Why do you write flash? What makes it different for you?
I started to write what is now called flash in the late 1990s, but didn’t fully embrace it as opposed to short stories until my daughters were born. It was a matter of necessity. Once I’d dreamed a flash into existence (planning it on my commute), I could write a rough draft in a couple of hours. When the kids were young, and with a full time job, I didn’t have much time. Short stories would take me months to write.
I love the variety of flash. More than a short story, flash lends itself to being playful. Playful not only in structure, but also in content. It’s easier to maintain a surreal story in a short form, and, in flash, you can jettison certain aspects of a short story. Exposition and backstory are unnecessary and take too much space. Poetic language is a must and words must work double-time.
What’s your writerly lifejacket: character or plot?
Character – or, as a third option, setting. But that’s really another facet of character. Usually, the story will come to me as a character speaking in my mind or interacting with the setting/characters around her. When I’m writing the story, the character will propel the plot or arc/movement of the story.
Writing style: Quick and messy or slow and precise?
Quick and messy! I usually know something about the story to begin with – a voice that’s speaking to me at the beginning and the image or phrase for the ending, so I just need to get from point A to point B. I often write a flash in one big gush, so I don’t start questioning myself. So I sit down and type out one huge paragraph, sometimes without punctuation. (This is why sometimes my stories still have comma splices!) If I can finish it in one sitting I know that it’s worth working on further. (If I abandon it mid-session it’s usually because I’m just not feeling the story; sometimes I will return to it.) The editing process, however, will take a long time, and I’ll do multiple drafts, wait months to send it out, and have people critique it.
What element or part of your “real life” do you think most influences your writing?
My experiences travelling – at least as to setting. And then being a teenager – like my necklace being stolen in junior high, which formed the basis of “Butterfly.” I also steal from my daughters, but I usually get their permission to use them, like in “Body Like Paper” and “Second Act Girls.” Not to say that any of my stories are true in all details, but there’s some kernel of truth in all of them, whether it’s a line of dialogue, an emotion, or clothes I wore. I like to say that all of my stories are true and all are false.
If you could recommend one flash story or writer, who/what would it be?
That’s not a fair question! There’s so many stories and writers I admire. I’m just going to refer you to Amelia Gray, and her stories “Labyrinth,” “These are the Fables” and “The Swan as Metaphor for Love.”
What story of yours do you wish got more recognition?
“Train to the Ends of the Earth” from alice blue review.
Bio: Lori Sambol Brody lives in the mountains of Southern California. Her short fiction has been published in Tin House Flash Fridays, New Orleans Review, The Rumpus, Little Fiction, Necessary Fiction, Sundog Lit, and elsewhere. She can be found on Twitter at @LoriSambolBrody and her website is lorisambolbrody.wordpress.com.