Mini-Interview with Kim Magowan

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

The first flash I ever wrote, before I knew there was this genre called flash, is a story called “Palimpsest,” back in 2010. My writing group at the time said, “We like this beginning a lot, where’s it going?” and I said, “No, that’s the whole thing.” I had an intuitive sense it was done. Really, I became interested in flash as a practical necessity: I’m a professor, and flash is the one mode of writing I can reliably do when the semester’s on. That said, I’ve become addicted to the form. I love its precision. It forces me to choose every word, to trim all the fat, to identify the core of a story and eliminate all fluff. I’ve become a better writer (more disciplined, more particular) because of flash. Reading and writing flash requires attention. Currently, as a fiction editor, I often find long stories flabby: parts seem brilliant, but parts drag. Flash eliminates all the boring stuff.

What’s your writerly lifejacket: character or plot?

Definitely character! Plot is a struggle. A friend, not intending to be mean, once said after reading a draft of my novel, “This is great, but there’s no plot.” Which is kind of a huge thing to go missing in a novel! Whoops, forgot to include a plot! Though the English professor in me could point out a dozen novels that don’t have a plot to speak of (The Sound and the Fury, Mrs. Dalloway, most high modernism). I gravitate toward character. The reason I write is the same reason I read, and why in another life I think I would have made a decent psychotherapist: I like to figure people out. People are endlessly interesting to me, so my favorite novels (Emma, Middlemarch, The Remains of the Day, Lolita, The Good Soldier) are character studies.

Writing style: Quick and messy or slow and precise?

I veer towards quick and messy. My modus operandi with flash is to bang out the first draft in a sitting. I want the shape of the story splashed out. My revision process is all about chiseling. Even as a college student, I used to feel a dorky gratification when a draft of a paper was too long and needed cutting down. I enjoy removing flab, making stories trim and muscular. When I get a story into more or less presentable condition, I send it to my first reader, Michelle Ross, and she gives me edits. The ones I take graciously are the cuts. Whenever Michelle wants me to add or develop something, I grumble. I tend to write polished drafts, but I am a baby about doing comprehensive revisions. Any chore, no matter how onerous, seems preferable.

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

Becoming a parent fundamentally changed both the way I write and the way I read. Certain books are simply not the same for me now: Beloved, always heartbreaking, kills me now—I cry every time I reread it (which is often, because I teach it). With Frankenstein, I always thought Victor Frankenstein was a self-centered jerk, but now I judge much more harshly Victor’s repudiation of the creature. A number of my characters are flawed parents. Others are struggling adolescents. Writing is a way for me to process some of my worst fears: what would it mean to lose a child, or to let down a child catastrophically? To have one’s own defects and failings damage someone else? One of the fascinating things about having children is the way it makes one confront wrapped-up parts of oneself. Kids hold up mirrors. You can’t hide from yourself anymore.

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

There are so many flash writers I love! This isn’t original, but I am nuts about Lydia Davis—any writer interested in flash fiction should read (and reread) her collected stories. I’ve loved Borges since I was a teenager, when his micro “Borges and I” exploded my brain. Kathy Fish is fantastic: her flash “Collective Nouns About Humans in the Wild” destroyed me. I’m obsessed with Joy Williams’ Ninety-Nine Stories of God. I teach and reteach Jamaica Kincaid’s wonderful mother-daughter story “Girl.” Sherrie Flick’s stories are whiskey shots, they burn going down. George Saunders’s “Sticks” from his Tenth of December collection is a barbed thorn of a story. Michelle Ross, Kim Chinquee, Amelia Gray, and Cathy Ulrich are among my current favorites, writers whose new work I always seek out. I love the micro of yours Pithead Chapel is publishing, “You’ve Stopped”: that was one of my favorite flashes I’ve read all year. That final line about the slowing heartbeat is devastating.

What story of yours do you wish got more recognition?

I’m proud of “Eleanor of Aquitaine.” It’s the first of the linked stories in my collection, and I suspect it gets overlooked next to other stories about Laurel that cast bigger shadows (“Warmer, Colder,” “On Air”). It isn’t as tough, repellent, or disturbing as those two. But I think it’s a strong story, and a sad one, about how a war between estranged spouses is hurting their daughter. Actually, I like the fourth of the Laurel stories a lot, too: “Pop Goes the Weasel.” That story almost didn’t make it into my collection. I worried it was too shapeless. It morphed on me. Initially, I thought I was writing a nasty stepmother story, but almost without my volition, Nina became a lot warmer and messier than my original picture of her. So, I want people to pay attention to the two understated Laurel stories! The two middle ones shout them down. “Eleanor” and “Pop Goes the Weasel” are like the quiet kids in the back of the classroom who won’t raise their hands, but should be called on anyway.

BIO: Kim Magowan lives in San Francisco and teaches in the Department of Literatures and Languages at Mills College. Her short story collection Undoing won the 2017 Moon City Press Fiction Award and was published in March 2018. Her novel The Light Source is forthcoming from 7.13 Books in 2019. Her fiction has been published in Atticus Review, Bird’s Thumb, Cleaver, The Gettysburg Review, Hobart, New World Writing, Sixfold, and many other journals. She is Fiction Editor of Pithead Chapel.


Mini-Interview with Sarah Freligh

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

Flash combines the lyric precision of poetry with the narrative urgency of fiction. It’s the perfect storm.

That’s my academic answer. The real reason is because I dole out my life in coffee spoons. I write in grabbed time and flash lends itself nicely to small dollops.

What’s your writerly lifejacket: character or plot?

Character, with a splash of plot, most likely because I am a terrible plotter. If conflict is fuel, flash can run on a buck’s worth, long enough to arrive at a story (not so for a novel, which I’m discovering to my great chagrin). At some point in the writing, I get hold of a tail of something – a metaphor, an action – and hitch a ride on that for a while. I eventually arrive at a story or even better, a hint of a story.

Writing style: Quick and messy or slow and precise?

Ideally, quick and messy on first swipe after which I abandon the mess for a while to forget what I both love and hate about it. At some point, I start to revise. I might see a potential structure and how that might work to underscore theme. How fooling around with language can create opportunities for metaphor that expand and deepen understanding and meaning. A mentor once said to me that there are no true synonyms in the English language, and I agree. I’m eternally after the right word.

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

I’d wish I could say that I bit into a madeleine and saw my life whole, but the truth is far more pedestrian. My cats, dead and alive. Swimming, definitely. It’s so boring that after 1,000 yards, you develop a rich imagination or go starkers. I have a bank of stored-up images that need homes, and usually I find them in my poems or prose.

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

Jayne Anne Phillips’ book Black Tickets, especially “Wedding Picture” and “Blind Girls.” Gary Gildner’s “Fingers” and Paul Lisicky’s “Snapshot, Harvey Cedars, 1948,” both from the iconic Flash Fiction anthology. Anne Panning’s “Candy Cigarettes,” a flash nonfiction. I’ve used them as prompts in so many classes; they never fail.

What story of yours do you wish got more recognition?

Hard question! Probably “We Smoke,” because that might mean that people are reading New Micro, the terrific new anthology edited by James Thomas and Robert Scotellero, or reading my poetry book Sad Math, published by Moon City Press in 2015.


BIO: Sarah Freligh is the author of Sad Math, winner of the 2014 Moon City Press Poetry Prize and the 2015 Whirling Prize from the University of Indianapolis. Her fiction and poetry have appeared in Sun Magazine, Hotel Amerika, BOAAT Journal, diode, SmokeLong Quarterly, and in the anthology New Microfiction: Exceptionally Short Stories (W.W. Norton, 2018). Among her awards are a 2009 poetry fellowship from the National Endowment for the Arts and a grant from the Constance Saltonstall Foundation in 2006.

Mini-Interview with Lynn Mundell


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

I think it fits in with the amount of time I have to write—which is not that much these days since I have a lot going on, including a full-time job, family, my buddies, co-editing 100 Word Story, swimming, reading, and just living. But it’s more than convenience. Writing flash also harkens back to my writing origins as a poet, where I worked within different structures, with imagery and themes, and with an attention to language. What I am still learning now that I write fiction is dialogue, something that is new to me as a writer and pretty difficult.

What’s your writerly lifejacket: character or plot?

May I say both? If I don’t have a plot, I am lost. I am just writing to write. But I need a narrator and others I can believe in to tell the story. More and more I am holding off on writing until I have a better sense in my head of what I am writing and who is going to do the work for me in my story. I have been making notes, too, and sometimes asking myself how I could make my idea more interesting or unusual.

Writing style: Quick and messy or slow and precise?

I am slow and precise. I write some, back up, rewrite and add a bit more, back up, rewrite, add a bit more, until the story is done. Then I might go in and add sections or re-work it. It can be a laborious process, with pen and paper. I think I have probably not entirely transitioned from writing poetry to fiction.

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

I seem to write a lot about moving, being lost, homes, and travel. I suspect this is because I moved a lot as a kid. These days I have written more from the news since I find it very troubling, and about aging and mortality. Pretty much whatever is going on in my life and around me may make it into a story, from the pedestrian to the significant.

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

There are so many talented writers out there right now that it is pretty impossible to pick. One of my favorite journals to read is Jellyfish Review. I think Christopher James has pretty impeccable taste, and I like how he will publish brand-new writers or established one, and across genres. I would be hard pressed to call out specific writers, but I will say that I have never read a Meg Pokrass or a Molly Giles story I didn’t like.

What story of yours do you wish got more recognition?

 One of the first ones I wrote when I discovered flash fiction, “Travels through Time and Space with Zora,” which was published in Eclectica in 2014. I really put a lot of myself into that one, and I still like it when I read it over again these days.

BIO: Lynn Mundell’s writing has appeared this year in SmokeLong Quarterly, Monkeybicyle, Thread, Booth, Gone Lawn, apt, Bird’s Thumb, Fanzine, and elsewhere. Her story “The Old Days,” originally published in Five Points, is included in the W.W. Norton anthology New Micro: Exceptionally Short Fiction. Lynn’s work has been recognized on the Wigleaf “Top 50 Very Short Fictions” long lists of 2017 and 2018. She is co-editor of 100 Word Story and its anthology Nothing Short Of: Selected Tales from 100 Word Story (Outpost19). Learn more about her at

Mini-Interview with Leslie Pietrzyk

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

I don’t think of myself as a natural flash writer; I generally write novels and long short stories. I couldn’t write a poem if my life depended on it. But six-ish years ago, I started thinking about flash when I was working on THIS ANGEL ON MY CHEST, a book of stories that plays around with form. I challenged myself to write something short, to tell a complete and harrowing story in as few words as possible. (Here’s the result.) Now, I love the compression and the gut-punch of a successful piece of flash, that sense of illumination like a firework ripping through a dark sky. I like the power of what’s missing, of the ripples of what is suggested and implied and hidden. I explore the role of silence a lot in my fiction, whether real or perceived, and I find that flash is a way of breaking silence. I’m still challenged by the form; most of my pieces are in the 750-1000 word range, which is kind of long-ish flash. But I accept the form’s difficulty: feeling off-balance and unsure is good for me as a writer.

What’s your writerly lifejacket: character or plot?

My instinct is to say character because my finished work tends to be character-driven rather than plot-intensive. Yet when I really think about what a life jacket does—which is it saves your ass when you’re flailing around in wide open water after being dumped from a boat—I think about plot: my writing depends less on lyrical phrasing and poetics, and more on interesting things happening or secrets being peeled away. So, thank you, true and steady Plot, for coming to my rescue, every single time, even as I start out telling myself that I don’t need you!

Writing style: Quick and messy or slow and precise?

Yes! Quick and messy in the first draft (or, actually, slow and super-messy). And then slow and precise in the subsequent revisions. By slow, I do mean slow: it’s amazing how much time I can spend worrying over one word.

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

One of the things I love most about being a writer is being able to throw bits and pieces of my real life into my stories, like keeping a secret scrapbook of memories (“here’s the story I wrote when I first discovered hockey!”). So various interests maneuver themselves into the work, but the single most consistent part of my life that slips in is food. I love to cook, I love to eat, I love interesting cocktails, and most of all I love to get my characters eating or cooking or drinking. In fact, it’s a rare story of mine where no one gets fed or enjoys a cocktail. The bonus is that, of course, what and how we eat and drink is extremely revealing of character, so I get to indulge myself while also helping the fiction along.

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

I loved Sherrie Flick’s book, Whiskey, Etc, and I’m looking forward to reading her new collection, Thank Your Lucky Stars. Another book I recommend is I Will Love You for the Rest of My Life by Michael Czyzniejewski. Amy Hempel is a master, of course. Two individual stories I love are “The Sweet Life” found in Kyle Minor’s Praying Drunk and “Sleepover,” in Mothers, Tell Your Daughters, by Bonnie Jo Campbell.

What story of yours do you wish got more recognition?

Ha—I know we’re talking about flash and so it’s probably cheating to choose a 40-pager, the longest story I’ve written: “One True Thing.” It’s included in THIS ANGEL ON MY CHEST, my collection of unconventionally-linked short stories (and was also published online, in The Collagist), so I shouldn’t complain that the story is unrecognized. But I worked on it for more than a year and most of the time I had no idea what I was doing or even if I could do what I wanted to do, which was to write a continuous story told in the form of a craft lecture about point of view; each of the 10 sections is told with a different point of view choice, i.e. collective first person, third person, second person, omniscient (see how insane this undertaking was?). Anyway, I thought I was done several times before I really was done, and the whole writing experience nearly did me in, so I selfishly and secretly wish this story was required reading for everyone in America!




Leslie Pietrzyk is the author of Silver Girl, released in February 2018 by Unnamed Press, and called “profound, mesmerizing, and disturbing” in a Publishers Weekly starred review. Her collection of unconventionally linked short stories, This Angel on My Chest, won the 2015 Drue Heinz Literature Prize and was published by the University of Pittsburgh Press. Her previous novels are Pears on a Willow Tree and A Year and a Day. Short fiction and essays have appeared/are forthcoming in Washington Post Magazine, Salon, Southern Review, Ploughshares, Gettysburg Review, Hudson Review, The Sun, Shenandoah, Arts & Letters, River Styx, Iowa Review, Washingtonian, The Collagist, and Cincinnati Review. Pietrzyk is a member of the core fiction faculty at the Converse low-residency MFA program and teaches often in the Johns Hopkins MA in Writing program. She lives in Alexandria, Virginia. For more information:

Mini-Interview with Al Kratz


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

I wrote poetry growing up and then random snippets in journals because it’s all the time I gave to it. So there’s a natural draw to it. That one sharp story. Maybe I like it so much because of music. We didn’t just listen to albums, we lived them. Broke them down and thought about how they worked. An album is basically a flash fiction chapbook. I don’t know how different flash is. I will say it is way more than word count. It is scope and voice. I’ve seen others talk about this, but flash changes the way we read novels too. I don’t hate it, but I definitely notice when things aren’t as compressed as flash.

What’s your writerly lifejacket: character or plot?

That’s a thing we can have? I probably would choose character of those two, although I’d have to admit I depend on voice over those two. Maybe that’s just character though? I need to get better at both. I need to get a lifejacket.

Writing style: Quick and messy or slow and precise?

Quick and messy when an idea forces itself out. Slow and painful when I’m trying to pull an idea out. Always slow and precise on rewriting. When I’ve got an active idea, lots of phone notes and I keep a mini-legal pad in the car so I don’t lose ideas.

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

I think I’ve always had the mentality that experience should be thought about. Maybe this came from being a preacher’s kid. I’ve never been bored. A lot of my flash is semi-autobiographical bordering on autofiction.

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

I’ve been trying to keep up with the flash world for like six years now. It’s crazy how many talented flash writers there are. I recently finished Nicole Rivas’ chapbook from Rose Metal Press and it’s one of the best there is. Sister Suite by Christine Stroud is a beautifully poetic book. I’m amazed by how the story of grief can still be told in new ways. I’m loving everything Scott McClanahan writes. He doesn’t really write flash, but it’s pretty darn compressed.

What story of yours do you wish got more recognition?

Ah, recognition. Maybe this one?


Al Kratz lives in Indianola, Iowa with his wife and their three old dogs. He writes fiction reviews for Alternating Current and is a Fiction Editor for New Flash Fiction Review. He is @silverbackedG on twitter and pubs are listed at

Mini-Interview with Gaynor Jones


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

 I’ve been writing it for so long, it’s hard to remember why I started but I write it now because it’s so addictive. There’s always a publication call out or a competition with an interesting theme (I’m a sucker for themes). The flash community is brilliant too if I stopped writing flash I’d feel like an outsider looking in. That’s happened a little bit recently as I’ve stepped back to work on different projects so I keep a few flashes going all the time, to keep my hand in.

I wouldn’t say I enjoy the challenge of a smaller word count, with me it’s often that my work naturally ends at a few hundred words anyway. This is great for flash but proving to be a real problem as I try and get my short story collection off the ground!

 What’s your writerly life jacket: character or plot?

 Oh, definitely plot. I never think in terms of character when I’m starting a story or even when I’m really into writing it. I feel that’s a big no-no for writers but I think it suits my style. My stories tend to hinge on the odd thing that is happening rather than the people in them. I think that’s what makes my work different from other flash writers, but also what makes it sometimes less popular or less successful? I can’t really do deep and meaningful characters and beautiful, lyrical writing, but I’m okay with that. There’s space for every type of writing.

 Writing style: quick and messy or slow and precise?

 For flash, quick and messy, but that’s only because I have been writing flash for eons. I can tell pretty quickly if a piece is going to be good or not, something about the ease with which the original idea gets onto the paper. These days I often go from idea to submission within a few hours. Again that’s a big no-no, isn’t it? But I’m a rebel! My Comma Press course tutor, Lara Williams, told us ‘write until it’s reflex’ and that’s what has happened with me and flash. I wouldn’t recommend that method to someone just starting out.

However, for anything other than flash (e.g. short stories) it is slow and precise with tons of research, planning and editing. I mean to be fair, maybe my flash would be better if I treated it that way too! Maybe I should slow down and try it…

 What element or part of your ‘real life’ do you think most influences your writing?

 The fact that I’m funny, ha. There is a lot of humour in my work, sometimes it’s dark, often it’s wry but it’s nearly always there. I grew up in Merseyside, where you have to be funny, it’s like a requirement for living there. You have quips with everyone from the bus driver to the milkman to your teachers and of course with your family so you learn quickly to think of a good comeback. One of my proudest writing moments was when a tutor told me I’m ‘often funny’ so now whenever I make my husband (a Southerner) laugh I raise an eyebrow and say ‘Well, I am often funny.’

I wish there was more acceptance of humour in fiction but there’s a bit of snobbishness around it I think. I would like to start a funny flash mag when I have the time. But also, this humour works for me because then when I write something serious or painful, which I occasionally do, it seems to blow people away a lot more as they weren’t expecting it.

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


Handily I have a folder for just such an occasion as this!

Final Girl Slumber Party by Meghan Phillips is always top of my list. I don’t know her, but I feel we must have had a similar upbringing in terms of cultural references as whenever I read one of her flashes I find myself saying ‘Yes! That’s exactly what it’s like!’ Also, she writes about themes that really interest me, adolescence, sex, girls, pop culture, feminism.

When Stranded on an Iceberg by Tino Prinzi. This maybe strays into prose poetry rather than flash but it’s simple and beautiful and powerful.

I Can’t Explain Anything Anymore by Mary Lynn Reed because I love diner set stories and it has such a strong voice.

Magenta by Molly Gutman because it’s like nothing else I’ve ever read. So dark and intriguing with a touch of the magical.

The Amazing Sleepless Boy by Lynn Mundell is brilliant and brutal.

What story of yours do you wish got more recognition?

Well, my story Girls Who Got Taken was well received when it was published by Former Cactus but I wasn’t as known in the flash scene then so I’m not sure a lot of people read it. I developed this as a longer short story on my Comma Press course with a very different ending but the feedback wasn’t great (she turned into snow at the end – I loved it, but it’s not for everyone!) so I slashed it to 1000 words and actually I think it works a lot better like this as it’s such a tight, claustrophobic story. It’s quite a different type of story from my usual and it’s one of my favourites. I hope people enjoy it!

BIO: Gaynor Jones is a freelance writer based in Manchester, U.K. She specialise in short fiction and was the recipient of the Mairtín Crawford Short Story Award 2018. She organises the Story For Daniel Flash Fiction Competition to raise awareness of blood stem cell donation and childhood cancer support. She is currently working on her debut short story collection and will release her first book of flash fiction, Business As Usual, in January 2019.



Mini-Interview with Adam Lock

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

Thank you so much for asking me to do this. It has really made me think.

For me, everything about flash fiction is more immediate than other forms of literature. They do take time to write, but still, they are not as time consuming as short stories or indeed novels. The submission and feedback process from magazines and competitions is also relatively quick. And if a piece isn’t working, you can work on it and submit again. I think I’m a writer who needs the constant process of submission and response; flash fiction fulfills this need.

What makes flash fiction different, is its precision. Short stories and novels do share this quality, at times, but flash fiction is all about precision. I love identifying what truth a flash piece is searching for and then cutting everything that doesn’t help convey this truth. For me, a great flash piece is like a ray of light shining on one tiny, yet universal truth.

What’s your writerly lifejacket: character or plot?

This is a naughty question. But I like it. I’ve been thinking about this more and more recently. The conclusion I have reached, is that fundamentally, people want to read about people (or animals – but even these tend to be anthropomorphised, and so end up being about people too). It’s a simple as that. Plot is what happens to characters, so this of course is important too. But ultimately, all good fiction says something about what it feels like to be human. And when a writer hits on something the reader recognises to be a shared human experience… well here lies its magic.
Writing style: Quick and messy or slow and precise?

I find it difficult to shut off the editor in my head sometimes, so I tend to be more ‘slow and precise.’ I think it would be ideal to be both — to begin ‘quick and messy,’ and then slow down and be more ‘slow and precise.’

There is a fantastic book on writing called, ‘From Where You Dream,’ by Robert Olen Butler, who writes about how to reach a ‘dreamspace,’ and create a sense of ‘yearning,’ in your writing. This made me see how important it is to be both quick and slow at different times. Being quick and messy can trick your brain into revealing something of which you’re not consciously aware. This stuff is the gold you’re after. Then the slow part of your brain has to sift for that nugget of gold in amongst all the other stuff your brain is playing with.

There is a collection of Norman Mailer’s thoughts on writing called, ‘The Spooky Art.’ I write in the early mornings, and sometimes when I read back what I’ve written, I don’t remember writing it. The writing process really does feel wonderfully spooky sometimes.

In short, I want to be both, but I am definitely more ‘slow and precise.’
What element or part of your “real life” do you think most influences your writing?

Has to be the things other people say and do. I think I’ve always watched and listened, but being a writer makes you really watch and listen. People do and say unbelievably wonderful things without even realising sometimes. I use the Notes app on my phone to write these things down – otherwise I’d forget most of it (and don’t think you won’t – you will). Then, when I’m struggling to think of something to write, I look in my notes and I have a first line or prompt to start me off. Sometimes I don’t even use the original idea, but it’s a place to start.

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

This is tough because there are so many writers, and now friends, who I follow and whose work I think is wonderful.

Melissa Goode writes stories on a theme I come back to time and again myself: relationships. She has such a light touch, and this ability to gesture to different moments in time that connect and spark off one another. I’m in awe of the poise and delicacy in her writing. This is her story, ‘Guernica’:

Christopher M Drew writes stories that integrates the natural world and science beautifully. I have been lucky enough to share drafts of stories with Chris, and have received his invaluable advice. I don’t think there is a flash fiction writer who plays with white space better than Chris.

‘The Shape of Us,’ is a great story:

Leonora Desar’s stories are instantly recognisable. She writes with freedom and bravery, generating a feeling of hope and joy. When I read one of her flash pieces I see the word in a slightly different way. A wonderful writer.

This is, ‘Fire, Ocean.’

Peter Jordan is a terrific writer. I’ve been lucky enough to receive his advice and help with my own writing. His stories uncover universal truths that are presented in a clear and visceral way.   

This is, ‘At the Bottom of the Glass’:

More great writers, collections and stories:

Christopher Allen’s collection: ‘Other Household Toxins’

Stephanie Hutton’s NiF: ‘Three Sisters of Stone’

Meg Porkrass’ collection: ‘Alligators at Night’

Gaynor Jones: ‘The Thing Between Your Legs’

Damhnait Monaghan: ‘The Neverlands’

Jason Jackson: ‘As Beautiful as Blackberry Picking’

What story of yours do you wish got more recognition?

That’s another tough one. Commenting on your own writing always feels a little icky doesn’t it? I’ll choose a story I wrote when I first started writing flash fiction. I wrote this at a time I was learning about white space and leaving room for the reader. I think there are stories in which you recognise an improvement in your craft. I think this story, ‘Step on a Crack,’ is one such story for me.

Thank you again for this opportunity. I’ve really enjoyed it.
Bio: Adam Lock writes in the Midlands, UK. He recently won the TSS Summer Quarterly Flash Competition 2018 and the STORGY Flash Competition 2018. He was placed third in the Cambridge Short Story Prize 2017, and has been shortlisted twice for the Bath Flash Fiction Award 2018. He’s had, or soon will have, stories appear in publications such as Lost Balloon, Former Cactus, MoonPark Review, Fictive Dream, Spelk, Reflex, Retreat West, Fiction Pool, Ellipsis Zine, Ghost Parachute, and many others. You can find links to his stories on his website: He’s also active on Twitter at: @dazedcharacter.