Devil's Plaything is smart, fast, and terrifyingly plausible—a page-turner of the first order. Floodgate —On the eve of the presidential election, a conspiracy threatens to alter the outcome of the vote—and the future of American politics. At the heart of the plot is a powerful computer program, aimed at rooting out hypocrisy among politicians to expose their truths.
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The Cloud —When the next generation of technology seeps into the brains of the next generation of people, former medical student turned journalist Nat Idle must investigate and stop the invasion. A deftly told tale, the scariest part of The Cloud is how close to reality it could be. He lives in San Francisco with his wife, Meredith, a neurologist, and their two children.
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A sizeable cohort are also interested in ultimately writing for film, games, or comics. The number of students who walk into the room with an active interest in writing short stories hovers somewhere between a handful and, more often, zero.
“Floodgate” by Tracy Winn (fiction, ’02) | Friends of Writers
And why would the number be higher? I want to harness the things they already love, not disparage them. But I also want to evangelize for the short story form, which in practice has meant evangelizing for magazines like AGNI. Short stories offer aspiring writers opportunities to isolate and attempt certain technical moves, work certain creative muscles, and actually revise a project towards completion. But to try and sell students on stories in these terms risks demoting the form to a pedagogical tool.
Students who have no awareness of the existence of literary magazines, in print or online, are almost inevitably going to see short stories as a creature of the academic workshop or the anthology, and nothing in between. Both programs also offer the option for students to videoconference with literary magazine editors. Instead, I often ask students to take a preliminary look at first paragraphs or pages and nominate the stories that most intrigue them. This creates an automatic framework for subsequent conversation, as we discuss what drew them to different pieces and what assumptions they made or hopes they had and how the authors then met or diverged from those expectations.