In Howard Vogl’s Under the Clay Pots:
- Why might Sarah or Kevin’s parents disbelieve Kevin’s account of writing a story broadcast on the old-fashioned radio? Is Kevin’s story a risky exercise in misinformation?
- Now that Sarah knows of Kevin’s written account of Edith’s murder, what shall she do when and if Edith’s remains are discovered under the clay pots?
- Does Kevin’s mother forgive him for committing the murder?
In Nikki Everts’ A Life of Crime:
- In what ways does Eloise feel she is treated with condescension? Why does she feel exploited?
- How lucky is Eloise? Can she always take Canadian politeness for granted? At what point does she put herself in harm’s way?
- Ideally, how might Eloise have time to write her novel without having to turn to a “life of crime”?
In Dan Reed’s The Real Thing:
- Why does Lucas break off his date with Avery?
- What does the “Synch” program seem to do? What are its disadvantages?
- Do the space aliens have the same problems as Earthlings? How might the story play out if Avery were human?
- Can the story be read as a satire of virtual dating, real dating or both?
In Amber Ray’s If Wishes Were Horses:
- At what point in the story does “Sammy” become Samantha? At what point does “Hen-ree” become Henry?
- How many social and personal conflicts does the story portray? What are they?
- Does the story take place at any specific geographical location? How many are mentioned or alluded to?
- How does the author achieve some of the effects of a prose poem in the “Iron Horse” scene?
- In what ways does the Iron Horse itself become a wish?
What is a Bewildering Stories Challenge?