Why do you write flash? What makes it different for you?
I’ve always been delighted by the challenge of flash. It seems like it would be impossible, or like it sets you up to fail. All flash writers are close cousins of Sisyphus and Charlie Brown.
What’s your writerly lifejacket: character or plot?
Character, definitely. I want to know why people do the things they do. I want to worry about them. I want to see them survive.
Writing style: Quick and messy or slow and precise?
Quick and dirty rough draft, with no judgment or self-editing. Then, ideally, I will keep revisiting the piece over weeks and months in an effort to refine it. Sometimes I find myself overhauling the entire piece, and other times I only need to correct the moments where I falter. Also, it’s fascinating how long it can take to discover the right title or final line.
What element or part of your “real life” do you think most influences your writing?
My anxiety. I want to believe I have some measure of control somewhere in this world and so I burden my writing with that impossible task. It rarely works out, of course. When I’m being less neurotic, I feel that all art is an attempt to freeze and share moments of beauty.
If you could recommend a few flash stories or writers, who/what would it be?
Michelle Ross. Her piece in Jellyfish Review, “Hostage or Accomplice,” is a masterpiece of restraint, resulting in exquisite tension.
I admire everything Melissa Goode writes. I love walking around cities with her and watching characters navigate intimate relationships. “Extreme Unction,” which appeared in The Forge, is so satisfying.
Jen Michalski’s “I’m Such a Slut and I Don’t Give a Fuck” (Smokelong Quarterly) is an extraordinary achievement. Each time I read it, I can’t believe she fits a whole life and career into a single flash piece.
I’d also like to mention two flash collections, which are very different from each other: Jacqueline Doyle’s The Missing Girl (Black Lawrence) is pure danger and urgency, while Leanne Radojkovich’s First Fox (The Emma Press) relies on gentle description and understatement.
What story of yours do you wish got more recognition?
I really like a story I wrote in 2016, “Heroine Night,” for Jellyfish Review. Sometimes I wonder what those characters are doing now.
BIO: Jan Stinchcomb is the author of The Blood Trail (forthcoming from Red Bird Chapbooks). Her stories have appeared in Gravel, Gone Lawn, matchbook, Atticus Review and Monkeybicycle, among other places. She is featured in The Best Small Fictions 2018 and is a reader for Paper Darts. Currently living in Southern California with her husband and children, she can be found at janstinchcomb.com or on Twitter @janstinchcomb.