Mini-Interview with Noa Sivian

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

First of all, thank you for having me here. Your mini-interviews are always enriching thanks to the insightful writers you pick. It’s a huge compliment.

The main reason I found myself in the flash pond was the language barrier. I started writing in English in 2016, and even though I spoke English well enough, I never read or wrote anything but emails and text messages. The flash genre made it possible for me to write about topics I couldn’t explore in Hebrew—too close to home.

In many ways, this difficulty had shaped my style. I try not to complicate things. The most important aspect for me is delivering an image to the reader’s mind before the words even hit.

What’s your writerly lifejacket: character or plot?

Ideally, both. I rarely think of just a character or just a plot. They activate each other. I like to match ordinary characters with unusual circumstances, and vice versa.

I admire writers who can build their story like an impressionist painting; showing us only a dot—the character’s—then gradually making us take a step back, revealing a spectacular landscape. I don’t know how to do that, yet.

Writing style: Quick and messy or slow and precise?

I’m a head writer. I try to sort the story out before I’m actually writing it. Of course, it never works. Once I start, words are in control. They have the power to change my character or plot or structure or all of the above. So, I guess you can say—messy.

Editing is where everything changes again. On average, I end up with 2-3 drafts per micro, and 10-15 per flash.

I like editing better than writing. It teaches me to let go of my ego.

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

I moved a lot as a kid and as an adult, so I’ve always felt like an outsider. This state of not belonging is constant. It made me curious and observant out of social survival.

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

That’s the hardest question possible, Tommy. I assume that’s why it’s in your mini-interviews. You’re relentless.

My first flash read was one of Cathy Ulrich’s Japanese stories—“Where the Drowned Ride,” published at Wigleaf. It was a revelation. Everything she writes is a no less than a little miracle.

Lori Sambol Brody knows all the secrets of the human psyche. Just read the masterpiece “The Sky Is Just Another Neighborhood,” published at SmokeLong.

Christopher James is a busy editor at Jellyfish Review (full disclosure: he’s the first to publish and encourage me to keep writing), but when he has a story out, I’m the happiest person around. “Siobhan Vs. Her Baby Brother”, published at Atticus, is pure joy.

Yael van der Wouden—I can’t crack her writing enigma, and I hope I never will. “I Don’t Know What to Tell You,” published at Cheap Pop, and all her other stories, have that spell on me.

Melissa Goode writes brutal emotions with such lightness it makes your jaw drop. “I Will Not Show My Love In Turquoise,” published on FRiGG, is one of her many beautiful stories.

Kathy Fish, the Reina of flash and micro, just had five tiny micros published at Pidgeonholes. The pieces are layered with different degrees of pain and humanity. If anyone wants to know what microfiction is all about, they should start there.

I have the privilege of reading Etgar Keret in his mother tongue. He’s an innovative writer who opened up the old-fashioned Hebrew lit world to new styles. His translated piece in the New York Times “To The Moon And Back” is unforgettable. I tried.

K.C. Mead-Brewer is a phenomenal writer. She made me laugh in despair in her Paper Darts piece “Late at Night, After He’s Fallen Asleep.” That story never left my mind.

Tara Isabel Zambrano writes colors, smells, and intimacies like no other. I’m overjoyed when I see there’s a new story of hers.

Jad Josey teaches me about boyhood, brotherhood, manhood—hell, all the hood’s—with great sensitivity and meticulous writing.

Jennifer Fliss is one of a kind. She’s more than a writer: she’s a deep tissue massage to where it hurts the most.

Jacqueline Doyle crushes me in less than a 100 words. She’s an absolute ace.

M. Stone is a poet, not a prose writer per se, but I hope she will be soon. She’s out of this world. Her poems are a hug, slap and kick to the gut, all wrapped in delicious wording.

There are many other writers and stories that I love with all my heart. It was almost impossible choosing just these people and their work.

What story of yours do you wish got more recognition?

The Chinese Box, published at Jellyfish Review. It’s a love story starring a flaccid dildo.

BIO: 

Noa Sivan was born and raised in Israel and is currently living in Granada, Spain. She’s a graphic designer, writer and assistant editor for Cheap Pop. You can find her small fiction on Monkeybicycle, Jellyfish Review, Wigleaf, Lost Balloon, FRiGG and more.

Twitter handle: @migdalorr.

Website: www.noasivan.com

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Mini-Interview with Ingrid Jendrzejewski

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

I love the way flash provides the opportunity to explore many different ideas and forms without the commitment a longer work requires.  The stakes are low.  If you try something and it’s a disaster, you’ve only spent hours or days on something that will never see the light of day – not months, years or even decades of your life.  However, if you try something that works, you can have it drafted, edited, polished and sent out within a reasonably short timeframe.

I also love the way flash lends itself to experiment and play.  It’s an exuberant form.  You can dally with ideas and techniques that might become tiresome, stale or tedious to read if incorporated into a longer piece.  Flash readers tend to be generous.  They’re often happy to follow a flash down some pretty crazy rabbit holes.

All this makes me feel brave and free when writing flash.

What’s your writerly lifejacket: character or plot?

May I be vexing and choose structure instead?  If I’m at sea and don’t know what to do with something I’m writing, I often seek out some sort of structure, constraint, or organisational principle to cling on to until I can get my bearings.

This especially true when I’m facing a blank page.  I’m more likely to think, “Hmm, I’d like to write a something in the form of a calculus syllabus today” or “what kind of story could I weave into a framework of proverbs about the weather?” than I am to have any sort of idea about what plot or characters I want to write about.

Even when writing more traditional pieces, I’m often guided by a prompt, constraint or personal challenge that I’ve set myself.  I’ve always liked puzzles and games and maths, so I suppose I take an element of all that into my writing.

Writing style: Quick and messy or slow and precise?

Depending on my mood and what I’m writing, I oscillate between both extremes.  In general, I’m more likely to be quick and messy with the first draft or three, then gradually slow down to a methodical plod as I rewrite.  Unfortunately, however, I end up writing slow and messy more often than I’d like…

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

Lack of time.  Before I became a mother, I had much more control over my sleep schedule and free time, and I hardly got anything accomplished.  Oh sure, I wrote stuff – mostly slow, bloated drafts of boring novels – but I published nothing.

Once my daughter was born, the long-form writing went out the window.  I couldn’t keep whole novels in my head and there wasn’t an infinite amount of time to sit around dawdling over things.

I decided I’d just write some little exercise pieces so that when I did get time to go back to novel writing, I’d be primed and ready.  I wrote character sketches, scenes, fragments, unclassifiables.  The more I wrote, the more I loved writing in those short, intense bursts, and I loved what could happen on the page when the compression of poetry combined with the narrative heft of prose.  My daughter didn’t sleep much in those days, and once I figured out that I could type one-handed on the iPad whilst breastfeeding through the night, I became rather prolific.  Once I discovered that there were markets for what I thought of at the time as ‘short shorts’, I was off and running.

As my daughter gets older, my average word-counts are getting longer.  I’m still writing flash (and have no plans to stop anytime soon), but I’ve also been working on some long-form projects as well – only now my writing is much, much tighter and I am much, much more disciplined about how I use my time.

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

Oh, gracious, there are legions of writers that I would love to acknowledge!  It feels terrible leaving people out, so I’m just going to tweak this into recommended flash stories or writers that I’ve read in the past couple days.

Leesa Cross-Smith’s ‘Knock Out the Heart Lights So We Can Glow’

I pretty much joined Twitter so I could follow Leesa Cross-Smith’s work.  I believe this was one of the first pieces of hers that I read, and I recently revisited it to see if it was the piece that used the phrase “baptism-wet” in a perfect way.  (It was.)

Lynda Sexson’s “Pigs with Wings”.

Although most of what I’ve read of Sexson’s work are short stories, some of them slip into flash-like territory.  “Pigs with Wings” appears in her collection Hamlet’s Planets: Parables and is a beautiful example.  How can one resist a piece that begins, “A hardrock man came into this town of butter and cheese people.”

This Line is Not For Turning, edited by Jane Monson

Although this collection is billed as a collection of British prose poetry, many of these pieces could moonlight as flash.  I highly recommend the whole collection.

Sei Shōnagon’s The Pillow Book

I’ve just started reading Meredith Mckinney’s translation of The Pillow Book, a collection of lists, poems, descriptions, and things we might now call prose poems, flash or lyric essays, that was written over 1000 years ago during the Heian Period in Japan.   I particularly like the lists.

What story of yours do you wish got more recognition?

This is such an interesting question!  For me, writing is a pretty solitary act…I do it, then put it out there.  I get really excited when something is accepted for publication, and then I move on to the next thing.  I rarely revisit work unless I have a chance to edit it, because as soon as I reread something, I have the urge to rip it apart and rebuild.

I suppose there are a few pieces in print that I sometimes wish were easier to share digitally.  One of them is ‘We Were Curious About Boys’ which appeared in the Bath Short Story Anthology in 2016.  I’ll be reading it at Rattle Tales as part of the Brighton Fringe on the 16th of May.

Details are available here: https://www.brightonfringe.org/whats-on/rattle-tales-124844/

As for something online, here’s a quiet little story that was published at Flash Flood in 2016.   I still have a soft spot for it.  What can I say?  I like bookcases.

http://flashfloodjournal.blogspot.co.uk/2016/06/measurements-by-ingrid-jendrzejewski.html

BIO:  Ingrid Jendrzejewski studied creative writing at the University of Evansville, then physics at the University of Cambridge.  Her work has been published in places like Passages North, The Los Angeles Review, The Conium Review, Jellyfish Review, and Flash Frontier, and nominated for a Pushcart Prize, Vestal Review’s VERA Award, and multiple times for Best Small Fictions.  She serves as editor in chief of FlashBack Fiction and a flash editor at JMWW.  Links to Ingrid’s work can be found at http://www.ingridj.com and she tweets @LunchOnTuesday.

Mini-Interview with Santino Prinzi

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

There are many reasons why I like writing flash, and they’re likely similar to other flash writers. I love the brevity of flash, but also how nothing is sacrificed to achieve this brevity. There are flashes that are easily more powerful and have had a greater impact on me than novels I’ve read. I love what is unsaid, and I love that readers of flash sometimes need to see the unseen in order to really see what’s going on.

What I also enjoy about flash is how well it lends itself to reading aloud. You can go to a flash reading as a reader or a listener and read aloud or listen to many fully-formed, complete stories in a single evening. There’s nothing I enjoy more than reading some of my funnier flashes to a room full of people and making them laugh and smile (though I make sure they’ve had a drink or two first…).

Also, I have the strange inability to write anything much longer. I’d love to write a novel, but every time I’ve had an idea I’ve (accidentally!) turned it into a flash fiction.

What’s your writerly lifejacket: character or plot?

I think both are important.

As an editor for National Flash Fiction Day and New Flash Fiction Review, I read a lot of stories and I always ask myself the same question: “Do I care about this character and their situation?” This may sound harsher than I intend, but every reader wants to care about what they’re reading, right? If nothing happens, or the character is flat and stereotypical, then it’s difficult for me to keep reading, even if the story is a few hundred words, because I’m not invested in this character or their fate.

Writing-wise, the core of my stories often come to me either as a character or as a situation. Perhaps the plot comes to me first more often than the character. I really love it when an odd situation comes to mind and I can explore this absurd and surreal world, but I also love it when a distinctive character comes along and demands that I listen to what they have to say. Whichever it is, that usually drives the writing of the first draft for me, and I have to be conscious of not neglecting the other while redrafting. I think I’m better at spotting this in other peoples’ writing than in my own, but that’s why I love reading submissions because you learn so much doing so.

What is great about flash is we don’t need to read it and be able to list off a number of traits a character has or be able to plot out the entire narrative arc. So much of this detail can be implied, but it still needs to be there for the reader, and I think the best flash achieves this balance.

Writing style: Quick and messy or slow and precise?

Write fast, edit slow. Sometimes. It all depends. Sometimes an idea comes along and I need to get it down right away, whereas other times I will keep it in my head and let it grow. I wouldn’t say I write in my head, but certain sentences or images or dialogue may formulate as a part of the initial spark (that character or that situation/plot) and then I can get to it.

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

I’m fascinated by different perceptions. My first collection of flashes was called Dots and other flashes of perception purely because I felt these flashes explored a lot of different perspectives. I find it intriguing how other people think, how they view the world, and how our perception of reality may not always match up to what really is. How many times have we misinterpreted a situation and then realised we were completely wrong or thought we’d misinterpreted a situation but ended up being completely right? It’s a part of what makes us all human, this relationship each individual has with the world, and I believe this makes for interesting stories. It’s something I think occupies all of my writing, especially in my forthcoming V-Press flash pamphlet, There’s Something Macrocosmic About All of This.

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

There are so many fantastic writers who consistently publish such stellar writing that any attempt at a list on my part is going to omit incredible work by incredible human beings.

There are also many brilliant flash magazines that publish a stunning flash fiction. Again, making a list would immediately mean accidentally overlooking some, but I think you can’t go wrong by reading everything SmokeLong Quarterly, Wigleaf, matchbook, and Jellyfish Review publish. I’d also add New Flash Fiction Review, but I’m slightly biased (that said, I do objectively believe we publish killer flashes).

I will say that having just finished reading submissions for the next National Flash Fiction Day annual anthology, there are some really amazing flashes in response to the theme of food. ‘Thirteen’ by Jen Harvey moved me to tears when I first read it. Last year’s title story by Helen Rye in Sleep is a Beautiful Colour: 2017 National Flash Fiction Day Anthology is both hilarious and heart-stirring.

Charmaine Wilkerson’s flash novella, How to Make a Window Snake, is also essential reading. I’m currently looking forward to reading New Micro: Exceptionally Short Fiction edited by James Thomas and Robert Scotellaro (due in August), as well as Christopher Allen’s Other Household Toxins, which is out now.

Kathy Fish, Tania Hershman, Ingrid Jendrzrjewski… I could go on and on and on…

What story of yours do you wish got more recognition?

This feels like a weird question to answer. I’m happy for any recognition for any of my work, but what I wish my stories do most is connect with a reader in some way.

If I had to choose one, I think I would choose my story called ‘Plastic,’ which is about a father whose wife gives birth to a living, alcoholic baby-doll, who changes as she grows based on love.

I had so much fun writing this story, but what means the most to me is that this story was published in a fantastic anthology called Stories for Homes Volume 2, where all profits from the sale of the anthology are donated to Shelter, a UK homelessness charity. You can find out more by visiting their website: https://storiesforhomes.wordpress.com

BIO: Santino Prinzi is the Co-Director of National Flash Fiction Day in the UK and the Senior Editor for New Flash Fiction Review. His debut flash fiction collection, Dots and other flashes of perception, was published by The Nottingham Review Press, and his flash pamphlet, There’s Something Macrocosmic About All of This, is forthcoming from V-Press. His short stories, flash fiction, and prose poetry have been published or are forthcoming in various magazines and anthologies, such as Flash: The International Short-Short Story Magazine, Jellyfish Review, Litro Online, (b)OINK! zine, Bath Flash Fiction Award Vol.2, Stories for Homes Anthology Vol.2, Ink Sweat & Tears, and The Airgonaut. To find out more follow him on Twitter (@tinoprinzi) or visit his website: https://tinoprinzi.wordpress.com

Mini-Interview with Jude Higgins

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

I’ve never been a big traveler in the physical world but with flash, I can go anywhere and do anything. I wrote much of a novel some years ago when I did an MA in Creative Writing but I began to plod through it after a while. Which wasn’t fun. Someday soon, I’ll get it out, strip it down and turn into flash. Then it will have something to say.

What’s your writerly lifejacket: character or plot?

I’m in a boat with this question as you have mentioned a life jacket. To follow the metaphor, I would be okay floating around for a bit as long as the currents don’t take me too far off course, but I need those characters. They are there in the boat, arguing, helping, eating all the food or sharing it – basically doing what humans do. I am interested in what humans do first and foremost.

Writing style: Quick and messy or slow and precise?

I am a messy person. I’ve even braved a photo of today’s desk for you to see.  So I’d have to say that I am either quick or messy as a writer too. Or slow and messy as a writer. Either way, you can dwell as long as you want to on the word ‘messy’.

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

It’s all the ins and outs of relationships, current and past. In the picture of my desk and shelves, there’s a young photo of me on the first shelf together with a portrait of an ancestor of mine. I do draw on past events and fictionalise them but I’m interested in the present stuff too. I’d throw in walks down the lanes and looking at the flowers and plants around here in mid-Somerset. Not that nature necessarily appears in my fictions, but it often does, because I was brought up in the country and I have always done this sort of wandering about – what the writer Brenda Ueland calls ‘moodling’.

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

I would recommend all the anthologies produced by Ad Hoc Fiction available at www.bookshop.adhocfiction.com.

I’m proud to have had a hand in selecting these stories as one of the initial readers for the Bath Flash Fiction Award and the Bath Novella in Flash Award. There are some amazingly good micros in the anthologies of single flash – ‘To Carry Her Home’ and ‘The Lobsters Run Free’ and the authors represent around 45 different countries. The collections of novellas, ‘How to Make a Window Snake’ and forthcoming ‘In the Debris Field’ are equally good and represent different styles and takes on the genre.

What story of yours do you wish got more recognition?

There’s a tiny micro I drafted in one of Kathy Fish’s fast flash workshop last year which I am fond of.  The group liked it and I’ve sent it out to various submission opportunities and contests, but nobody seems fond of it like me. I shall keep sending it out though. Just in case.

BIO: Jude Higgins is a writing and writing tutor. Her flash fictions have won or been placed in many contests and are published in the New Flash Fiction Review, Flash Frontier, FlashBack Fiction,The Nottingham Review, Bending Genres, The Word Factory, the Blue Fifth Review and National Flash Fiction Day anthologies, among other places. Her flashfiction chapbook, ‘The Chemist’s House’ was published by V. Press in 2017. She organises the Bath Flash Fiction Award and directs Flash Fiction Festivals UK. judehiggins.com @judehwriter

Mini-Interview with Madeline Anthes

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

For one, I like feeling accomplished; with flash, you can start and finish a story all in one sitting (sometimes more than one!), and then I feel really great about myself. I give myself a big pat on the back and congratulate myself for being a “writer.”

Also, I’m struggling with writing longer stuff right now. I can’t seem to stay on one story for very long, and my stories don’t seem to need more space right now.

More than that, I really appreciate that flash is just the best moments of the story. It’s the turning point, the crucial emotion that all stories need. Lately, I’ve been more of a no BS type of person; I feel like I have to guard my resources (time, energy, attention) and I don’t have time for things or people that waste these. Flash works this way for me; there are no wasted moments, no wasted words. Every word matters. No BS.

What’s your writerly lifejacket: character or plot?

 I think I’d have to say character because most of the time nothing really happens in my stories.

Writing style: Quick and messy or slow and precise?

I am slow in that I take a lot of time off between stories. But when I do write, it’s usually because I have one line that’s already formed in my head. Then the rest usually all spills out in one sitting. I revise it 2-3 times before submitting, but I’m usually happy with what pours out the first time because that’s the story that wanted to come out.

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

I’m very very inspired by setting and I’m very very nostalgic, so all or most of my stories are inspired by some glimpse or flash of real life. Almost everything I write is set in the Midwest – I grew up in Cleveland and spent every summer in rural Indiana.

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

If you follow me on Twitter you know I fangirl over my favorites.

  1. Amanda Miska – check out her recent flash in wigleaf called “Confession Game” — http://wigleaf.com/201805confession.htm
  2. Meghan Phillips – also in wigleaf (man, wigleaf is amazing), her story “Now That the Circus Has Shut Down, the Human Cannonball Looks for Work” — http://wigleaf.com/201802circus.htm
  3. Monet Thomas – love all her work, and this one’s in Third Point Press called “A Certain Woman” — https://www.thirdpointpress.com/2017/04/a-certain-woman/

A few journals that are wonderful (besides HypertrophicLiterary, cough cough): formercactus, FlashBack Fiction, Cheap Pop, Lost Balloon, Longleaf Review, Smokelong, Cease, Cows, WhiskeyPaper, Third Point Press, wigleaf

What story of yours do you wish got more recognition?

One of my favorite stories I ever published I actually published with Hypertrophic before I started working with them.

Right before my grandmother passed, my siblings and I wanted to visit her one last time, but when we arrived in Indiana a storm had just coated the whole area in thick ice. It was hard to travel, we could barely walk down the driveway, and it all just felt very eerie, like we were trapped in a snow globe. We all knew this would be the last time with our grandmother, so it added an odd sheen to an already emotional weekend. We visited her in the home where we spent a lot of our childhood, so it was like we were literally frozen in time to be with her.  I funneled all of that into the story “After Storms” that was published in Spring 2016.

BIO: Madeline Anthes is the acquisitions editor for Hypertrophic Literary. Her writing can be found in journals like WhiskeyPaper, Lost Balloon, Cease, Cows, and Third Point Press. You can find her on Twitter at @maddieanthes, and find more of her work at madelineanthes.com.

Mini-Interview with Jennifer Todhunter

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

I love the economy of writing in flash. How stories are whittled down until every word counts. How you can leave someone gobsmacked in such short shrift. There isn’t much to hide behind with flash, you’ve got to get in, get out. It’s like being gut punched in the best way possible. I feel like that sting creates a connection between the writer and the reader and the characters. A connection that lingers a long time.

What’s your writerly lifejacket: character or plot?

Character. Man, I love a good character. There is something everlasting about someone you can’t shake loose. Flash is so honest and intense when done well, and that’s why it hits as heavy as it does. What’s going on in the background of a piece of flash is always secondary for me; the way the character is dealing with it is in the forefront. I try to emulate that in my writing. I want to make those connections.

Writing style: Quick and messy or slow and precise?

 I find it difficult to start a story until I have what I consider to be the perfect first line for it. I spend a lot of time agonizing over first lines and I’ve written a lot of first lines that never amount to anything. But once I’ve got a good one, it’s quick and messy from that point forward. Everything sort of spills out once that first line is uncorked.

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

Death and loss and remembrance, and how these things coexist in a seemingly “real life” life. What I mean is, real life is one thing, and a thing that changes depending on decisions and circumstance, but death and loss and remembrance follow you forever, and these are the things I feel most influence my writing. These are the things I can’t shake.

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

There are so many people fighting the good fight when it comes to flash right now, so many different forms and approaches and concepts. It is exciting to see where the genre is going, where people are taking it with their own creativity. I love checking out the short fiction nomination lists every year and catching a subsect of what’s been churned out, and it always floors me.

That said, I am always and forever down with some good old complicated heartache, and stories that have recently slain me include, “All I Have Left” by Dina Relles, “All the Love Songs Are Really About Broken Hearts” by Cathy Ulrich, and “Left Behind” by Kaj Tanaka.

What story of yours do you wish got more recognition?

I’m really proud of “Nualla to the Nth Degree” which Lost Balloon published earlier this year. It’s about blown-glass girls and the never-ending search for perfection. It’s part fairy tale, part mathematics, part weird—it was deeply satisfying to write because these things are sort of my makeup, too.

BIO: Jennifer Todhunter’s stories have appeared in SmokeLong Quarterly, Necessary Fiction, Jellyfish Review, and elsewhere. She is the Editor-in-Chief of Pidgeonholes. Find her at www.foxbane.ca or @JenTod_.

Mini-Interview with Jonathan Cardew

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

I write flash because it’s fucking brilliant. I love it. I love everything about it. There’s nothing quite like a shot of short-short fiction. I grew up adoring short stories—and I still do—but flash fiction goes beyond and enters a poetic and even psychic realm. Good flash relies on craft like any writing form, but it also relies on intuition and bravery. The courage and/or foolishness to say: ‘that’s enough.’

 What’s your writerly lifejacket: character or plot?

Probably plot! No, wait, character! A little of each? My life jacket might actually be structure—being able to cut and chop and resize is a skill I think I’ve gotten pretty good at. I feel like anything’s a story as long as it’s packaged right (a student of mine recently wrote an erasure flash/poem out of my syllabus—which is hot-shit in my book!)

Writing style: Quick and messy or slow and precise?
Slow and messy? I’m a really bad crafter of sentences—like really, really bad and I have to go over and over them and polish until they’re good. Like a pebble. Enough water crashes onto a rock, it becomes a smooth and beautiful pebble. That’s my writing style: wave-like, wave-like, wave-like, wave-like.

What element or part of your “real life” do you think most influences your writing?
My addictions/ compulsions.

If you could recommend a few flash stories or writers, who/what would it be?
Oh my God, I always freeze up when people ask me this, but luckily this is a text-based question and I have time to take a walk and do some deep, steady breaths to compose myself….

There are so many good flash writers out there and my favorites rotate according to the seasons and the stages of the moon, but I’d have to say the writers that hit me every time are: Claire Polders, David Gaffney, Ashley Hutson, David Swann, Nancy Stohlman, Meg Tuite…and more more more!!!

This story “Happy Place” by David Gaffney is one of my happy places: https://www.davidgaffney.org/happy-place.html

What story of yours do you wish got more recognition?

Robocop Infinity, published at Jellyfish Review.

I’ve read this one at a few events, but I don’t think it quite goes over. I don’t think people quite get it. I don’t think I quite get it. But it’s Robocop, man! It. Is. Robocop.

https://jellyfishreview.wordpress.com/2017/08/08/robocop-infinity-by-jonathan-cardew/
BIO: Jonathan Cardew’s stories appear or are forthcoming in Wigleaf, cream city review, Passages North, Superstition Review, JMWW, People Holding, and Atticus Review, among others. He is the fiction editor for Connotation Press and MicroViews column editor for Bending Genres. He recently won the Best Small Fictions Micro Fiction Contest. Originally from the UK, he lives in Milwaukee, Wisconsin.