if you can, start in the middle of the crisis
  • Rising action: ~600 words – develop main conflict (try-fails, conflict/crisis)
  • Climax: ~200 words (the turning point/most intense moment)
  • Resolution: ~50 words

Pacing isn’t the only thing acquisitions editors look for in submissions.

Beginning

  • Make your title earn its keep! It’s not included in your word count, so use it to set the stage or foreshadow a twist.
  • Your first line needs to hook the reader.

“There are things they don’t tell you about having green skin.”

Photosynthetic by Cassandra Hamm
  • Pay attention to POV and voice (whether you choose 1st, 2nd, or 3rd)
  • Limit your characters to one or two–but include the conflict of two opposing forces
  • If you introduce a feature, make sure it’s pertinent to the plot

Here’s another wonderful opening:

Commander Tri’eek’s ship was self-destructing.
Bianca muttered Earth English curses under her breath as she ran through the Argo’s gigantic ventilation shafts, holding a gargantuan stolen ring of shiny, black electrical tape around her waist like a life ring. She had spent three precious hours tracing the problem to the engine maintenance room. She couldn’t afford to be wrong.

Brownie Points by Lavender Ellington

It’s not a story until something goes wrong

Steven James

Middle

  • Dialogue, dialogue, dialogue
  • Action beats can reveal more about your characters than dialogue tags
  • Reveal, don’t lecture (aka show, don’t tell)
  • Avoid talking heads. Use the whole body to communicate your character’s state of being—shoulders, fingers, knees, toes
  • What are the stakes? What happens if the MC fails? Will the reader care?

End

  • Your ending needs to be satisfying and the conflict, resolved—whether it’s positive or negative. Leave your readers with a thought to chew on, a twist, or an aha. Does the story convey an idea larger than itself?
  • Your readers want to know what’s going to happen but they also want to be surprised—so plant seeds of the ending in the beginning and throughout the story.

When you’re done:

  • Check for repeated words or concepts, unnecessary details, or cliches,
  • Read it out loud and get someone else to look at it.
  • Recheck the submission requirements before hitting SEND!

Where to submit

Havok Publishing wants stories that hit fast and strike hard––stories that can cut through the day’s troubles and grip distracted readers. They also provide feedback on all submissions, unless requested otherwise.

Spark Flash Fiction looks for romance stories that will grab the reader and put a spark in their day.

NYC Midnight hosts contest for a variety of short fiction stories. For a small entry fee they provide prompt-based challenges, feedback from their judges, and peer feedback forums.

If you’re curious about flash fiction, read some! There are plenty of free sources and don’t take more than a few minutes of your time.

Sophia L Hansen is an author and editor with Havok Publishing and loves to write In Other Worlds. She’s lived on a tiny island in Alaska, the bustling cities of New York and Boston, raised kids in Tennessee, and now resides just outside Birmingham, AL. After 30+ years of marriage, seven children, and numerous pets, Sophia still fits into her high school earrings.

You can follow Sophia’s words and worlds at https://www.sophialhansen.com/, Facebook, and Instagram.

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Writers Chat

Writers Chat Recap For June Part 2

Writers Chat Recap

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Brandy Brow, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

The FUNdamentals of Flash Fiction with Sophia L. Hansen

Sophia shares tips for writing effective flash fiction. As it says on their website (gohavok.com), “Havok provides sharp, memorable fiction in 1,000 words or less.” She stresses how important it is for a flash fiction submission to open with a strong hook (the first line should grab the reader) then continues with an engaging middle and a satisfying ending. For the plotters, Sophia includes a basic plot structure with word-count ranges. For additional ideas and resources for writing flash fiction check out this week’s replay.  

Watch the June 21st Replay

Sophia L. Hansen is an author and editor with Havok Publishing and loves to write In Other Worlds. She’s lived on a tiny island in Alaska, the bustling cities of New York and Boston, raised kids in Tennessee and now resides just outside Birmingham, AL. After 30+ years of marriage, seven children, and numerous pets, Sophia still fits into her high school earrings. You can follow Sophia’s words and worlds at https://www.sophialhansen.com/.

How to Survey Your Readers with Jean Wise

In this episode of Writers Chat, our very own Jean Wise leads the discussion on how and why to survey your readers, plus gives tips on the when. You can use incentives like a giveaway to get people to take time to answer your survey. Jean also shares different types of surveys, where to find and post them. In addition she explains that just as a story has a beginning, middle, and end, so does a survey. For more tips and resources, be sure to check out this week’s replay.

Watch the June 28th replay.

Jean Wise is a freelance writer, speaker, retreat leader and spiritual director. She is a contributing author of devotions for six compilations published by Barbour, plus the solo author for Let Every Heart Prepare Him Room, an Advent devotion (Barbour Books, 2014). She has published numerous magazine articles in magazines such as the Lutheran, Christian Communicator and public health journals. A former reporter for her local daily newspaper, she is also a graduate of CLASS and CLASS Career Coaching. You can connect with Jean on social media or at healthyspirituality.org/amazon

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET
on Zoom. The permanent Zoom room link is: http://zoom.us/j/4074198133

Categories
Fantasy-Sci-Fi

Fantasy Flash Fiction 101- Laura Zimmerman

Fantasy Flash Fiction 101

Could you write a story in 500 words? What about 100?

Flash fiction is a genre that has grown in popularity in recent years. Those committed to it enjoy the challenge of creating a complex story in less than 1000 words—some choosing to stick below 500 or even 100 words total. The key to flash fiction is that the story must be complete, encompassing a beginning, middle, and end, as well as a plot twist at the close. This genre can be both fun and challenging. The writer must create as tight a story as possible, while still evoking the same emotion one would experience from a full-length short story.

The positive point to writing this type of work is that the genre itself fits nicely within the fantasy or sci-fi world, particularly because of the twist ending. However, a writer within the fantasy/sci-fi niche will have a few habits they may need to refine if they want to be successful in this genre.

Setting: With a limited set of words and an entire story to tell, there is typically no room for a descriptive setting. This may be difficult for a fantasy writer. Many publishers will allow a higher word count for a novel in the fantasy/sci-fi genre to leave room for world-building. Unfortunately, flash fiction doesn’t give this extra word allowance. The writer needs to choose the perfect word to describe not only the mood of the scene but what might evoke a physical description of the surroundings to the reader. Instead of giving a detailed description of a broken down house that’s been empty for years, the writer might have to limit himself to simply using the word “dilapidated” knowing that the reader will see the shattered windows and chipped paint in their mind’s eye.

Physical Appearance: Once again, there just aren’t enough words to effectively describe your characters. Forget hair and eye color, or other mundane information that isn’t necessary to the story. Choose a single characteristic that will make the character stand out but will also tell a bit about that character’s personality. “Amelia shrank beneath his stare and pushed her glasses back in place.” In this example, the reader knows Amelia is low in self-confidence but what about those glasses? I would imagine they are part of what makes her self-conscious in the first place. She certainly doesn’t stand out as part of the popular crowd. I didn’t need to know if she was fat or thin, tall or short—she clearly sees herself as plain, which will lead the reader to see her in the same way.

Dialogue: Effective dialogue is another challenge you will face when creating your flash fiction in a fantasy or sci-fi setting. There may be unusual language or phrases you wish to insert, but there will be no extra words to give such an explanation. Once more, take your time to word your story so the reader can understand the intent without having to be told the precise meaning. Dialogue is also an opportunity for the writer to establish setting or physical appearance and still keep that word count tight.

The main thing to remember when writing fantasy/sci-fi flash fiction is to make every single word count. Find one word that can take the place of many. It may sound easy to write a story in 100 words, but I find that I take longer to write a single flash fiction story than I do an entire 2000 word chapter!

Flash fiction is a challenge every writer should undertake to help sharpen their writing skills. It will hone your talent to tell an effective story in a limited number of words and can be a great boost to your creative side!

Laura L. Zimmerman is a homeschooling mom to three daughters, and a doting wife to one husband. Besides writing, she is passionate about loving Jesus, singing, drinking coffee and anything Star Wars. You can connect with her through Facebook and Twitter and at her website, www.lauralzimmerman.com

Categories
Flash Fiction-Splickety

The One-Inch Theory

 

In her national bestseller, Bird by Bird: Some Instructions on Writing and Life, author Anne Lamott divulges the secret weapon that motivates her when she doesn’t know what to write.

A one-inch picture frame.

“It reminds me that all I have to do is write down as much as I can see through a one-inch picture frame. ”

As much detail as possible, as much thought as possible, but as short as possible. Lamott admits she tells herself “to figure out a one-inch piece of my story to tell, one small scene, one memory, one exchange.”

This gets her going, and judging on pure numbers of books published and sold, for Lamott, it works.

One small scene might work for you, too. Especially if what you’re trying to craft is a piece of flash fiction.

At less than a thousand words, flash might be the shortest form of fiction, but it shouldn’t be short on character, plot, and impact. Composing flash fiction is like using the flash on your camera—it’s meant to illuminate one moment in time. One moment that could (if needed) be put in a one-inch picture frame.

Perhaps that moment is…

… a kiss (first, last, or most meaningful)

… a realization that changed lives

… a look that seared your character’s soul

… a savoring of the mundane

… a breath in the chaos

… an instance in battle (not the battle, not the war)

… a gut-splitting laugh

No matter the moment you choose to capture, flash fiction is still story telling and your moment needs…

… strong characters (aim for two or three at the most)

… conflict at the heart of the story (i.e. if your characters are lost, show that, but don’t waste words with lengthy backstory for how they got into this predicament.)

… resolution that doesn’t have to cinch the story closed but does leave your reader satisfied (i.e. do your lost ones need water? Find it.)

 

Focus on the aspects of just that one moment. Show your reader…

… emotions for that scene, that moment

… sensory details for action and dialogue

…setting details that give a sense of place and time but don’t weigh the story down

 

As you write—and edit!—your story, frame it in your mind. Place it inside that one-inch picture frame and fill to capacity.

One small moment. One big impact.

AUTHOR BIO: Award-winning writer, Lindsey P. Brackett just writes life — blogs, columns, articles, and stories — in the midst of motherhood. She’s the Web Content Editor for Splickety Publishing Group and her debut novel will release in 2017. Connect with her at lindseypbrackett.com on Facebook or Twitter.

 

 

Categories
Flash Fiction-Splickety

Gotcha: Remembering the Resolution After the Twist-Andrew Winch

My favorite thing about flash fiction is the artistic freedom it allows. Within its rigidity, skilled writers can find inspiration to experiment and create that would never be possible in less defined mediums. It has a unique ability to blur the lines between prose and poetry, crafting worlds and emotions not elsewhere possible. But with all this potential, beginning writers (and even accomplished veterans) are often intimidated, wondering where to start.

Splickety prides itself as a community that nourishes the art of flash fiction, not only by publishing exquisite stories, but also by instructing and mentoring talented authors in this rapidly growing genre of storytelling. And one foundational principle we encourage all beginning flashers (no, not that kind) to remember is that, even though you’re writing a story that can fit on a single page, it is still a story—one with a beginning, middle, and end. It doesn’t need to use a traditional three-act structure, but it does have to complete an arc in order to leave a reader satisfied. That arc is much quicker than with short stories or novel-length, but it’s still there.

The principles contained within this all-important fact could (and do) fill entire craft books, but I’m going to focus on one specific pitfall I’ve seen lately: the resolution. I’ve spoken many times on the importance of a satisfying climax. The easiest way to accomplish this is with some sort of big reveal or twist (NOT a deus ex machina, for the love of Deus) that ties into the beginning and subtle clues/nuances throughout the story. Of course, that’s not the only way (thank Deus), but it tends to be a great place to start.

The thing is, this type of climax has a major pitfall in flash fiction because authors seldom know where to put the final punctuation mark. Most of the time, they are afraid of writing too much, and thus diluting the impact of their climax (not to mention going over the word limit). So instead, they clip the story off right at the apex. BOOM. The End. Consider the following line:

“Good thing he chambered a single live round with all those treacherous blanks.”

Not bad, huh? But if it was the last line you read after going on a literary journey (no matter how short), it would leave you with a raised eyebrow, like seeing a magician disappearing in a cloud of smoke. It’s a great one-liner, but it leaves the reader feeling a bit cheated. Compare that with the following:

“Good thing he chambered a single live round with all those treacherous blanks.

As he squeezed the trigger, he couldn’t help noticing a pair of red squirrels flitting around in the trees over Sam’s shoulder.”

Take a second to really dissect the structure. In the first example, the fact that there was a live round in the chamber is the huge reveal. It really doesn’t matter what else the story is about. The lethal bullet is the punch line. In the second example, the line about the squirrels could be significant, or not. It could reveal some minor foreshadowing earlier in the story, it could reinforce a theme, or it could be completely ambiguous. It really doesn’t matter, because its job is to give us a half second to digest the climax without taking away from it.

In some ways, this final line may actually be more important than the climax because it gives us a chance to appreciate the big reveal before turning the page. And more importantly, it actually enhances the climax by giving us a poignant scene to weigh it against.

Striking that balance between, “Gotcha!” and, “Blah, blah, blah,” can be a challenging one. Just remember, flash fiction is founded on this principle: give the reader everything they need, and not a word more. It takes practice and patience, but we’re writers. If it were easy, everyone would do it.

 

AUTHOR BIO: Andrew Winch, Splickety’s executive editor, writes backyard adventures with an otherworldly twist. Check out his weekly adventures at raisingsupergirl.com, follow him on Twitter @andrewjwinch, and like him on facebook.com/andrewjameswinch.

Categories
Tour

Blog Tour- Ben Wolf

benw

Welcome, Ben.

Tell us about your latest book.  I’d Punch a Lion in His Eye for You
I’d Punch a Lion in His Eye for You follows the imaginary exploits of a father and son to adventurous locations. At each location, they encounter an alpha predator that attacks the son, but the father intervenes and saves him every time because the father loves his son.

Why do you write what you do?: I write action/adventure speculative fiction because it most resonates with who I am as a person. I love sci-fi and fantasy, and I’m developing a taste for horror as well. It’s the most fun set of genres there is.

What are you currently working on?: Currently, I’m working on a Christmas novella in which Santa has to save Christmas from Father Time. I can’t go into much more detail than that for the time being, I’m afraid.

How does your work differ from other work in its genre?: My work differs from other work in its genre in a variety of ways:

1. I usually try to buck conventions of whatever genre I happen to be working in.

2. I write with a unique voice.

3. I routinely try to twist the reader’s expectations of what my work should be.

How does your writing process work?: Generally, I get an idea and write down the idea. I write as much of that idea down as I can. When the idea is written down, then I try to give it some structure. I typically write stories that adhere to the three-act structure, so I pinpoint the key moments in my story where they’d be with the three-act structure.
After that, I begin outlining in more detail, usually on a chapter-by-chapter level. Then I save the outline separately and create a new document with the outline in it, and I begin writing. As I write the content of the outline in story form, I delete the outline notes in the manuscript. By the time I’m done, there is no outline left, but I have a story.
From there, I begin the editing process. I start by whittling down the writing by cutting unnecessary words and tightening up the prose. Then I have someone else look at it to check my writing for areas in which I’m weak (usually character stuff). I perhaps do some additions and tweaks, and before long, I’ve got a solid manuscript ready for pitching or publication.

Ben Wolf founded Splickety Publishing Group (SPG) http://splickety.com/

The goal of SPG is to meet the needs of busy folks like him: people who appreciate great fiction but lack the time to read. SPG offers three quarterly flash fiction magazines: Splickety (multi-genre), Havok (speculative), and Splickety Love (romance).
Ben’s novel Blood for Blood won the 2015 Cascade Award and is characterized as “bold…with nonstop tension” and “hard to put down.” It asks, “What if a vampire got saved?”

His debut children’s book, I’d Punch a Lion in His Eye for You, is a 2016 Cascade Award finalist.

I'dpunch

Amazon https://www.amazon.com/Punch-Lion-His-Eye-You-ebook/dp/B0185N6R3W/ref=sr_1_5?s=digital-text&ie=UTF8&qid=1471548030&sr=1-5

Social Media and Blog:

Facebook: https://www.facebook.com/profile.php?id=110400056

Twitter: http://twitter.com/1BenWolf

Instagram: @1benwolf

Website: www.benwolf.com

 

Categories
Flash Fiction-Splickety

Emotion in Flash Fiction: How to Pack a Punch in 1,000 Words or Less

TeddiDeppner
“Find the key emotion; this may be all you need know to find your short story.”
– F. Scott Fitzgerald

In astronomy, a singularity is a black hole. It’s a powerful gravitational well that sucks in everything around it — planets, moons, asteroids, dust clouds, stars, even light itself.

What does this concept have to do with flash fiction?

Emotion is the singularity that sucks your reader in and devours them whole. Emotion is also the singular focus of the short story writer: it is the only thing that leaves a mark and creates a lasting memory in a reader. Flash fiction is generally under 1,000 words in length. So how do you generate the sort of emotional gravity force that will grab hold of your reader in such a short time?

It doesn’t happen by accident. You do it with intention.

FIRST IDENTIFY

Ideas for short stories come to us in many forms. Sometimes a striking scene pops into your head. Sometimes a character stuck in a tough situation grabs your empathy. Sometimes a fascinating “what if?” scenario or scientific fact tugs at your imagination.

These are all good starting points, but before you jump on the keyboard and begin merrily typing away, do this one vital thing: identify the emotion your story is best suited to evoke in your reader.

THEN INTENSIFY

“A short story must have a single mood and every sentence must build towards it.” – Edgar Allan Poe

Good flash fiction requires the same basic elements needed for any good story: setting, character, desire, an obstacle or conflict and a resolution — all working together to form a powerful emotional experience for the reader. Each element should be written towards that singular focus, and every word must pull its weight. In fact, as you gain experience with flash fiction, everything should pull double — or triple — duty.

The description of the setting should add to the mood, imply something about the character, and hint at the story’s climax. The dialogue should provoke an emotional reaction, as well as illustrating who the characters are and what they want.

Even if your story is under 1,000 words, you can still give the reader enough information to connect with the main character. Skip across the timeline of your character’s life, zooming in to show key moments that enhance the target emotion.

Be careful, though. If you are targeting the emotion of regret, that doesn’t mean every sentence will be sad or regretful. Not at all. The impact of the target emotion is a result of engaging the reader in a vicarious experience, so that they want to see the character get what they desire, so that they are disappointed when the character fails, they are hurt when the character is in pain, and ultimately, they feel the target emotion when the character’s story is finished. For example, the story might be full of wonder and delight, and the hope of a happy ending. The regret is then achieved at the end when something hinted at throughout the story comes to fruition and sabotages the hoped-for happiness.

THE READER IS PART OF THE EQUATION

Readers themselves bring memories and emotions to the table. Leverage those. It’s not always about describing your character’s pain in order for the reader to feel pain. Your character may feel something very different than the emotion you’re evoking in your reader.

When you write, imagine the age of your target audience, the things they may have experienced before, the movies and books already popular in your story’s genre. Make them think your story is headed one way, similar to other stories they’ve seen, and then give them a delightful surprise. Paint details from significant events that trigger memories of their own first love, first funeral, first pet, first fear.

Flash fiction is about packing a punch with just a few words. When you pick every detail of your story with a single powerful emotion in mind, your readers are more likely to be sucked into your story and have an experience they’ll remember for a long time.

EXAMPLES

DailyScienceFiction.com has an impressive collection of good quality short stories in the speculative genres. Here are a few stories that packed an emotional punch:

• Voidrunner – This story covers decades of a life in 823 words. It also uses setting and repeated imagery to enhance the emotional impact.
• The Circle of Life – This story contains the familiar emotions of a sibling helpless in the face of her sister’s selfishness and then turns it upside down in the last sentence.
• Sparg – I first read this story in 2013, and will never forget it. So sad!

 

[bctt tweet=”Generating emotional gravity in 1000 words or less doesn’t happen by accident.” username=”@A3forme @Splickety”]

A short story must have a single mood and every sentence must build towards it. – Edgar Allan Poe

[bctt tweet=”Find the key emotion; this may be all you need know to find your short story. – F. Scott Fitzgerald” username=”@A3forme @Splickety”]

AUTHOR BIO:
Teddi Deppner is an indie author, founder of the #SpecFicCollective and Associate Acquisitions Editor at Splickety Pub Group. She’s also a homeschool mom, artist and an avid toy and nature photographer. Hear more about her projects at http://www.teddideppner.com/ or connect on Twitter or Facebook.