Craft: 21 Things I Try To Do in Writing Flash Fiction

There are, of course, many ways to write flash fiction, but below is a listing of one way to think of narrative flash fiction—as a listing of things that I try to do in writing a certain kind of flash. Maybe such a listing will be helpful to those writing and/or teaching flash fiction. Maybe not. In any case, here it is:

[Note: In creating this list, I've borrowed phrases and qualities from the wide variety of sources I've read regarding writing (very) short fiction, and I can't quite remember them all. Especially helpful was Douglas Glover's essay that appeared in The New Quarterly on "Short Story Structure" and the writing guidebook from Pamela Painter, What If.]

Dialogue. Lively. Interesting. "Not answering." 

Language. Charged. Compressed. Specific. Detailed. Fresh. Clich?free.

Grammar. Modern. Not distracting. Correct.

Style. The diction is organic to the story/character w/o sense of authorial interruptions & filters.




Sentences. Varied. Important things last (creating tension/suspense). Sentences support narrative (the sentences rock like the character's experience on a boat, for example).

Implication. Conscious of what doesn't need to be said overtly.

Synecdoche. The one moment, word, image, descriptive characteristic is used to create strong writing free of wishy-washiness.




conflict acts at the thesis at the center of the flash

the conflict/desires are original, creative, meaningful

every element embodies the conflict; conflict is way the "idea" gets developed & deepens

figurative language/imagery is appropriate, connected, defamiliar

specific, numerous details that make reader "believe"

uses image patterns; repetitions of words, thematic topics, motifs, images, and memories; "act of questioning"

Newness. Decisions—setting, action, dialogue, words, etc.—feel original.

Profundity. What's figured out is meaningful, new, emotionally-packed.

opposing actions/intentions developed throughout using "story" structure (the "formula"), yet has enough "difference" to satisfy readers' desire for continual surprise

beginning: in medias res; engaging; clear conflict; charged; reader isn't confused

scene/action: the conflict occurs through a series of ACTIONS that force character to deal with pressing issue(s) that are both external and internal




dialogue: something people are trying to do to each other.

narration: a movement from place to place using challenging obstacles to deepen conflict, get character closer to the "truth," create tension and urgency, and raise the stakes.

ending: a non-Hollywood resolution to the beginning conflict (perhaps with a sense that there can be no gain without a commensurate loss); the sense that something important to character, writer, & reader has been figured out.

I put these 21 characteristics into 3 categories: 1-7, the language and voice; 8-15, the critical thinking; and 16-21, the structure and design.