Jim Har­ring­ton pro­vides a work-in-progress com­pre­hen­sive list of mar­kets for flash fic­tion.

Our word sto­ry comes from the Greek muthos, myth. Through­out the cen­turies sto­ry­telling has con­tin­u­ous­ly changed. A new form of muthos has emerged: Face­book.

I read a new piece of writ­ing a min­i­mum of three times, from three dif­fer­ent points of view: the Read­er, the Writer, and the Mechan­ic.

I know that desire makes a sto­ry. I’ve tried cre­at­ing char­ac­ters who want noth­ing, and while these exper­i­ments pro­duce lan­guage, on occa­sion, they nev­er end in a rec­og­niz­able sto­ry. Just about any desire will do, but there has to be enough of it. 

Short fic­tion writer Nic­hole Beard pro­vides six steps to mas­ter­ing (very) short fic­tion writ­ing.

It’s impor­tant to note that all that’s need­ed to have a nar­ra­tive, or sto­ry, accord­ing to the nar­ra­tol­o­gists, is a sim­ple sequence of actions. 

CNF can share craft ele­ments with its emi­nent­ly cool­er old­er sib­ling, like deep­er mean­ing and sym­bol­ism

But, in our time, the extreme­ly short flash has an invis­i­ble real­i­ty, and a more inde­ter­mi­nate one.

A review of Sud­den Fic­tion Lati­no: edi­tors Robert Sha­pard, James Thomas, and Ray Gon­za­lez

A review of Eliz­a­beth Colen’s prose poet­ry col­lec­tion Mon­ey for Sun­sets