In Arthur Mackeown’s “The Prophecy”:
- At what point does the silent man’s silence result in inadvertent humor?
- How would an actor in a stage play deliver the last line of the story?
In Amy Locke’s “Sleeping With the Buffalo”:
- Is the story really a poem? Would removing the line breaks make any noticeable change in the narrative?
- As prose, how would the story be classified: as flash fiction or a memoir?
In Ross Smeltzer’s “In Times of Plenty”:
- Is the story a fable, a modern fantasy, or a fairy tale?
- Might the story be “keyed” or allegorical in some way? If so, what might it refer to?
In LaVerne Zocco’s “Make It So”:
- A fictionalized Amelia Earhart communicates a kind of final memoir without being able to write it. Is the narrative device unknown in literature?
- Does the story overstep Bewildering Stories’ “dead narrator” guideline, which holds that someone must live to tell the tale?
- What does the narrator know that the real Amelia Earhart could not possibly know?
- How likely is it that the real Amelia Earhart would not know Morse Code?
- Is there any inconsistency in the account of the damage done to the radio equipment?
Copyright © 2013 by Bewildering Stories
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