INSPIRATION


by Krystyna Fedosejevs

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What was it like for me to start writing flash fiction? Exciting because it was a challenge, something new to explore and learn about. Frightening. I wasn’t sure what to expect. Nor was I confident that I was capable to reach the goal of mastering it.

Flash fiction. I heard about the form in writers’ circles approximately four years ago. Didn’t give it much thought, put it aside. Decided to continue channelling my energy into poetry, short stories and creative nonfiction. Not that I was an excellent writer in any of those areas, for I was not. Rather, I felt I was in my comfort zone having had some success being published and winning contests. Starting something new back then was not a consideration.

In late March 2013, I stumbled upon a website dedicated to flash writing (Flash Fiction World). I became a member. The site was set up as a tutorial and exercise meeting place for writers. We posted our stories and engaged in constructive criticism of each other’s works. We could also submit stories for publication and if chosen by the editor, they were published. I was fortunate to partake in this educational, exhilarating experience. In autumn of 2013, I learnt that the site had closed down.

Also of benefit were the following sites for writing tips as well as lists of markets for one’s flash fiction: Flash Fiction Chronicles, Stories in your pocket: how to write flash fiction, Flash Fiction: What’s It All About, and Writing Flash Fiction.

How did I approach writing my first flash fiction? Naively. I look back and shudder at a few of my attempts. Imagine, I thought that a truncated traditional short story could be called flash fiction merely by downsizing the number of words! I learnt quickly to recognize the differences, primarily from the feedback I received from more knowledgeable writers. Also by reading other flash stories, especially by award-winning writers. Soon afterwards, with an energized zeal to improve, I produced stories with more favourable results, most of the time.

It’s not easy being a beginner no matter what field or interest one pursues. As writers we realize that we need to learn how to survive rejections or negative remarks. At times, I wondered if to go on making my writing available for public scrutiny or better to retreat and become a word-obsessed recluse. I chose to get my word out there. Let criticism bite me, depress me but then release me to become an even better writer. 

I have been writing flash fiction for more than a year now and realize I’m a long way from being looked upon as an excellent writer. However, I’ve made some headway.

Several of my ultra short works have been published. They can be found at:

Some of the sites I post at are:

Writing flash fiction is a challenge yet so much fun. Opportunities are endless. Six, twenty-five, fifty, one hundred word stories and variants and extensions of words, words, words …

There’s so much out there to discover, embrace and absorb. For one, I plan to look at magazine markets, an area I haven’t touched yet. More possibilities.

I’m definitely in flash fiction mode.

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Krystyna Fedosejevs writes poetry, fiction and creative nonfiction. One of her six word stories will be published in the Summer 2014 issue of From the Depths. A recent piece was published at 100 Word Stories. She delights neighbourhood cats with her singing in Alberta, Canada.

By Rohini Gupta

A previous version of this post appeared on Rohini’s blog.

Rohini Gupta

A friend asked a question: Why do you write?

I thought about it and I had no answer. Why do I write?  I have been writing all my life—but why?

It’s rarely easy. Writing itself is an effort of will, usually a balancing act, caught in the cracks between work and family commitments. You must take whatever moments you can, steal time to write, cutting out other pleasures in a desperate and sometimes secret attempt to squeeze a little more writing time from an almost empty tube.

You might drift into many professions because it just happened that the opportunity presented itself but not this one. Writing is a treadmill—if you are not running desperately in place to keep up you will get thrown right off it.

Money is not the reason either. It is not a profession which leads quickly to an obese bank account. Sometimes, as in poetry, it leads to no bank account at all. Poetry is notorious for it—poetry and money just don’t live in the same town.

Does that ever stop poets from writing? Of course not.

So what is it? Success?

Very few writers achieve success. In the days of traditional publishing, many writers never got published. In today’s age of self-publishing you can self-publish and then just disappear in the flood of other books.

A handful achieve fame and fortune. But that has never stopped anyone from writing.

So what is it? What keeps you going, year after year, alone, doubting yourself, struggling with the knives and daggers of rejection, wounded over and over and yet picking yourself up from the gutter again and again, reinventing yourself when all doors seem to be shut, losing yourself in another story while the old ones moulder unread.

It’s a minor miracle that anyone lasts in this field—but some do.

You grow two skins. One is tender, soft and sweet, with the poet’s fingertip sensitivity and the openness to the flow of words.

The other is tougher than rhinoceros hide—you need that when the rejections begin. Make no mistake, you will always need the rhinoceros hide—even success cannot insulate you.

So why go through all that and write?

Why?

You do not write for the externals, for the gains. It is something internal. The act of writing itself.

You don’t write for readers. Your readers are usually your writing friends and writing group members. Will you have millions of fans one day? You can hope but you cannot be sure. Even successful writers are not sure.

All books are not equal, even by the same writer. Writers say that a book from which they expected great success flopped and another, written in a spare thoughtless moment, somehow caught the reader’s imagination. Readers may love you or ignore you, but will that stop you writing?

So why do you write?

You write to write.

Something magical happens when you write and especially when you write poetry or fiction. You connect to the creative part of you, what you might call the Muse.

It opens a universe. It takes you out of yourself. It fills you with magic quite unknown in this prosaic, unimaginative world. For that magnificence what will you not do?  Everything else is dwarfed by those starry moments.

So perhaps, that is the answer to why you write.

You write for companionship—your own.

You write to meet yourself at the deepest and most profound level. The ancients called it ‘yoga’—union with yourself.

You write because without words to express it, the world is brittle and prickly and almost unlivable.

You write to survive and you write to become.

Most of all, you write because it gives you wings.

____________

Rohini Gupta is a writer living by the sea in Mumbai with a houseful of dogs and cats while working on short stories, poetry and a book.

 

by Len Kuntz

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Even though a plethora of flash fiction exists today, I’ll admit to not having heard of the term until four years ago.

I was a little stunned by the discovery of this new-found form, the way you might be to all of a sudden learn that there’s an extra room in your house, a room filled with delicious treasures.

Browsing internet sites around 2010, I saw that talents such as Kim Chinquee, xTx, Kathy Fish and Meg Pokrass were turning out tight pieces of writing as short as 300 words—writing that was not poetry, though it often had a similar lyrical quality. Some of the pieces were even fully formed, containing a narrative arc and plot, while others sizzled instead, like Molotov cocktails left tossed in the air, leaving the reader to decipher whatever decimation might occur.

The sudden rise of flash fiction’s popularity is, in a way, akin to that of Twitter—both of them seemingly rising up out of the blue while quickly securing a place in our consciousness, should we choose to take an interest.

And much like Twitter—or Flash Chat for that matter—flash fiction is about brevity; about the ability to say something noteworthy or meaningful in a very confined space.

I don’t know if flash fiction’s appeal is, as many have said, a result of our shortening attention spans, but whatever the reasons, I’m happy to see how vital the form has become.

The allure of flash, for me, is that it mirrors many of the writing adages I’d been taught years ago:

  • start in the middle of the action;
  • make every word count;
  • hit the reader between the eyes;
  • murder your darlings;
  • deliver a unique, singular voice.

Along with these challenges, I love the notion of getting in and getting out, the idea of swiftly painting a picture that is clear enough to let a reader know what’s happening, yet one that also allows readers to fill in the blanks vis-à-vis their own imagination.

I’m far from an expert on the art form, yet I do think the best flash writing gives readers pause after they’ve finished a piece: it stops them from going onto the next because something shocking or wholly unexpected has just happened, or perhaps the writing was simply so taut and sonically rendered that there’s no other choice than to let it simmer, almost soul-like inside you.

Of course there are all types of flash fiction and just as many kinds of motivation for writing it.

I most like being able to take scraps of memory or biography, or maybe just a lovely-sounding line, wrap it in fraud, and then pepper gunpowder throughout the piece. The title of Kevin Samsell’s flash and story collection, “Creamy Bullets,” is a good description of the type of writing I hope to create: creamy bullets. Bullets that bite, while also having the tendency to simultaneously soothe.

While reading novels, we live with the characters for weeks and years, getting to know their idiosyncrasies and foibles. Novels transport us and often occur over great time spans. Reading a novel requires an investment. It demands patience and diligence.

Flash fiction is usually the opposite of all these things. Flash is a shotgun blast, or even a single piece of shotgun shrapnel plucked from within the greater blast. It’s immediate and jarring. The investment necessary is simply a few minutes.

We are lucky today, to see the proliferation of both styles of writing; having our cake and eating it, too.

To the novelists, I say, Bravo! Keep at it. We need you.

To the flash writers, I say, Keep dropping those bombs. Write on. We need you more than you might know.

____________

Len Kuntz is the author of The Dark Sunshine available from Connotation Press and at editor at the online literary magazine Metazen. You can also find him at lenkuntz.blogspot.com.

 

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.

 

by Aliza Greenblatt

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A Technical Writer by day and a novelist by night, Mark Noce also finds time to write flash fiction. While his short pieces tend to be contemporary fiction, his novels consist of historical thrillers set in eras ranging from Medieval Wales to Caribbean piracy to the American Civil War, just to name a few. He loves reading, writing, traveling, gardening, sailing, and spending time with his family at home in the San Francisco Bay Area.

Aliza Greenblatt: According to your blog, you write historical novels and contemporary short stories. How do you pick which time period to base your novels in? When you first started writing, did you begin with novels or short stories? What drew you to flash fiction?

Mark Noce: I love writing novels! Needless to say, I have so many ideas for books that I really wonder whether I can get them all written in one lifetime. When it comes to picking a time period or setting for a book, I actually prefer to try and write a single opening line first, and then let that tell me what kind of story I should write. It’s a bit of a chicken-and-egg conundrum, but it works for me. However, novels take a long time to write. In contrast, flash fiction gives me a wonderful release, because I can complete a single story within a day or two. It’s really satisfying to see a 1,000-word piece of fiction come to fruition while the inspiration is still fresh in my mind.

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

MN: It’s funny. There’s what I want to write, and what I actually write. I often think I’ll write a story about a subject I just read in a book or in a movie I saw, and then all of the sudden I’ll come up with an opening line for an entirely different story. I’ve learned not to fight it, and simply go with the flow. The story that comes out effortlessly in that first draft is the one I stick with to the end.

AG: This piece, to me, was a retelling of the Sir Gawain and the Green Knight legend. It was also a lot more interesting because instead of being themed around chivalry, it was about facing your fears. Was that your intention? Why did you decide to make the two main protagonists kids?

MN: Meet Me at the Waterfront is definitely inspired by Sir Gawain and the Green Knight, which in turn is inspired by the Celtic Irish legends of Cu Chulainn (which predate it by at least a thousand years). So when approaching such an old and revered tale, I had to put my own modern twist on it. I’m fascinated by myth, and I think childhood stories show myth in a revealing way. As children, our schoolyard encounters seem like epic events that we often forget or dismiss as we get older, but I believe such moments in our lives hold a power and a wisdom about who we really are underneath. The protagonists in this story needed to be children, because as kids we’re much more willing to accept the inexplicable elements of life that we often try to rationalize or ignore as we turn into adults.

AG: The main conflict of the story was about the appearance of bravery versus being afraid, but accepting the consequences anyway. Why did the narrator decide to stand his ground even though he was certain he was going to die?

MN: That’s hard to answer in a few words. I could write an entire essay on the hero’s motivations, but that’s why I like stories. In fewer words, I can give you the whole gist even though it may not be as direct as a series of longwinded statements. Why do we do anything? It’s simply in our natures, it’s who we are, and what we want. I don’t think the protagonist himself knew he would stand his ground until he actually did it. As the saying goes, it’s in the abyss that we find ourselves.

AG: What were some of the challenges of writing this story? What, if anything, did the flash format simplify? Do you have any favorite parts?

MN: Writing flash fiction has definitely sharpened all of my writing in general. In order to get under the 1,000-word limit, I have to slash anything unnecessary and still maintain the core of the story. As a novelist, it’s a truly invigorating experience, testing my abilities and helping me to get to the heart of the story with an immediacy that all good stories should have.

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?

MN: Oh, yes! My next flash fiction piece, Chronicles of the SFPD, comes out on June 21st at Every Day Fiction. In addition, I’m revising my next historical thriller entitled Between Two Fires, which you can learn more about here. If you like what you’ve seen of my work so far, please check them out. Thanks!

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

__________________

Aliza profile-pic-2

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

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