In the fall of 2011, The Long Story Shorts One Act Festival was launched, featuring performances of short plays written by undergraduate students in the Writing for the Screen and Stage minor, an interdisciplinary, dramatic writing program housed in the Department of Communication at the University of North Carolina at Chapel Hill. Marking the first five years of the festival, this anthology showcases works written to be performed in ten minutes with a small production budget. The festival gives students a unique opportunity to participate in a collaborative, developmental environment led by experienced faculty and professional actors and directors, and the plays included here rise to the occasion. Whether they are humorous, poignant, powerful, or provocative, they demonstrate why the short play form has become so popular; why this event has become one of the highlights of the university's cultural scene; and why the Writing for the Screen and Stage program has thrived.

Contains the author's Thirteen o'clock and Tales before midnight, published separately in 1939 and 1937, respectively.

Collects more than one hundred short stories, each with no more than twenty-five words.

17-year-old Faye Aldright has never had it easy, but life gets a whole lot more complicated when her mind starts playing tricks on her. Like when she thinks she hears the radio say her name. It tells her to turn left and it keeps her from colliding with a deer in the road. But the radio couldn't have saved her life. Could it? Whatever is going on in Faye's head, it definitely doesn't feel 'super'. Unless, of course, you count feeling 'super' awkward because you think you heard someone say one thing--like ask you out--but then, actually, it turns out they definitely didn't ask you out at all. So, mostly, Faye just feels 'super' confused. And she ends up saying all the wrong things and then everything ends up so much worse. So how can what's happening to her be anything but bad news? Faye's got to get to the bottom of some stuff: What's the deal with her Mom's new boyfriend? What is going on with Faye's quirky teacher? And, most importantly, what's up with the new guy and all his secrets? Not that she cares about that guy. Not at all. As life gets more intense and snowballs out of control, Faye needs to put the pieces together in order figure out what's going on in her little town. But to do that, she must somehow embrace the super-weird, super-awkward ability she's developing and learn to trust in herself.

Life goes on for the billions left behind after the humanity-saving colony mission to Proxima Centauri leaves Earth orbit ... but what's the point? Julie Riley is two years too young to get out from under her mother's thumb, and what does it matter? She's over-educated, under-employed, and kept mostly numb by her pharma emplant. Her best friend, who she's mostly been interacting with via virtual reality for the past decade, is part of the colony mission to Proxima Centauri. Plus, the world is coming to an end. So, there's that. When Julie's mother decides it's time to let go of the family home in a failing suburb and move to the city to be closer to work and her new beau, Julie decides to take matters into her own hands. She runs, illegally, hoping to find and hide with the Volksgeist, a loose-knit culture of tramps, hoboes, senior citizens, artists, and never-do-wells who have elected to ride out the end of the world in their campers and converted vans, constantly on the move over the back roads of America. File Under: Science Fiction [ #VanLife | Driving Out and Growing Up | No (wo)man left behind | Cube Route ]