Publisher’s Spotlight: Grievous Angel

Who likes Short Shorts? Grievous Angel likes short shorts!  They’ll pay Pro-rate for anything under 700 words (and accept poetry too!)  Details below:

  • In their own words: “We are looking for original Poetry and Flash Fiction…At the risk of stating the bleedin’ obvious, apart from the word length, the key factor with Flash Fiction is it has all the elements of a traditional self-contained short story, including a beginning, a middle and an end, even if some aspects may be implied. Flash Fiction is NOT an extract or vignette from a longer story and should never end with the words To Be Continued…
  • Genres they accept:We are a SFF&H genre-only webzine. This means Science FictionFantasyHorror and related speculative fiction sub-genres, including Urban Fantasy, Low Fantasy, Mythos, Steampunk and Magical Realism, as well Humour/Satire riffs on these genre.” (Emphasis is theirs.  Copy/paste did something funny today.)
  • Word count limit: Flash: 700 words max. Poetry: max 36 lines each, up to 5 poems submitted at one time.   They encourage micro-fiction.
  • Payment: $0.06 per word or $1 per line of poetry.  $5 minimum for the short stuff.  (Note: You’ll need a PayPal account to accept their payment.)
  • Simultaneous Submissions*: No
  • Multiple Submissions**: No (but up to 5 poems at a time.)  Please do not submit again until 6 weeks have passed (it helps keep the slush pile down.)
  • Schedule: Open.

So get to it and submit those short shorts today!

*This means whether they will allow you to submit this story to another publisher at the same time or not.

**This means whether you can send them more than one story at at time.

Reminders when submitting:

Read the publication:  Flash is short and their stories are freely accessible on the site.  You have no excuse not to do your research and see what kind of style gets their attention.  It will also give you an idea of what’s been done before so you don’t end up sending them something too similar to a recently published story.

Read the guidelines: I don’t post everything required for their submissions, just the basics.  Furthermore, this is a static post.  Publishers change their submission requirements at will so it’s always a good idea to read and re-read them, even if you’ve submitted to them before.

Follow the rules: Do I really need to say this?  Don’t send pieces over the word count.  Don’t send content they specifically warn against.  Don’t send weirdly formatted manuscripts if they give you specific instructions.  “But Liz, I–” Nope!  No, no, no.  If you do not follow the rules you risk being a pariah to that magazine – and worse, editors can exchange notes on who’s being a pain.

Happy submitting!

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NYC Midnight Genres: A Primer

For those of us who regularly participate in the NYC Midnight contests there’s a certain dread that comes from the last few weeks leading up to the contest, particularly regarding the genre prompts.

I personally love the different genres – there’s the possibility of getting something you’re familiar with, but it’s just as likely you’ll get something you’ve never written before, and that you’ll discover that it was your secret calling.  I pulled Mystery twice – the first time the 1,000 word limit almost killed me.  The second time around I had 2,500 words and that first experience under my belt, so it went much smoother and I ended up really enjoying it.

…And then there’s that third option: something everyone hates and is equally terrible at (*cough*Political Satire*cough.*)  But then again, everyone has their own strengths and weaknesses.  So, because I don’t know what your personal preferences are, here’s a quick primer on the possible genres and how to break them down.

(I’ll go into detail on some of the tougher ones over the next couple weeks.)

Note: I know everyone here isn’t necessarily going to be participating in these contests, so even though these genres are specific to NYC, what I have still goes for genre-related publications.


NYC has the following genres:

  • Action/Adventure
  • Comedy
  • Crime Caper
  • Drama
  • Fairy Tale
  • Fantasy
  • Ghost Story
  • Historical Fiction
  • Horror
  • Mystery
  • Political Satire
  • Romance
  • Romantic Comedy
  • SciFi
  • Spy
  • Suspense
  • Thriller
They also have “Open Genre” but that basically means write whatever you want, and you’ll basically only see it for the final round, if you make it that far.  So let’s break the given genres down into a couple subcategories, shall we?
Plot-driven genres

I’ve grouped the following together because their plot drives the genre.

  • Crime-related stories
    • Crime Caper: usually have criminals as the main characters in a “how they committed the crime of the century” kind of story.  Think Ocean’s 11, or The Italian Job.
    • Mystery: usually involves solving a crime, often involving murder, missing persons or stolen items, etc.  Think of this as a Crime Caper after the fact.
    • Spy: More action than either of the above genres, Spy stories can involve international crime syndicates, large scale espionage and can be from the point of view of someone thwarting crime (James Bond) or someone committing crime (Jason Bourne, or the Mission Impossible team).
  • Pacing-related stories
    • Action/Adventure: This is pretty generic for fast-paced, explosion-filled fun.  Die Hard, Indiana Jones, you get the idea.
    • Suspense: I had to look up the NYC definitions for the difference between Suspense and Thriller.  In general, suspense is slower paced, with a dramatic flair as the tension builds.
    • Thriller: Thriller seems to be fast-paced, with action scenes and plot twists.  I’ll be honest, I’m not 100% clear on the difference, but luckily some genre bending tends to be the norm with these contests.
  • Love Stories
    • Romance: Romantic elements can be present in any of the categories, but with a Romance story, the relationships are the central focus.  Most people I’ve asked agree that a Romance may not have a happy ending, but that dating and/or love and relationships need to be central to the piece.  I’ll put Love Actually in the category – not all the tales end happily but they’re all about love in some form or fashion.
Self-Explanatory Genres
  • Drama
  • Historical Fiction

Drama is the way to go for all you literary types.  Historical fiction is exactly like it sounds: set against a historical backdrop.  I’m not really going to go into either of these two.  They’re pretty standard, really.


That’s enough info to digest for now.  In the upcoming weeks I’ll be talking more about the following sub-categories:
Comedic Style/Tone

This is anything that counts as humorous.  There are some differences here, and we’ll go into that in detail.

  • Comedy
  • Political Satire
  • Romantic Comedy
Speculative Fiction genres
Speculative Fiction encapsulates anything with a “speculative” element, i.e. something that doesn’t exist in the real world.  So monsters, magic, spaceships that travel across the universe, all that belongs here.
  • Fairy Tale
  • Fantasy
  • Ghost Story
  • Horror
  • SciFi

Got any questions about what we’ve already covered?  Dying to know more about something I may have glossed over?  Ask me in the comments!  And for everything else (including the dreaded Political Satire), stay tuned!

Publisher’s Spotlight: Deadline Round-Up

Have you been keeping track of all the publishing deadlines coming up this summer?  No?  Well, let’s see if I can make that a touch easier for you.  Below is a list of all the Publishers featured on our Publisher’s Spotlight with links to the original posts AND the deadlines for their current calls.

Also, here’s a link to all publishers with rolling submissions, meaning they do not have a deadline (but they might close for the holidays; check individual pages for details.)

Freeze Frame Fiction is currently CLOSED for submissions.

As always, don’t forget to check out their individual sites as it will have all updated info.

Happy Submitting!

Authentic Voices

I have a confession: I don’t like Mary Shelley’s Frankenstein very much.  Not for the usual reasons one might dislike a piece of work (plot, character, etc.)  This is solely because of how she writes from the perspective of different characters.  Let me explain.

Frankenstein begins when Robert Walton meets Victor Frankenstein in the arctic.  Walton begins the story in first person, which then transitions to Frankenstein’s recounting of creating the monster, which then moves into the Monster’s account of what happened to him after Frankenstein abandoned him.  The novel stays in the first person, but the narrator changes.  When it does, each narrator sounds exactly like the last one.

This is a common dialogue problem, but it also crops up in any body of work with multiple first person narrators.  Because the problem goes dialogue, I tend to categorize this as a problem with characterization.  The problem stems for the fact that your characters are too similar.

You might have characters that look different physically, who come from different socioeconomic backgrounds, who are different ages, different races, etc., but if they all speak in the same manner, make the same observations, well, they will end up blending together, which can take you out of the story.  When you think about it, of course they characters sound alike, they were all written by one person.

So, what are some counter-examples?

Cloud Atlas is one of my favorites for multiple perspectives.  Not only do the main characters in each section of the novel sound different, the entire piece of work shifts genres so that it feels as though you are putting one story down and picking up something completely unrelated on your bookshelf and so on.  It does go a little overboard with this though, as the final story (which is told entirely in the middle section of the book, rather than broken up) reads like A Clockwork Orange.  It can be a difficult slog if you’re not prepared for it.

If you’re looking for a three-minute example, check this out.  For context, this is a clip from the show Galavant, with songs by Alan Menken (think every Disney movie after 1988.)  The character is an unintelligent thug who has fallen in love, trying to express his feelings.  And it is hilarious.

It works because that character is so fully-formed that even his love song is reflective of his personality.  The better you know your characters and the more work you put into making them individuals the better you’ll be at giving them unique voices.  So dig deep and don’t fall into lazy writing patterns.

Got any examples of writers who excel at character’s voices?  Read any that were so similar you had to laugh out loud?  Leave them in the comments!

 

Traditions Across Time

Clara felt déjà vu wash over her as she became caught in the folds of time.  Her skin, wrinkled with age, became taught and smooth, liver spots shrinking into freckled birthmarks on the back of her sun-kissed hands.  Her small fingers twisted blonde hair over and under while her sister fidgeted below her.

“Sit still, Hannah!”

“I’m trying!  Are you done yet?”

“Almost.”  Clara reached down to pick another dandelion from the field.  She wove the golden strands around the flower, trying her best to hold tight as they slipped through her slender fingers and stuck out at odd ends.

“Grandma?”

Clara snapped back to the present, her wrinkled hands still grasping her granddaughter’s golden hair.  They sat facing the ornate dressing room mirror, white from head to toe.

“Are you done?”

“Almost.”  She fished a white rose from the wedding bouquet and slipped it gracefully into Hannah’s hair.  Perfect.

Publisher’s Spotlight: Haunted Waters Press

It’s time for another three-for-one special on this week’s Publisher’s Spotlight!  Haunted Waters Press is a small, independent publisher that offers several opportunities to submit, including the following open calls below.

From the Depths 2016: Outsiders Theme
  • In their own words: “From the Depths is the annual literary journal of Haunted Waters Press. Featuring works of prose and poetry, the journal is released in the fall of each year. Described as “one of the most compelling and beautifully illustrated literary journals,” From the Depths was created to showcase and celebrate the writing of new, emerging, and established authors.

    Inspired by the Grand Prize Winning Entry and Runners Up in the 2016 Haunted Waters Press Fiction & Poetry Open, the theme for the 2016 issue is Outsiders. We seek fiction and poetry highlighting the unique struggles, circumstances, and journeys that set individuals apart from others. We look forward to reading your work!

  • Genres they accept:  Any. “We are interested in stories that entertain us, stories that captivate us, but most of all, stories that haunt us.”
  • Word count limit: 7,500 or less for fiction and flash fiction; poetry any length.
  • Payment: $0.01 to $0.04 per word for fiction and $20 for poetry.
  • Reading Fee: $3-$10 donation for their Expedited Decision.
  • Simultaneous Submissions*: No Simultaneous Submissions unless submitted via Expedited Decision.  Expedited Decision submissions are reviewed within seven days.
    • Note: Expedited Decision is the only option currently open, so Yes, they do.
  • Multiple Submissions**: One active submission per contributor. Please wait until a decision has been reached prior to submitting additional work.
  • Previously Published Submissions: Yes, but “entries must not have appeared in print. Please be certain there are no known copyright restrictions.”
  • Schedule: March 1, 2016 – September 20th via Expedited Decision.

So what is “Expedited Decision?”  Essentially it’s a reading fee – you send them a contribution between $3 – $10 and they’ll fast-track your submission so you get it back within a week.  They do have a free reading period, but the deadline for 2016 has passed.

“Hey Liz, I’m strapped for cash.  Any chance of a free submission?”  Why, yes!  Check out…

Penny Fiction Competition 2016
  • In their own words: “Tell us story in exactly 16 words—no more, no less.  Extra points will be awarded for those writers who adhere to the rules. Not really. There are no points. Just read the contest rules below and impress Penny with your ability to follow instructions.”
  • Genres they accept:  Any, but “no poetry, tag lines, or jokes.”
  • Word count limit: 16.  No, really.  But on the plus side, “One entry per author, per round. (Contributors are encouraged to submit multiple stories in a single entry, but may only transmit one submission per round.) One story is fine. Four is cool. Twenty is borderline obnoxious. We like obnoxious! Just remember: a single entry with multiple stories!”
  • Payment: Grand Prize: $25 and publication in the 2016 issue of From the Depths.  Selected Runners Up will also receive publication.
  • Simultaneous Submissions*: No.
  • Multiple Submissions**: See above.
  • Previously Published Submissions: No.
  • Schedule: Round Three – June 1, 2016 – July 31, 2016

“I mean, that’s great and all, but $25 won’t go far.  You got anything with a bigger pay out?”

Yes, increasingly particular imaginary construct!  I do!

Short Shorts: A Summer 2016 Flash Fiction Contest
  • In their own words: “We seek flash fiction of 500 words or less.  Winning entries will contribute to our upcoming “Outsiders” theme highlighting the unique struggles, circumstances, and journeys that set individuals apart from others.”
  • Genres they accept:  Any.
  • Word count limit: 500 or less. Up to three works may be included in each entry.
  • Payment:
    • Grand Prize
      • $250
      • Publication in the 2016 issue of From the Depths

      • Featured Author Interview to accompany published work in print.

    • Runners Up
      • All entries eligible for publication in the 2016 issue of From the Depths.

      • Contributors to be paid $20 for each published story

      • Online Featured Author Interview.

  • Reading Fee: $10
  • Simultaneous Submissions*: Yes (see Submission page for details and limits.)
  • Multiple Submissions**: Yes (see Submission page for details and limits.)
  • Previously Published Submissions: Yes, but “entries must not have appeared in print. Please be certain there are no known copyright restrictions.”
  • Schedule: May 5, 2016 – September 20, 2016

Keep this in mind in case there’s a Short Fiction you want to submit to From the Depths.  Since it’ll cost you either way, it’s probably worth it to pay your $10 here in case you’re selected for a Runner Up slot.

Ok guys, I think that’s plenty of info for now.  Don’t forget to refresh your memory with the reminders below and check out the links for more info on these opportunities!

*This means whether they will allow you to submit this story to another publisher at the same time or not.

**This means whether you can send them more than one story at at time.

Reminders when submitting:

Read the publication:  Flash is short and their stories are freely accessible on the site.  You have no excuse not to do your research and see what kind of style gets their attention.  It will also give you an idea of what’s been done before so you don’t end up sending them something too similar to a recently published story.

Read the guidelines: I don’t post everything required for their submissions, just the basics.  Furthermore, this is a static post.  Publishers change their submission requirements at will so it’s always a good idea to read and re-read them, even if you’ve submitted to them before.

Follow the rules: Do I really need to say this?  Don’t send pieces over the word count.  Don’t send content they specifically warn against.  Don’t send weirdly formatted manuscripts if they give you specific instructions.

Happy submitting!

A (Year) in the Life

NYC’s Flash Fiction competition is coming up next month, which marks my one-year anniversary of renewed writing.  I’ve talked about the competition before, but what do I mean when I say that it got me going again?  What was I doing before?

Let’s break it down into some hard numbers:

Calendar Year 2012 2013 2014 2015 2016*
Total Submission Count 9 16 8 6 25
Increase/Decrease over last year 78% -50% -25% 317%
Total Unique Pieces Submitted 3 7 3 5 14
New Pieces in Circulation 3 4 1 1 10
% of Subs that are New 100% 57% 33% 20% 71%
Pieces Written for NYC 2 3

*through May, 2016

It’s safe to say that not only are my numbers up, but they’re better than they ever have been.  My 2016 (through May, mind you) is better than my last two years combined in terms of productivity.

I kept my NYC submissions listed separately, since they were written for the contest, not for publication.  Two of the pieces I wrote for them I revised and became part of my “New Pieces in Circulation” for 2016 once I submitted them to publishers outside of the competition.

And that’s just quantity.  In terms of quality, let’s look at this list:

Calendar Year 2012 2013 2014 2015 2016*
Total Acceptances 1 1
Contest nods 3
Rewrite Requests 2
“Please Send More” 1 4 3 7
Personal rejections 2 4 2 4

This one takes a little more explaining.  Contest nods are anything that placed (or came close to placing) in a contest, so the two rounds of the NYC Short Story Contest that placed me into the next round were counted, as was my piece for Molotov Cocktail’s Flash Phenom.

Rewrite requests aren’t acceptances, but they are pieces that are under consideration that I’m working on revising.  Hopefully these will one day become acceptances.

So then what’s that lone little acceptance for 2016?  Well, it isn’t out yet, but stay tuned next month when I let you know where to find my latest story!

So, what can you learn from this?  Am I just bragging? (Well, ok, maybe a little.)  But the point is, it’s so important to practice your craft.  Start more projects.  Finish what you start.  Submit, submit, submit.  One number goes up, they all go up.

And don’t ever let a bad week, or bad month, or bad year get you down.

God Given Talents

Moses stood by the side of the highway, his staff in one hand, a construction sign in the other.  He twisted it to “Slow” and the cars sped by, one by one past the towering waters of the sea.  The traffic in the other direction piled up behind the “Stop” portion of his sign, waiting for their turn.

A pick-up truck slowed as it approached, the headlights reflecting off of Moses’ orange construction vest.

“Hey, Moe!”  The driver gave him a wave from the inside of his vehicle.

“Evening, Phil.”

“Looks like it’s gonna be another late night tonight.  The boss is calling for overtime to finish up this section of the tunnel construction.”

The old man groaned.

“Hey, at least it’s more money.  Once this project’s finished you’ll be out of a job.”

“Doubt it.  Are you out of a job every time you finish a tunnel?”

“S’pose not.”  He spat a thick glob of chewing tobacco onto the gravel.  “Guess that’s how it is with all contract work.  You do your job until they’re done with you, then you got to move on and find someplace else that’s looking for a skilled pair of hands.”

“Ain’t that the truth.”

Moses watched Phil drive away and turned the sign so the other line of traffic could pass through the parted waters.  He sighed.  It’s a living.

Publisher’s Spotlight: Phobos

Let’s get back into the swing of things and get back to a typical Publisher’s Spotlight.  This week we’re looking at the Deep Black Sea theme for Phobos magazine.

  • In their own words: “For our fourth issue, Deep Black Sea, we want short stories, flash, and poetry hauled from the brine of oceans both real and fantastic: the shipwrecked rocket bobbing in the black ocean waves of a starless planet, its bloodied crew and their flashlights at the hatch that opens into the perfect dark, and the heavy thump against the hull; the work song of a dozen sailors, and the lilting mezzo-soprano that begins to harmonize from the empty crow’s nest; the fleeing galleon’s dreadful captive gnawing the last rivet from its iron box; the granddaughter that chucks a sharpened stick and spears a skull-sized opal blob galloping across the sand on its little wet fingers.”
  • Genres they accept: Any, but especially the weird stuff.  “We publish macabre, astounding, unsettling, thrilling, baffling, and terrifying stories in the tradition of Shirley Jackson, Ambrose Bierce, H.P. Lovecraft, Robert E. Howard, and Charlotte Perkins Gilman.”
  • Word count limit: 2,500 words for short stories and poetry, up to 1,000 words for flash fiction.  “Flash stories under 1,000 words have a much greater chance of being accepted.”
  • Payment: $0.05 per word or $20 minimum for poetry.
  • Simultaneous Submissions*: Unknown
  • Multiple Submissions**: Unknown
  • Schedule: Reading from May 1st to July 31st, 2016

*This means whether they will allow you to submit this story to another publisher at the same time or not.

**This means whether you can send them more than one story at at time.

Reminders when submitting:

Read the publication:  Past issues can be found here.  You have no excuse not to do your research and see what kind of style gets their attention.  It will also give you an idea of what’s been done before so you don’t end up sending them something too similar to a recently published story.

Read the guidelines: I don’t post everything required for their submissions, just the basics.  Furthermore, this is a static post.  Publishers change their submission requirements at will so it’s always a good idea to read and re-read them, even if you’ve submitted to them before.  They also have an FAQ page for anything not covered in the guidelines.

Follow the rules: Do I really need to say this?  Don’t send pieces over the word count.  Don’t send content they specifically warn against.  Don’t send weirdly formatted manuscripts if they give you specific instructions.  “But Liz, I–” Nope!  No, no, no.  If you do not follow the rules you risk being a pariah to that magazine – and worse, editors can exchange notes on who’s being a pain.

Happy submitting!

Twist Endings Part Two: What Makes a Twist Work

Last week  A bit ago we got in-depth on what kind of twists are best to avoid.  So, if not all twist endings are bad, what are the good ones?  Why do they work and how can you write one to wow your readers?

“[The surprise ending] depends on a writerly balancing act, in that to be successful a twist must be an ending the reader did not see coming, but also logical and plausible once it happens.” – Nancy Cress

Ok, so, surprising but logical.

A good twist needs to have a set up and a payoff.  It’s best to have your twist in mind before you sit down to write your story.  That way you can leave a trail of clues that hopefully the reader won’t notice on first read, but will be glaringly obvious the second time around.  When you get to the reveal, you want the reader to think “Of course!” not “What just happened?”

How to hide your clues:

1.)  Use people’s assumptions against them.

If you set up a story where a knight has to rescue a princess in a tower from a dragon, we automatically have assumptions that the knight is good, the princess is sweet, and the dragon is evil.  That’s the way tropes work; we rely on them for shorthand to fill in the details in a reader’s mind so we don’t have to describe every desk in the classroom, every evil deed a mobster has done, etc.  You get the point.

So a good twist will lie by omission.  The knight kills the dragon because he assumes the dragon is bad, after all, it captured a princess didn’t it?  It didn’t?  The princess is actually a horrid monster and the dragon has locked her in the tower to protect the surrounding villages?  Now that’s a twist.

2.)  Use ambiguous language.

Let’s say that when you’re writing the dragon story you start with the king sending the knight on his quest.

“Far away from this kingdom is a ferocious monster who has terrorized the countryside.  We’ve contained it to the island but we won’t truly be safe until the beast is dead.  Go forth and get rid of it once and for all!”

Because the dragon is never mentioned by name, the reader will assume (as the knight did) that the dragon is the beast.

Pronouns can also be used to your advantage, if you use them sparingly.  Girl on the Train has scenes where the narrator addresses a character solely as ‘he’ thus using your assumptions about who it is to hide his true identity.  Unfortunately, this is also a tell-tale giveaway that something is amiss, so try not to do this too often if you’re writing a mystery, or other genres where twist endings are expected.

3.) Use unreliable narrators.

The way your narrator sees the world colors the reader’s expectation.  We root for first-person narrators because we’re in their head.

So if your knight says the dragon was ferocious or the princess was sweet or the king was a doddering old fool that he was only sort-of listening to, we’ll assume that he was correct until proven otherwise.

Another way to make your narrator unreliable is to hide something from the character, therefore obscuring it from the the  audience.

4.) Make sure the story makes sense both with and without the twist.

If your twist is too obvious it won’t be an enjoyable ending, so you have to make sure it works with the reader’s assumptions.  But when you read it through a second time, knowing the twist, it has to make sense.  The best twists work both ways, and get your reader to read it all over again, looking for the clues you left, leading to an appreciation of your writing skills and a great recommendation.

For that reason, please, please reconsider including a double-bluff (i.e. the agent was really a double agent was really a triple agent!)  Most of the time it makes no logical sense unless you really, truly know what you’re doing.  You can get away with a shocking ending once but after that it’s a game of diminishing returns.

5.) Use twists sparingly.

This goes with the double-agent point above.  Sometimes the genre will require a bit of a twist (mysteries for example) but for the most part, twists are supposed to be unexpected.  I think that’s one of the reasons why M. Night Shyamalan’s movies seemed to decrease in quality: if you go into a work expecting a twist you won’t be able to enjoy the ride.  I personally know that if something has a twist ending I’ll be too focused on looking for the clues (which are sometimes obvious) that it’ll kill my suspension of disbelief.

Great Twists I Recommend:

The Twilight Zone – Probably the best short stories ever put to film (stand alone 30 minute episodes famous for their twists.  But let’s be honest, the first 25 minutes still hold up, even if you know how it’s going to end.)  They’re all worth watching, but I do like “Spur of the Moment” for a great piece that keeps you guessing.

Harry Potter and the Prisoner of Azkaban – Don’t laugh.  It’s a great mystery novel, and one of the tightest examples of storytelling with hints and clues scattered throughout the book as to what’s really been going on.  I love how there are absolutely no loose ends by the end of the book – something the movie didn’t have time to include.  If you haven’t read it in awhile it deserves a second look, particularly from a “twist” perspective.

Over the Garden Wall – Episode 7: The Ringing of the Bell – You might need a Hulu paid account to view this one.  It’s part of a 10 episode animated mini-series (10-20 minute shorts) that deserves a full viewing, but if you only have time for one, check this out.  It is by far the best example of a twist I have ever seen, and I will rewatch it again and again and again just to take notes on the excellent storytelling.

For follow up reading I recommend:

(This goes without saying, but beware of spoilers.)

Got any recommendations of your own?  Leave them in the comments!