Mini-Interview with Roppotucha Greenberg

Why do you write flash? What makes it different for you?

Because longer short stories are out to get me. I sink into their world, meet some characters, hope to make a few friends, and crash. Boom. They end it all. And I am left hanging in the in-between-books type of abyss . I think short stories dislike me. They want me to think about unpaid bills and mortality. Short stories have staid jobs and live in the 1950s.  Flash stories are different. The world is against them, all they have is a thousand words to create a universe, and they manage. By hook or by crook, by blank space or repurposed forms, or by getting re-written five thousand times over. And they get away with it. Flash stories are great people. I don’t know if you’d completely trust them with your wallet, but they are firmly on the side of the infinity.  

What’s your writerly lifejacket: character or plot?

Plot is like using heat and darkness to create something out of nothing. You know the way giants emerged out of the blood-warmed earth, or the way you can leave a few rags in a dark corner to make mice. (A professor I admire told me about this life-hack, but I still have to try it). Or maybe plot is already there at the start, and it’s just a matter of realizing what’s going on, so you’d have a scene with a fishnet, and then three drafts later, you’d get someone bringing in the catch.

Writing style: Quick and messy or slow and precise?

Definitely slow and messy. I wouldn’t wish my writing style on my worst enemy. I am confident, however, that doodling is good for writing, tweeting is good for writing, staring into space is good for writing, and not writing is good for writing.

What element or part of your “real life” do you think most influences your writing?

I moved countries twice, the first time when I was twelve, and the second time as a young adult, twenty or so years ago. I’ve been slowly making sense of that in some of my stories, (‘On the Proper Use of the Mosquitoes’ and ‘Where’s that accent from’). One peculiar result of the first move was that I mistook space for time. My adolescence was literally a new place; if I felt confused and misunderstood by my surroundings that was because I actually didn’t speak the language. The fantastic elements in my writing are probably related to that. Patricia Garcia writes  that ‘space is the fantastic’, that intrusions or subversions of space constitute the common denominator of the fantastic (Space and the Postmodern: Fantastic in the Contemporary Literature, Routledge 2015). And the experience of migration and chronic nostalgia do just that – they turn the space around you into something else, part reflections of the past and part memories of the future. Once you switch countries nothing surprises you. A ghost of an old country behind the radiator, why not. Your boyfriend morphing into the landscape—shame but can’t be helped.

If you could recommend a few flash stories or writers, who/what would it be?

The writers involved in the #vss365 daily hashtag game have created a glorious hive of micro-fiction. Most readers would probably be familiar with that and similar daily and weekly games. Still, I think the whole project deserves sky-high praise for the commitment of its founders, the spontaneity of its participants, its non-competitive nature, its inclusivity, but most of all because it reads like a magical book. It’s like that book of legend that changes with each reader.

I stumbled upon the #vss365 a year ago. I’ve had fantastic adventures since, culminating in two self-published creature books of tiny stories and doodle-answers to questions by other micro-fiction writers. I am deeply grateful to the community and would feel wrong singling any favourites out here.  

What story of yours do you wish got more recognition?

I’d love for more people to read ‘Their Untimely Lives’ in The Cabinet of Heed (

A wonderful writer that I admire gave me some feedback on the story. She said one of the characters should have died. So, I worked very hard and re-drafted the story just to convince her and other readers that he’s better left alive (I’d do anything for my characters). And then my sister said wonderful things about the story. I asked her: ‘Do you think I should’ve let him die?’ And she said: ‘No, of course not, besides, he mostly died anyway, and when the girlfriend tried to save him, she was actually trying to save both of them’.

BIO: Roppotucha  Greenberg’s stories have appeared in  Noon (Arachne Press 2019), Elephants Never, Ellipsis Zine, Twist in Time, The Forge Literary Magazine, Virtual Zine, The Honey and Lime Literary Magazine, The Barren Magazine and  several others. She lives in Ireland and doodles creatures. Her first creature book, Creatures Give Advice, is out on Amazon ( with the second book, Creatures Give Advice (and it’s warmer now) scheduled for release on 21 June 2019. Web:

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