Every Day Fiction

by Jesse Cole Jackson

John Towler wears a couple of different creative hats. As an author he writes in a variety of John Towlergenres, but prefers Science Fiction and Fantasy. As a videographer he writes, films, produces and edits a variety of segments from Public Service Announcements to Documentaries. His day job as a police detective pays the bills and frequently provides fodder for his fiction.
His favorite authors are John D. McDonald, Larry McMurtry and George R.R. Martin. For examples of his video work he recommends his documentary on local lifeguards.


You mention in your bio that you typically write speculative fiction, but “Punch Buggy” is pretty far from SFF. What inspired you to write this story?

With the exception of the annual string-of-ten contest held by FFC I had done very little creative writing since becoming an editor with Every Day Fiction. That was a five year drought I was coming off of! You’d think slipping back into a SFF-genre story would be the easy path but I can tell you from experience as a writer and from reading hundreds of SFF submissions that SFF in a flash format is tough to pull off. You must introduce sufficient world-building narrative to create that SFF environment without going overboard and still give your story characters the reader can relate to. In addition, I was aiming to write a “targeted” piece for the 4th of July (EDF is always looking for targeted stories for special dates like the 4th, Thanksgiving, Bajram, Passover and what have you). So, I went with a coming-of-age sort of piece that is usually easier to relate to and from the reception I guess I pushed the right buttons for a number of readers.


What is your typical writing process like? How do you come up with your ideas? Do you have any rituals or superstitions attached to your writing process?

Let me first say that the writing-advice/tips/suggestions that appear in the pages of FFC from people like Gay, Walt, Rumjhum, and Jim (just to name a few) have been invaluable in helping develop a process that works for me. I’ve taken bits and pieces of their wisdom and found what fits with my “writing personality”. First, I do best when I have the finish line in mind. So often I think of the end of my story then figure out how to get there. I am not one of those writers who can spew a first draft onto the page then go back and shape the raw material into something more refined. I write and polish as I go along. My “first draft” is usually fairly presentable, but like all first drafts, it’s far from ready for submission. One of the most important habits I’ve developed is the patience to walk away from the manuscript, let it marinate a few days, then revisit it and read it with “fresh” eyes. Inevitably I’ll catch mistakes or figure out ways to communicate with the reader more effectively. I’ll do this until I feel the manuscript is ready to release into the world.

Most of my ideas come when my brain is in a kind of idle mode, just toying around with things going on in my life or stuff happening in the world. I hate it when ideas come when I’m trying to to go sleep because then I have to jot a note somewhere lest I forget them. I don’t know how many stories I’ve lost thinking “oh, I’ll remember that in the morning.”

I don’t have any rituals or superstitions, but I have a very hard time writing when there are distractions (ie. somebody else in the room) or when I don’t have a block of time set aside for focusing on writing. If I have a half hour to kill before an appointment, I can’t just shift into a writing mood and hammer out some prose.


I believe that until recently you were a long-time editor at Every Day Fiction. How did reading and working with your peers’ words impact your own writing?

Yes. I was an editor for just over 5 years at EDF. It was a good run and I know I’m a much better writer today for that experience, but the main reason I left EDF was that I just could not shift gears and write fiction on a consistent basis while I had that editorial hat on.

We’ve had some very sharp minds lend their talents to EDF’s editorial staff and so I was constantly gaining insight through their comments on the stories submitted to the magazine. I saw what worked and didn’t work in stories we reviewed and I’ve been trying to keep those lessons in mind for the stories I submit to EDF.


I loved the juxtaposition of violence in “Punch Buggy”–the giant reaction to the accidental too-hard punch against the quiet, near-acceptance of the domestic abuse happening between James’ parents. Were you hoping for a particular reaction from your readers to these somewhat similar (but also vastly different) situations? Was there any specific reason you wanted to explore these two different violences?

This is a little bit of my day job as a police officer peeking through in my fiction. I have worked with countless victims (many prefer the term “survivors”) of domestic violence and too many of them have been children. I’ve been a cop 20 years now and so I’ve seen kids that I met early in my career grow up and become adults. One thing being in that environment does is age you beyond your years. But too many of them have been altered in other negative ways by their childhood experiences and they are now either DV offenders themselves or they’ve followed other destructive paths that involve drugs and alcohol. But a few of them have seen a bigger picture and realized they do not want to turn out like their mom or dad and they have become what I guess you’d call “model citizens.”

In the story, James is one of those sorts of kids. He sees a bigger picture than his peers, a world-view shaped by his experiences at home. It doesn’t necessarily make for a happy ending–he doesn’t get the girl, after all–but he makes a decision based on an unusual maturity for his age.

The juxtaposition of the violence, the punch during the game vs. the domestic violence in James’ home, was done to (hopefully) elicit a thought on the reader’s part about where we draw certain lines. Clearly, James’ parents physical violence would unacceptable to most people but how did most people react to the punch in the game? Karl’s response was very much in line with how domestic violence offenders often react: not a sincere apology for the assault, but trying to either downplay it or make it sound like an overreaction on the victim’s part. So who does the reader feel sorry for? Does the reader see TKarl as a likeable lunkhead or a bit of a brute? Do you feel sympathy for Liz or is she just pissing and moaning?


Would you talk a little bit about your favorite authors? What draws you to their work? Do you find inspiration in their pages?

John D. McDonald is one of my all-time favorite authors. He writes with incredible eloquence and even in some of his not-so-great stories you could use up an entire highlighter on the prose that stands out. Larry McMurtry creates the most vivid characters. Whether Gus and Woodrow from Lonesome Dove or Sonny from The Last Picture Show, his characters are always memorable and bigger-than-life. George R.R. Martin for his imagination and the audacity of his work. Things happen in his stories that make you squirm and he doesn’t mince words


What projects are you currently working on? Could you point readers to other stories, either forthcoming or already published?

Between my day-job in the cop world, my second job as a videographer, and my main job as a father and husband, I am only finding time to squeeze out a story for Every Day Fiction on a regular schedule. Over the years I’ve finished three novels and have one more about 3/4 done that I need to get back to polishing and finishing. I know none are ready for prime-time yet. All my other stories were published pre-2010 so they may be floating around out there or not. I will drop a little spoiler and say I’m going to be trying to do something with my EDF stories that I don’t think has been attempted before. If I get another story-of-the-month recognition, I’ll drop another hint.


Jessi Cole Jackson lives and works in New Jersey, though she’s not from there. By day she buildsJessi_Cole_Jackson-150x150 costumes for a Tony Award-winning theatre. By night she writes stories, questionable poetry and lots of abandoned outlines. When she’s not working she enjoys cooking, reading, and exploring local farms. You can read more about her sometimes exciting (but mostly just normal) life at jessicolejackson.com.

by Jessi Cole Jackson


Brian Toups lives part time on Earth, part time in the multiverse of fantasy. When not telling stories, he enjoys meeting new characters, both real and imaginary, and counts Aragorn, Kvothe, Pi Patel, and St. Thomas Aquinas among his confidants. He has a background in philosophy and quotes Aristotle frequently, to the dismay of his few devoted friends. His favorite sport is Ultimate Frisbee.

Jessi Cole Jackson: Could you talk a little bit about the inspiration behind “The Unwinnable Fight“? Do you have experience with soldiers coming back from war?

Brian Toups: I’ve often been told: write what you know. Never having been a soldier myself, I focused primarily on the emotions and memories I have in common with the main character, Isaac. I also relied heavily on the experiences of friends and family. My uncle Joe served in WWII with a glider division. It was a hard job because mid 20th century gliders would often lose wings and crash into forests. They were called flying coffins. My uncle Francis served with the marines in the Battle of Iwo Jima. I have also paid close attention to the stories of my peers who are currently in Berlin, Baghdad, and Okinawa.

The bit in “The Unwinnable Fight” about Isaac painting C-130s with a tiny paintbrush is real. I’m told, when a marine’s paint sprayer breaks, he or she just keeps on painting.

JCJ: You mentioned in an email you’re primarily a speculative fiction author, what drew you to Isaac and this literary story in particular?

BT: It’s true, most of the stories I write are speculative fiction, and I feel at home in that genre. I knew it would be difficult to write a literary story, but I never realized how much it would stretch my imagination. Every time I wanted to introduce immortal gods or a few good-natured dragons into the plot, I had to resist.

Some say that returning-from-war stories are worn out as an old combat boot. I wanted to write a story that treated a character, not so much as a soldier, but as a man and a son. The story, as a result, does not have much to do with the war itself. In a lot of ways, it’s easier for Isaac to risk his life overseas than risk his masculinity and his emotions facing his father. He prefers to serve and follow orders, rather than traverse the truly dangerous terrain of his own insecurities and his mother’s absence, the ever-present lack that deceives him into thinking he has no home.

JCJ: Would you tell me a little about your writing process?

BT: I always start with a character. It’s usually something vague at first, like a name or an odd habit or unusual job. In this story, I started with Isaac. At first, he was just a guy standing on a sidewalk with a bag over his shoulder. He looked more like a runaway than a soldier. Next, I figured out who he was and what he wanted, and then I went from there. Isaac’s identity as a soldier has shaped him profoundly, but not so much as his identity as a son.

JCJ: According to your blog, you’re going on a roadtrip at the end of the summer! Where are you headed? What’re you most looking forward to on your trip?

BT: I’ve spent the last four autumns in Tallahassee, FL studying creative writing. I’m excited to wake up in a different city every day and write. Changing places, seasons, and faces always get me inspired. I write every day, no matter how poorly, but when I’m traveling the quality of my work is much better.

I am ready to be spontaneous with this trip, so my current destination is west of here, the obvious limitation being the Pacific Ocean. There are plenty of friends and family along the way to keep me sane.

As a writer, sometimes I feel burdened with glorious purpose and think I have something meaningful and profound to offer the world. Other times I realize, with no small measure of humility, I am just making things up and writing them down.

I think this road trip is about doing something and hoping for something I know not what. “Chasing the wind” as Kvothe would say in Patrick Rothfuss’ incredible book The Wise Man’s Fear.

JCJ: I loved the tension in your story, particularly that it’s primarily internal–Isaac’s not fighting with anything or anyone but himself in the moments we see. What do you think it is about Isaac that readers, even those of us who have never been in the military, can relate to in his struggles and indecision? What is it about returning home that can be so very hard?

BT: He is deeply wounded by loss and by his childhood experience with being powerless. He is afraid of things he can’t control. I think, in that sense, Isaac could be anyone. There are specific details of his struggles, how he runs away from home by going to war, how he tries to break out of the crippling sameness of his town.
I think there’s another reason, too. When he’s out there, the adrenaline is kicking, he doesn’t think too much about home, and it’s easier if he thinks he has nothing to go back to. But he needs a home, and he can’t keep telling himself his home is the war, or else he’ll die inside, having nothing good and noble to fight for.

I pray for our soldiers every day. I think being a warrior or a protector is a noble profession, and it’s important to remind our men and women in the armed forces that they are invaluable, even when certain members among them make mistakes. No amount of paper or ink will ever do justice to those who serve, to those who preserve freedom on the battlefield while peace remains elusive. There is not a breath of mine that they can’t claim as their own.

JCJ: Based on twitter retweets, it appears you’re a fan of C.S. Lewis (I am as well!). Does Lewis’s work influence your writing? Who are some of your other favorite authors or thinkers?

BT: It’s good to meet another Lewis fan! C.S. Lewis is my favorite author. He beats out J.R.R. Tolkien and Ursula K. Le Guin by a lion’s whisker.

C.S. Lewis is a superb example of a man who was both an artist and a philosopher. I’m inspired by his life, partly because he was so honest about his faults and failings. Whenever he had struggles, he wrote about them. He was open about his ideological shifts: his journey from childish belief to agnosticism, through atheism, back to the Christian faith. He knew how to evoke emotion with the simplest language, and I think the use of a child’s words to explain complex ideas is the mark of true genius.

I read every day, usually fantasy, but I try to keep that balanced with philosophical, religious, or moral works, and I even inject some secular Vonnegut or Hemingway every now and then. I’m inspired by Leo Tolstoy’s philosophy of art, and what it is to be an artist. I never make it two years without re-reading Le Guin’s A Wizard of Earthsea.

JCJ: Do you have any writing projects currently in the works? Could you point readers to anything else of yours, either forthcoming or published?

BT: I am currently seeking representation for my debut novel Star Kin.

The plot follows Ava, an evening star, after she is taken from the sky as a child. Human in appearance and raised in the wilderness by a dragon, she has legitimate identity issues. She meets Oberon, a renegade angel, and together they have to stop a mysterious enemy who is draining the light from the world.

I never stop writing. I can hardly spend three days editing my older novels without feeling the desire to invent a world or sketch a character. I hope to have more stories published in the future with Every Day Fiction and others.


Jessi Cole Jackson lives and works in New Jersey, though she’s not from there. By day she builds costumes for a Tony Award-winning theatre. By night she writes stories, questionable poetry and lots of abandoned outlines. When she’s not working she enjoys cooking, reading, and exploring local farms. You can read more about her sometimes exciting (but mostly just normal) life at jessicolejackson.com.

by Jessi Cole Jackson

Ani King

Ani King lives in Lansing, Michigan with her husband and two very tall children. She has a fondness for short stories and long summers. You can find her at thebittenlip.com.

Jessi Cole Jackson: You mention in the comments following “Butter Face” at EDF that all of your stories tend to be sad and “[butter face] is one of my least favorite expressions ever, so I had to use it.” What draws you to telling sad stories and embracing unpleasant expressions? How do you go about tackling such weighty issues as rape in as few words as flash fiction allows?

Ani King: I can’t seem to stay away from the more uncomfortable elements of life. In some ways it’s probably therapy, a way to excise the past without telling my own specific stories. In some ways I’m trying to give my younger self a stronger voice, and fiction affords the opportunity to find and tell stories that don’t leave me so exposed as the autobiographical would.

In some ways I think flash fiction affords perfect length for stories about terrible things. By nature flash requires that your point or story be concise, almost densely packed. I think the more difficult thing is discovering which angle to tell the story from so that you’re not just using the shock value of the situation to make impact. I don’t care for stories that turn people who have been victimized into two-dimensional plot devices, and with flash, authenticity is something that is immediately noticeable.

JCJ: Would you tell me a little about your writing process?

AK: I’m the least organized writer. I have this ridiculous “Ideas” document on Google Drive that I constantly add to and edit from. Once a story seems to have enough flesh I move it to its own document and then, depending on the story, ignore everything and devote myself entirely to its care and keeping. That part isn’t true all. Between work and family and too many hobbies I pretty much write whenever I get a chance, unless that chance comes easily. Ten minutes between meetings—yes! Whole day off with nothing planned? Nope. Gonna sit here and watch Netflix in my bathrobe. In terms of research I tend to wikipedia-hole myself, but that often leads to more ideas.

JCJ: One of my favorite aspects of your story is your protagonist’s voice and the juxtaposition of her outward strength and size with her inability to fight back, either physically or verbally. Even retelling her story to us, she comes as almost timid. It made me, as a reader, want to fight for her. Is this something you did intentionally? Did you hope readers would respond in a particular way? How did you find her voice?

AK: I started weight lifting a few years ago to combat some joint and back pain due to a long hours desk job. I’ve never been particularly athletic or coordinated, so getting to a point where all of that clicked—the controlled movement, the awareness of what your body is capable of, was a really cathartic thing. I’ve never been interested in bodybuilding, but I’ve seen the effort and control it takes, and I started thinking about how difficult it would be to suddenly feel as if all that work were for nothing. Female bodybuilders in particular are ridiculed by people for their physiques, even in very subtle ways, so I feel like that must tie in even more with those societal expectations for beauty. We also tend to assume that outward strength denotes aggressiveness and so on, so in some sense, yes, the juxtaposition was very intentional.

I think the reaction I most wanted from readers was for them to feel connected to someone who frequently is presented as a caricature. Finding her voice was a lot easier than expected—I’ve talked to a number of other rape survivors, and there tends to be a sense of wryness after a while. Particularly with women who are not considered conventionally attractive and who have been greeted with a mild sense of disbelief, or even a hint that maybe they should consider themselves lucky that such a handsome man was interested in them. It’s revolting, and a lot of us use darker humor to stave off the real horror of hearing those offhand comments.

JCJ: What was the hardest part of writing “Butter Face”? Do you have a favorite part of the story?

AK: Writing the actual rape scene is a close second to writing the ending. I wanted to convey what happened with enough sense to make readers feel it, but without being graphic. Being in that headspace is hard. It’s an icky place to be. As far as the end, that’s always where I struggle. Where does this part end? Where do I leave her? Is she ok? Do we need to know that?

JCJ: What are you reading? Who are some of your favorite authors?

AK: Oh! I love this question! I’ve been reading a lot of short story collections lately: St. Lucy’s Home for Girls Raised by Wolves, by Karen Russell, is fantastic. The title story is incredible.  Also, Get in Trouble, by Kelly Link, and The Wilds, by Julia Elliott. Stone Mattress, by Margaret Atwood definitely has some teeth to it, and her take on aging is so beautifully done. I also tend to read a lot of online magazines and journals: Every Day Fiction, of course, and freeze frame fiction. Apex, Clarkesworld, Pank, and so many more. I love how accessible the internet has made literature as a whole. I tend to gravitate towards authors like Lidia Yuknavitch, Neil Gaiman, Catherynne Valente, Margaret Atwood, and most recently the Phryne Fisher series by Kerry Greenwood.

JCJ: What projects are you currently working on? Can you point readers to some of your other stories, either forthcoming or published?

AK: I’m currently working on a series of linked shorts inspired by a magical realism piece I wrote last year: http://roseredreview.org/2014-winter-ani-king/. Also a sci-fi short story loosely inspired by the Pig Prince fairytale, and a literary fantasy novella. I have upcoming publications in freeze frame fiction’s YA Volume, Pidgeonholes, which is newer and really lovely, and a poem in Spry Volume 6. All of my previous publications are listed on my very low traffic blog.



Jessi Cole Jackson lives and works in New Jersey, though she’s not from there. By day she builds costumes for a Tony Award-winning theatre. By night she writes stories, questionable poetry and lots of abandoned outlines. When she’s not working she enjoys cooking, reading, and exploring local farms. You can read more about her sometimes exciting (but mostly just normal) life at  jessicolejackson.com.

by Aliza Greenblatt

Jessi Cole Jackson

Jessi Cole Jackson lives and works in the prettiest part of New Jersey, though she’s not from there. By day she builds costumes for a Tony Award-winning theatre. By night she writes stories, questionable poetry and lots of abandoned outlines. She’s currently up to her elbows designing costumes for a children’s theatre camp and writing an MG novel. When she’s not working she enjoys cooking, reading, and exploring local farms. You can read more about her sometimes exciting (but mostly just normal) life at jessicolejackson.com. Her story, Remnants of a Quilter’s Memory, was EDF’s highest-rated story for June.

Aliza Greenblatt: According to your blog, you are mostly a science fiction/fantasy writer for middle grade readers. What draws you to speculative fiction? When did you first decide to write stories? For you, what is the appeal of flash fiction?

Jessi Cole Jackson: I love the juxtaposition of “other” and “same” in speculative fiction. As a reader, I can experience whole worlds outside of who or where I am (or could ever be). As a writer, I can explore class, religion, nationality, gender, race, illness without getting tied up in contemporary politics. And I can make the exploration fun.

I first started writing in school, but gave it up in college, because I didn’t think it was practical…instead I went into professional theatre—ha! I started writing stories again seriously in the winter of 2013.

Flash fiction gives me a chance to explore. I can try new styles, new techniques, non-traditional narratives without worrying that I’ll “waste” too much time on a draft. And it gives me a chance to practice my craft in small bursts.

AG: When you sit down to write a new story, what is your process like?

JCJ: Usually stories come to me as ideas or situations, so the first thing I struggle with is plot—what’s the beginning? What’s the end? What happens in between that isn’t too expected, but still fits the characters and their lives? I outline it all in the broadest of strokes.

Then I often start writing longhand—pen to paper. I like how visceral and visual it is. Plus, it gives me time to think. Writing everything out takes time. Sometimes, I’ll finish the story in my notebook and then edit it while transferring it to Word or Google Drive or Scrivener. Other times, I’ll get frustrated with the slow going of writing, and I’ll switch to the computer to finish the initial draft.

I’m not disciplined about when I write, though thoughts flow easier for me in the early mornings when the world is still not quite awake.

AG: When I first read this, I was smiling because I know in your day job you are a costumer and spend a lot of time working with different fabrics. And I couldn’t help wondering—do you have bits of cloth from costumes lying around? Do you ever re-purpose them?

JCJ: During a show at work there are often bits of costumes everywhere! But those don’t ever come home with me—they get bundled up with the show in case there is a tear or hole that needs repaired.

But I do have lots of fabrics from personal projects through the years. So far, I’ve only slipped them into a few baby quilts for friends—a bit from an old apron, a strip from a favorite shirt. Quilts are the best places for those well-loved fabrics to land. If only they weren’t so time-consuming!

AG: Using remnants from her own life not only helped Louise remember but made sure the people she loved didn’t forget. But as I read, I wondered, did Louise know that her memory was failing her? Did she sew as much for herself as for others, to hold onto those old threads and memories for just a little longer?

JCJ: I think Louise knew something was wrong, but wasn’t entirely sure what it was. I think she was angry. More than that though, I think she was frightened. Especially as she got older and lost both the ability to create and the enjoyment in her art.

As with all artists, I think Louise quilted as much for herself as for her “audience.” Fabric was her medium. The quilts were a tangible way to pass on what was most meaningful to her, since she couldn’t hang onto them herself.

AG: I liked the use of repetition in this story. It emphasized not only what Louise recalled, but what she needed to remember. But the tragedy of the story was she remembered the repetition, but not its meaning. Was it tricky balancing the repetition and suspense in the piece? What were some of the challenges in writing such a short story?

JCJ: Thank you! I think Remnants’ super-short length is necessary for both the suspense and the repetition to work. If it were much longer, the poetry of it would quickly become a formula and it would start to grate on the reader…or at least on me!

When I originally submitted this to EDF it was only 300 words. It didn’t quite work at that length—it was more of a vignette than an actual story, which is a common problem for me. But the editors must’ve seen something in it, because they asked for a rewrite. Taking into account their feedback, I added the scenes where Louise, Margreet and Ruthie interact. These gave the quilting sections more of a framework and doubled the length. It’s still not the most traditional narrative, but I think it’s a more cohesive story.

AG: What other projects are you currently working on? Are there other stories of yours, either upcoming or published, that you can point readers to?

JCJ: I’m currently working on expanding a few flash stories that don’t quite work (that whole plot thing!). I’m also (very patiently) waiting for feedback from beta readers on a draft of a middle grade novel based on my first ever published story, The Rum Cake Runner, available over at Crossed Genres Magazine.

AG: Thank you very much for taking the time to chat with us. Best of luck with all your writing endeavors.

JCJ: Thank you.


Aliza Greenblatt

Aliza T. Greenblatt works in a firmly non-writing field when the sun is up and writes under a desk lamp at night. Fueled by a sheer love of books and a tyrannical imagination, she writes the stories that appear over her morning coffee and won’t leave her alone until they are put down on paper. She writes, raves, and blogs at http://atgreenblatt.com. and on Twitter @AtGreenblatt.



by John Towler

JC Towler

I’ve read a lot of flash as an editor at Every Day Fiction. (We have a tracking system that counts how many stories we’ve commented on, and I passed the 5000 mark during the second week of March.) It seemed to be a good time to come up with a “Top 10″ list of the most memorable pieces we’ve published in my four-year tenure. This list is based on my memory and opinion, and does not reflect any sort of editorial consensus of Camille, Carol, Joe or any of the other fine folks I work with.

These are all great stories from talented authors. I hope you’ll give them a chance if you haven’t experienced them already.

1. Cog Work Cat by Joyce Chng, published May 2010

The story blends poetry, fantasy, and love in a way that I don’t think has ever been eclipsed at EDF. Joyce has given us a couple of other very good stories, but this one was her best work.

2. Strikethrough by Matt Daly, published June 2012

A powerful piece about healing achieved in an unexpected manner. This is the only story Matt ever submitted to us, but he gave us a gem.

3. Saving Darth Vader by Kip, published May 2010

This story is one of the quirkiest roller-coaster rides you’ve ever been on. At one moment you are laughing out loud and the next nearly in tears for the feline protagonist. Kip gave us a number of great stories, but this one stands above them all.

4. The Destiny of Archer Deft by Douglas Campbell, published February 2010

Douglas is a regular contributor with an enviable near-perfect publication track record. It seemed everything he gave us was gold. But he went out on a limb with this piece and it is a laugh riot. Long live the Snooty Bird!

5. To Catch a Wolf by Warren Easley, published May 2012

Somebody brought up that May 16 was National Flash Fiction day and it just so happened we had the perfect story to celebrate the occasion. (We actually made it into a Flash Fiction Week at EDF and all the stories we published around that time were exceptional.)

6. Fire and Light by Sarah Crysl Akhtar, published July 2013

Sarah is EDF’s  Scheherazade. I don’t think there are many months that go by that do not feature one of her stories. She has a gift with words and a bottomless imagination and picking a favorite of hers was tough. This was not her highest-rated story from the readership, but it is the one that has stuck with me.

7. Speed Demon and Clockwork Dancer by J.R. Hume, published October 2013

The prose in this story is part of what makes it special, but one of the best anthropomorphic flash pieces I’ve read. J.R. is a long-time contributor to EDF. His Tears of an Android is another great read, but we picked that one before I started with the magazine, so it didn’t make this list.

8. Three Wishes by Cat Rambo, published August 2013

​We do not publish a lot of micro fiction at EDF. (Of the ​over 2,000 stories we’ve published, only around 30 have been 250 words or less.) I think Cat’s Three Wishes is the best of the bunch and it accomplishes the unusual feat of finding a twist on the well-worn three wishes theme that’ll moisten your eye.

9. The Widow’s Tale by J. Chris Lawrence, published October 2011

Chris has joined the EDF team as a slush reader for the time being, but I will look forward to the day he returns to the writing world so he can crank out more terrific pieces like this for us. (Well, hopefully for us.)

10. Idiot Robot by Shane Rhinewald, published July 2013

Comedy and science fiction seem to work well together on the big and little screen (Mork and Mindy, 3rd Rock, Futurama, etc.) but we have a tough time finding flash that pulls it off. Shane’s genre-blending piece finds the right balance and, like all good science fiction, speaks to issues beyond the words on the page.

If you are looking to have your story published by Every Day Fiction, you should first read our guidelines. It is embarrassingly apparent when people have not.

The key to publishing a story with us is to find that ideal mix of good writing, fresh ideas, and some sort of character development. We’ve had to say “no” to stories with knockout prose but which follow the “boy meets girl” trajectory with predictable outcomes. We’ve read pieces that are brilliant conceptually, but are delivered with a clumsy prose style that make them unsuitable. We love working with authors who don’t mind taking a bit of editorial direction and shaping their flash into something our magazine can publish.


J.C. Towler is in the market for a gently-used Time Turner or Transmogrifier. He has been an editor at Every Day Fiction since 2010, but wears more hats than you could possibly be interested in knowing about.


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