Why do you write flash? What makes it different for you?
It gives me the chance to create many new worlds. Ideally, I want each flash fiction to be a unique experience for the reader, and to feel like a place, or a memory of a place. Like momentarily stumbling into someone else’s dream, and then shaking off the vertigo and wondering if it really happened. Every piece must have its own earth and sky.
It allows me to be layered. Flash is supposed to linger in you, and I would like the reader to discover something new every time they revisit it. I believe the experience of reading flash has something inherently open and cyclical. Because I like reading this way, many pieces I’ve written are meant to be reread, and hopefully to give a little more, to raise new questions, to help connect a different dot every time.
Writing flash makes me feel like a student, happily lost in a great dusty library. Every word has to be chosen and placed with surgical precision. They have to be a perfect fit in meaning and sound. Maybe it’s because English isn’t my first language, but most times I look up even the simplest, most familiar words, and always discover something new in them. No other type of writing has offered me this chance.
What’s your writerly lifejacket: character or plot?
Character always comes before plot for me. I’ve learned the hard way that forcing characters to fit in a very specific plot is like trying to herd cats. You have to let them evolve, collide and react in their own true ways. With that, plot will organically happen. These surprises are the best part. I believe that plot is crucial to a story, but it’s not a starting point. It’s not even a finishing point – I see endings not as a result of plot, but of each character’s separate emotional makeup. We can throw in as many plot twists as we like when writing, but as the story grows it becomes clear that each character carries something inevitable in them, and they will bring this out if the writer is open to it and attentive. It’s not a fate, but their innate necessity.
Writing style: Quick and messy or slow and precise?
Quick and messy start, a slowing down around the middle and an arduous arrival at the finish line. Very slow and precise editing with a visually messy result, full of arrows and symbols. By the time I’m done it looks like a math pop quiz that’s been corrected to death. When it’s time to type it in, the sober cleanliness of a word document seems eerie.
What element or part of your “real life” do you think most influences your writing?
There are the most immediate elements, like reading, observing people and consuming art that takes me out of my comfort zone. But these work on a superficial level, where they are meant to give form and light: these are your ideas, your inspirations, your analytical epiphanies and your shapes of thought.
What is hidden deeper are the elements that I work on as themes, and they most influence my writing: the scary part of me, or the scary part of us. Using the academic as a language for the visceral. How much am I learning, growing up, about my/our relationship with the self, with violence, with death, with sexuality, with that in us which exists but is irrational, unexplained or untapped? These are very real, urgent things to me. I’ve always tried to make it a conscious journey. And whatever I find along the way is what I’m eager to write about.
If you could recommend one flash story or writer, who/what would it be?
A very tough question! I’ve had the luck to read so many excellent writers in the past few years, and I couldn’t pick one. And all those amazing stories! One of my many favorites is “If There’s Any Truth In A Northbound Train” by Ryan Werner, in SmokeLong Quarterly.
What story of yours do you wish got more recognition?
“The Duke’s Dioxide Sunset” in Obra / Artifact last July, was one I was very fond of and really enjoyed writing, but slipped through the cracks at the time.
Clio Velentza lives in Athens, Greece. She is a winner of “Best Small Fictions 2016” and a Pushcart nominee. Her work has appeared in several literary journals such as “Wigleaf”, “Lost Balloon”, “Hypertrophic Literary”, “Noble/Gas Qtrly”, “The Letters Page”, “Jellyfish Review” and “People Holding…”, along with some anthologies in both English and Greek. She is currently working on a novel. Find her on twitter at @clio_v.