Writ­ing third-per­son pieces that use, as much as pos­si­ble, the character’s lan­guage, then, is one way to speed up the iden­ti­fi­ca­tion process. 

So what is brevi­ty exact­ly? I don’t know. It’s about get­ting words to count more than they might in oth­er less-com­pressed forms.

You, too, can manip­u­late dia­logue through sum­ma­ry and indi­rect quo­ta­tion to height­en dra­mat­ic effect

Click on the pic to view our flash fic­tion wor­dle:

Try to write a flash piece that fol­lows the nar­ra­tive pat­tern in Bev­er­ly Jackson’s “Bud­dha Gold.”

Glass tow­ers and taxis lit­tered the dis­tance.

Flash is by nature tight.

Philly hosts Con­ver­sa­tions & Con­nec­tions, includ­ing a craft work­shop on Fear­less Flash Fic­tion.

When writ­ing a flash piece that is meant to pro­pel a usu­al sit­u­a­tion to the read­ers in a deep­er or unusu­al way, writ­ers need to be able to use metaphor and jux­ta­po­si­tion along with word choice and dic­tion to make the piece inter­est­ing. I came across “How It Was when a Car Caught Fire on the Street out­side my House Last Night” by Jensen Whe­lan in the eleventh issue of Quick Fic­tion.

A reprint from flash fic­tion writer Kim Chin­quee.