Author: Ingrid Jendrzejewski

Welcome to the fifth and final in our series of interviews with this year's National Flash Fiction Day Anthology editors and Microfiction Competition judges! Submissions for the Anthology and Microfiction Competition are open until 15 February 2023.

This week, Diane Simmons chats with Tim Craig, one of this year's Microfiction Competition judges, about collections, titles, and his advice for writers entering this year's competition....

 

DS: As one of the four micro competition judges this year, do you have any tips for entrants to the competition on how to write a successful flash of a hundred words or fewer?

TC: If ‘get in late, leave early’ is good advice for any writer, it’s even better advice when it comes to a story of this brevity. A 100 word story is like one of those very short flights where no sooner have they given you a drink than they’re trying to take it off you for landing. So don’t bother introducing the pilot or the crew or running through the safety procedures. Just give us the damn drink!

DS: Your collection Now You See Him was published by Ad Hoc Fiction in 2022. Can you tell us a little about it?

TC: Thanks, yes. I was delighted to have my debut published by Ad Hoc. The stories I think are all 300 words or less. Although I write longer stories too, it seems to be the length I come back to. Many of the stories deal with loss. It’s been a theme, let’s say. But I’m encouraged by the reception it’s had, and particularly by the fact everyone who reads it seems to have a different favourite.

DS: Do you find titles easy or difficult? Do you have any tips for helping writers come up with a good title?

TC: I hope it doesn’t sound arrogant, but I find titles quite easy. Maybe because of my years of writing advertising copy, I know how to write a pithy line. The best titles tend to do two jobs – firstly, the prosaic job of naming the story; secondly, they capture the real ‘meaning’ of the piece – the story above the story, if you like. Often, the title is a line or phrase lifted directly from the story, where the very act of lifting it from the surrounding prose draws attention to a second, transcendent meaning. On the other hand, far better a simple, workmanlike title than one that’s trying too hard to be funny or clever. One of my favourite short stories is ‘Puppy,’ by George Saunders. So what do I know?

DS: Tell me one fact that people might not know about you. For instance, do you enjoy scuba diving or hold the record for the most pickled onions eaten at one sitting?

TC: I busked for several years. On the tube, around Europe, working in ski bars, even up the Eiffel Tower. These days, I’m strictly a kitchen table player. And I make about the same.

DS: Is there a flash fiction writer who has influenced your own writing? Or one who you particularly admire?

TC: Sooo many. The secret is to read different styles. Kathy Fish and David Gaffney. Meg Pokrass and Roy Kesey. Lydia Davis and Etgar Keret. That way, it’s easier to hide what you steal… 😉

 

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Originally from Manchester, Tim Craig lives in London. A previous winner of the Bridport Prize for Flash Fiction, his short-short fiction has placed or been commended four times in the Bath Flash Fiction Award and has also appeared in the Best Microfiction 2019 and 2022 anthologies. His debut collection Now You See Him was published in 2022 by AdHoc Fiction.

Welcome to the fourth in our series of interviews with this year's National Flash Fiction Day Anthology editors and Microfiction Competition judges! Submissions for the Anthology and Microfiction Competition are open until 15 February 2023.

This week, Diane Simmons chats with Amanda Huggins, one of this year's Microfiction Competition judges, about poetry, prose, pressure and what she'd like to see in this year's competition submissions....

 

DS: You embrace many writing forms and have published five collections of short stories and poetry. I understand that your first full-length poetry collection is being published in March 2023. Can you tell us a little about it?

AH: talk to me about when we were perfect is an album of snapshots; a collage of lives unfolding in flashback. Ralph Dartford very kindly said that I pulled off the “difficult feat” of the “the camera of commentary” in my poetry, so I hope that’s what I’ve managed to achieve in this collection.

There’s a strong yearning running through many of the poems for the places to which we can never return and the people we have left behind. They also cast a questioning eye over past misunderstandings, roads not taken, and undeclared love.

However, the collection is not as autobiographical or as deeply personal as I’ve possibly made it sound. Some of the poems are based on my own life experiences, but many more are simply stories straight from my imagination – readers can make up their own minds which are which!

DS: Writers can sometimes feel under pressure to always be putting words on the page. Are there any activities that you feel are as helpful to you as a writer?

AH: I used to feel that pressure all the time, but I tend to be more laid-back these days – I’ve jumped off the hamster wheel! I find walking is the best activity to clear my head – the Yorkshire moors are great for inspiration. And I enjoy getting involved in various art projects as well – being creative in a different way can often help to kickstart new writing.

DS: Do you have any tips for entrants to this year’s micro competition or anything that you would particularly like not to see?

AH: Micro-fiction has only got time for the sideways glance; a glimpse through the crack. But a glimpse is not the same as a fragment, and I still need something whole – a full story rather than an observation or an anecdote. The skill is in conveying what lies off camera and beneath the surface when you have such a limited word count. Without those hidden depths, the story will feel hollow and the reader won’t care about the character/s. In a hundred carefully chosen words the writer needs to make the specific feel universal.

In conclusion, it’s always worth reminding everyone to use their title wisely, as those are valuable extra words.

DS: Were you a reader as a child? If so, did you have a favourite author?

AH: I was an avid reader well before I went to school. When I was very young I used to make my mother read the same bedtime stories on repeat – especially Enid Blyton’s Book of Brownies, as I loved the adventures of Hop, Skip and Jump. She’d miss bits out and try to whizz through to the end, but I always noticed, and we both decided it would be a lot better if I learned to read them myself.

My favourite author was without doubt Enid Blyton, and I devoured the Famous Five, the Five Find-Outers and the Adventure Series. I also loved anything to do with horses – so the Pullein-Thompson sisters, K M Peyton and Ruby Ferguson were firm favourites. The Brumby by Mary Elwyn Patchett was one book which really stuck in my mind.

Then when I was around eleven or twelve I started reading everything by Agatha Christie and stealing my parents’ Arthur Hailey blockbusters!

DS: I know that you enjoy travel writing. Do you have a favourite country or place that you enjoy writing about?

AH: I enjoy writing about everywhere I’ve been – particularly Japan, India, Cuba and Eastern Europe – and I often set my fiction in those countries too. But Japan is my absolute favourite place both to visit and to write about. Whenever I return to Japan it feels like an emotional homecoming. I’ve often struggled to explain or define this strong connection, or to pin down exactly why I love the country so much, and I think the words remain elusive because the reasons are more spiritual than tangible.

In the countryside and mountains, Japan is light and shadow, moss and stone, the sound of a shoji screen sliding shut, of tea pouring and of temple bells, the scent of tatami matting and cedar, the exhilarating joy of climbing above the clouds. But to me, the cities are equally magical. Neon lights can be just as beguiling as the glow of lanterns along cobbled streets, and Tokyo in particular is fascinating and seductive. To outsiders, it can appear to be a place when quiet contemplation is impossible, and this can go hand in hand with the notion of things never being exactly as they seem, of them being a little off-centre, misunderstood, or lost in translation. And those are all great things to write about!

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Amanda Huggins is the author of All Our Squandered Beauty and Crossing the Lines – both of which won a Saboteur Award for Best Novella – as well as five collections of short stories and poetry. Amanda's fiction and travel writing have appeared in publications such as Mslexia, Popshot, Tokyo Weekender, The Telegraph, Traveller, Wanderlust and the Guardian. Three of her flash fiction stories have also been broadcast on BBC radio. She has won numerous awards, including the Colm Toibin International Short Story Award, the H E Bates Short Story Prize and the British Guild of Travel Writers New Travel Writer of the Year. She was a runner-up in the Costa Short Story Award and the Fish Short Story Prize, and has been shortlisted for the Bridport Flash Prize, The Alpine Fellowship Award and many others. Amanda lives in Yorkshire and works as an editor and publishing assistant.

 

Welcome to the third in our series of interviews with this year's National Flash Fiction Day Anthology editors and Microfiction Competition judges! Submissions for the Anthology and Microfiction Competition are open until 15 February 2023.

This week, Diane Simmons chats with Johanna Robinson, one of this year's Microfiction Competition judges, about novellas-in-flash, historical fiction and her advice for writers entering this year's competition....

 

DS: Your novella-in-flash Homing was published by Ad Hoc Fiction in 2019 and shortlisted in the Saboteur Awards in 2020. Can you tell us a little about it?

JR: Homing tells the story of a Norwegian family over five decades from before the Second World War to the 1970s. It focuses mainly on Caroline, the young daughter, but we see events from the perspectives of her mother and siblings too. The family live in a tiny coastal village that was razed to the ground by the Nazis because of the residents’ involvement in the Resistance. This part is true – the village, the destruction, and the rebuilding – although the family is fictional. The book also looks at identity, and where and how it’s possible to locate home once you have moved from where you grew up.

DS: You obviously enjoy writing historical fiction. Is there a period of history when you would like to have lived?

JR: I love historical fiction. What attracts me actually is local history, the ‘small’ events and patterns of a particular place and the people who lived there, which shaped the place it has evolved into – the DNA of landscape and architecture and how they impact those who come after. And none of these events are ‘small’ to the people involved, of course. I try to write without rose-tinted specs, so any period of history comes with its struggles and pain and often fear. To answer the question, perhaps the turn of the last century, before world war was on the horizon, and there was a sense of change.

DS: Writing a micro fiction of 100 words or fewer is no easy task. Do you have any advice for entrants to the competition.

JR: Even 100 words can stay with a reader, lodge in their mind. For me, two are Sharon Telfer’s ‘Gelsenkirchen: 10/10ths cloud, 30 aircraft lost’ and Gaynor Jones’ ‘Ogdens’. Look at the patterns in each of them – the steps that are both repetitive and yet move the story forward a gear. Can you combine this rhythm and movement? It goes without saying that each word needs to earn its place, both in its own right and in relation to those placed either side. Try moving words around, and play with structure. Read it again when you’re done. Is there an overriding emotion, and an underlying one?

DS: Have you always written fiction? If not, can you remember what inspired you to start?

JR: I read non-stop growing up, and loved writing stories. I got a typewriter for Christmas when I was about nine and wrote a story about the adventures of a big bouncing ball that escaped its owner. I was convinced I’d win the competition I entered. I didn’t and I’d sent my only copy! But it never, ever occurred to me that being a writer was a ‘thing’. There was a disconnect between the authors of the books I read and the fact someone, a person, had written them. I’m sad I didn’t pay more attention to the possibilities then, but there was no internet for community or research. I did start a book in about 2001, but no one ever saw it (though some of it actually made it into Homing). Then came work, socialising, children, retraining… So I started writing on a Comma Press short story course in 2016 in Liverpool. I can still remember the goosebumps of the first session!

DS: If you could sit down and have a chat with any three writers from history, who would they be?

JR: Published writers – Jane Austen, Mary Shelley, Mark Twain, because of the times and places they lived in as much as their books. But I’d also want people at the table who told inherited fireside stories or who wrote in their diary in the evening. The unpublished ones, often forgotten ones.

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Johanna Robinson is based near Liverpool, UK, and has been writing short fiction since 2016. Her work has been featured in various magazines and anthologies, including SmokeLong, Reflex Press and Mslexia. In 2020, she won the TSS Cambridge Prize for Flash Fiction and the Bath Flash Fiction Award, and in 2019 Ad Hoc Fiction published her novella-in-flash Homing, which follows a Norwegian Resistance family in the Second World War. She is currently working on a novel set in Victorian Liverpool, and has been funded by Arts Council England. More of her work can be found at www.johanna-robinson.com.

Welcome to the second in our series of interviews with this year's National Flash Fiction Day Anthology editors and Microfiction Competition judges! Submissions for the Anthology and Microfiction Competition are open until 15 February 2023.

This week, Diane Simmons chats with Fiona J. Mackintosh, one of this year's Microfiction Competition judges, about everything from flash to novels to collections, as well as her advice for writers entering this year's competition....

 

DS: You won the National Flash Fiction Day Micro Fiction Competition in 2018 with The Birth of The Baptist and have had considerable success in other flash competitions. Do you have any advice for writers entering the micro fiction competition?

FJM: I find writing microfiction hard to be honest. I’m very committed to telling stories with a beginning, middle, and end (though not necessarily in that order of course) and that’s insanely hard to do in 100 words or less. I take my hat off to anyone who even attempts it, and the best examples are little miracles. The Birth of the Baptist was originally a tiny fragment of a longer story about a young couple travelling around Italy, but I came to realise that this one little paragraph encapsulated a whole arc of knowing you’re going to lose love even while you still have it. So basically, the piece was a fluke! Having said that, I do know a great micro when I see one, and I’m very much looking forward to reading the entries for 2023.

DS: You are a Scottish-American writer living in America. I wondered if you write in a different style depending on which country the story is set in.

FJM: To some extent I do, yes. The main difference is in the cadence of the characters’ speech and their internal monologues. It can take a while to get into the swing of it, but once I get it, I find that even my own thoughts tend to be in that character’s rhythm and vernacular. Though once the story’s written, I always try to get a second opinion from a beta reader because sometimes a Brit expression creeps into an American story and vice versa. And then there’s English versus Scottish characters. Recently, I’ve been writing a lot of stuff set in Scotland, which is why I have to keep going back there to make sure I’m getting the voices right. At least that’s my excuse!

DS: Your flash collection The Yet Unknowing World was published by Ad Hoc Fiction in 2021. Did you enjoy the process of putting together a collection and do you have any advice for anyone considering doing one themselves?

FJM: I loved it! Ad Hoc Fiction is a fabulous publisher and gave me plenty of leeway and support. I’d hit on the idea of New World (stories set in the US) and Old World (stories set in Europe and the rest of the globe) early on, but within those two categories, getting the flashes in the most readable order was a bit of a struggle. I enlisted the help of some trusted friends, including Jeanette Sheppard, whose moving flash collection Seventy Percent Water won the EllipsisZine Flash Fiction Collection Competition, and Keith Donohue, the author of several excellent novels including the international bestseller The Stolen Child. On their advice, I tried to vary the length and style of the stories as well as the tone, though tone was tricky as I tend to write a lot of depressing stories – odd because I’m quite a cheerful person in real life! Keith also suggested varying the order by first, second, and third person, which hadn’t occurred to me but made a lot of sense. I’m pretty happy with how the order turned out.

That being said, I’m not sure that most people read flash collections from start to finish like they would a novella-in-flash. It can be more rewarding to read them one at a time and let each one settle into your consciousness before moving on to the next – much like reading a book of poetry. Otherwise, the stories can tend to blur into each other in the reader’s mind. The bottom line is the quality and resonance of the individual stories are what matters most.

DS: I know that as well as a being a flash fiction writer, you are a novelist. I wondered if being a flash fiction writer has influenced your novel writing and whether you find it difficult to switch between the two forms?

FJM: Flash has absolutely improved my writing style in general and has had a very positive knock-on effect on my novel writing, or so I believe. In fact, after I began learning the lessons of flash writing, I rewrote much of the language in my historical novel Ancestral Virgins. It took me a long time, but I believe it’s a much better book for the effort.

I tend to jump around from project to project like a bloody grasshopper – current novel, other current novel, short stories, flashes – and in principle I have no trouble switching between them. But when my day job is particularly intense, flash is the only writing I can do in the ten-minute intervals available to me, and it’s a godsend for keeping me sane.

DS: Did you have a favourite novel as a child? If so, do you ever go back and re-read it?

FJM: Sooo many. Since I was horse mad, most of my faves involved quadrupeds. I reread National Velvet as an adult and was surprised to find how good it was. Black Beauty was much too sad for me, but it does make a cameo appearance in my historical novel, Ancestral Virgins. Other faves were Little Women, the What Katy Did series, The Borrowers, the Narnia books, The Secret Garden, and Tom’s Midnight Garden to name but a few. I only wish I had as much time now to read for pleasure as I did then!

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Fiona J. Mackintosh (www.fionajmackintosh.com) is the Scottish-American author of a flash collection, The Yet Unknowing World published in the UK by Ad Hoc Fiction. She has won the Fish, Bath, Reflex, Flash 500, and NFFD Micro competitions, and her short stories have been listed in several competitions in the UK and Ireland. She lives just outside Washington D.C., and her historical novel Ancestral Virgins is currently on submission to agents.

We'll be resuming our 2023 interview series with this year's National Flash Fiction Day Anthology editors and Microfiction Competition judges next week, but in the meantime, we thought we'd revisit NFFD's Anthology Editor Karen Jones' advice for anthology submitters from her 3 January 2022 interview with Diane Simmons.

Submissions for the Anthology and Microfiction Competition are open until 15 February 2023.

 

Diane: Every year, National Flash Fiction Day produces an anthology with a unique theme.  Is there anything you would like to particularly see in this year's submissions? Or not see?

Karen: I’d love to see some wild interpretations of the theme – things I hadn’t thought of, things that make me sit up and take notice. I always say when I’m judging or acting as submissions editor that I want you to surprise me, and it’s no different here. Themes can be constricting but I hope this one can be interpreted widely enough to allow people do something different. Or, you know, if you’re telling an old story, at least tell it in a new way.

I don’t particularly want to see a lot of pandemic stories, purely because I’ve seen so many already, and I’m also not a big fan of twist endings. Other subjects it’s probably best to avoid, again, because we see them so often, are dementia/Alzheimer’s, cancer, death of a child. I’m not saying don’t write about any of these things, just be aware that you may be up against lots of others writing on the same themes, and that immediately reduces your chances of being accepted.

 

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Karen Jones is a flash and short story writer from Glasgow, Scotland. Her flashes have been nominated for Best of the Net, Best Micro Fiction and The Pushcart Prize, and her story Small Mercies was included in Best Small Fictions 2019 and BIFFY50 2019. In 2021 she won first prize in the Cambridge Flash Fiction Prize, Flash 500, Reflex Fiction and Retreat West Monthly Micro and was shortlisted for To Hull and Back, Bath Flash Fiction, Bath Short Story Award and longlisted for Fractured Lit Flash Fiction Prize. Her work has been published in numerous anthologies and magazines. Her novella-in-flash, When It’s Not Called Making Love is published by Ad Hoc Fiction. She is Special Features Editor at New Flash Fiction Review.

Welcome to the first in this year's series of interviews with this year's National Flash Fiction Day Anthology editors and Microfiction Competition judges! Submissions for the Anthology and Microfiction Competition are open until 15 February 2023 and the next interview in this series will post in January 2023.

This week, Diane Simmons chats with Damhnait Monaghan, this year's Guest Editor for the 2023 National Flash Fiction Day Anthology, about time, prizes, editing and what she'd like to see in this year's anthology submissions....

 

DS: Together with Karen Jones, you are editing this year’s NFFD anthology on the theme of TIME. Do you have any advice for entrants? Is there anything in particular you’d like to see?

DM: There’s plenty of time (ahem) before submissions close, so my advice would be to get a first draft down, then set it aside for a period of time (ahem), before you go back in to edit. The editing process is where a piece can really be polished.

I would love to see some excellent humour pieces. They can be hard to pull off, but are a delight when done well. Make me smile, heck, make me laugh.

DS: Your novel New Girl in Little Cove (Harper Collins, 2021), recently won the Rakuten Kobo Emerging Writer Prize in the Romance category. How important do you think prizes are for writers?

DM: I was absolutely gobsmacked to win. Kobo organized an elaborate prank to notify the winners. I joined a Zoom, supposedly to record a quick promo video with my publisher HarperCollins Canada. I was quite confused when the President and CEO of Rakuten Kobo appeared on my screen, introduced himself and told me I’d won. I knew I’d been shortlisted, but the prank happened before the date the winners were to be announced. It was surreal and wonderful.

Winning a prize helps raise a writer’s profile and provides external validation, both of which can be a real boost to one’s self-confidence. Prizes can also drive sales. In my own case, my novel was published in March 2021, during lockdown, so it wasn’t on display in bookshops as they were all closed. Winning the Kobo prize, with the resultant publicity a year later, boosted sales in Canada for which I am extremely grateful.

DS: Do you have a favourite part of the writing process?

DM: I love laying down a first draft when I let my mind and my pen wander. I’m often surprised at where they take me. No plotting, no plan, just setting off on an adventure.

DS: You are a Canadian writer who has lived in the UK for over twenty years. How much does Canada and its people feature in your writing?

DM: When I’m writing flash fiction, my head seems to be mostly in the U.K. But my debut novel was set in Newfoundland & Labrador and my current WIP is set in Ontario, both Canadian provinces. It seems I write short in the UK, long in Canada. Maybe there’s a metaphor in there somewhere…

DS: Some writers like silence when they write, others like to listen to music or write in noisy cafes. Do you have a preference?

DM: I don’t need silence to write, background noise is fine. But I don’t generally listen to music when I’m writing. Maybe I should give it a whirl!

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Damhnait Monaghan's flash fiction is widely published and has won or placed in various competitions. Her novella in flash The Neverlands (V Press) won best novella in the 2020 Saboteur Awards. Her debut novel New Girl in Little Cove (Harper Collins) won the 2022 Kobo Emerging Writer Prize in the Romance category. A former editor and founding member of FlashBack Fiction, Damhnait has previously been a judge for the National Flash Fiction Day Anthology micro competition, the inaugural Retreat West novelette in flash competition and F(r)iction’s flash fiction competition.

We are delighted to announce our 2022 Award Nominations for National Flash Fiction Day Press.  You can read all these pieces in And We Lived Happily Ever After: 2022 National Flash Fiction Day Anthology, available at our Bookshop in both print and ebook formats.

Best Small Fictions

• 'Ancrene Wisse' by Cate Haynes
• 'And We Lived Happily Ever After' by Damhnait Monaghan
• 'From the Rubble, 1945' by Emma Venables
• 'Peaches and Sour Apple' by Rosie Garland
• 'Trout Prince' by Rachal Gough

Pushcart Prize

• 'Coins' by Richard Barr
• 'Curriculum Vitae' by Audrey Niven
• 'Just a Word to the Snowblind' by Jan Kaneen
• 'Trout Prince' by Rachal Gough
• 'Why my mother-in-law sits in the corner sucking leftover chicken bones' by Marie Gethins
• 'X + Y = Something' by Yasmina Din Madden

 

National Flash Fiction Day is OPEN for submissions to our annual Anthology and Microfiction Competition!

It may be cold and dark outside, but we're getting ready for the UK's twelfth annual National Flash Fiction Day which we'll be celebrating on 24 June 2023.  We've opened submissions to both our Anthology and Microfiction Competition projects and will be reading submissions from now until 15 February 2023.  We are open to work from anyone and everyone, all around the world.

For the 2023 Anthology, we're looking for flash up to 500 words on the theme is TIME.  Your work will be read by editors Karen Jones and Damhnait Monaghan.  Selected work will be published in our 2023 print/ebook anthology and be considered for our Editors' Choice Awards.  You can read our submission details here.

For the Microfiction Competition, we're looking for flash of up to 100 words.  There is no theme.  Your work will be read by judges Tim Craig, Amanda Huggins, Fiona J. Mackintosh, and Johanna Robinson.  Winners and runners-up will receive cash prizes and be published online and in our print/ebook anthology.  Full submission details can be found here.

Our Anthology and Microfiction Competition teams look forward to reading your work!

 

It's nearly that time of year again...time to submit to the National Flash Fiction Day Anthology and our annual Microfiction Competition!

We are delighted to welcome Damhnait Monaghan to the National Flash Fiction Day team as this year's guest editor for the 2023 National Flash Fiction Day anthology.  She'll be joining NFFD's Anthology Editor Karen Jones in putting together this year's anthology of flash fiction from around the world.  You can read more about this year's editors here.

The theme for this year’s anthology is TIME. Do you see it stretching before you, or reaching back? Is there never enough, or does it drag? Does it make you rush, slow you down, make you wish for more? Where will time take you? We can’t wait to find out.

Feel free to interpret the theme however you wish, in 500 words or fewer. Selected flashes will be published in National Flash Fiction Day's 12th Annual Anthology. Payment is one contributor's copy of the anthology.

Entries will also be open for the Microfiction Competition, but there is no theme.  Competition winners and runners up will be published in the anthology as well as the time-themed flash.

Both projects will be open for submissions from the 1st of December 2022 to the 15th of February 2023.

 

With our submission window set to open shortly we'd like to take a moment to introduce you to this year's judging panel.  This year, we're excited to announce that Tim Craig, Amanda Huggins, Fiona J. Mackintosh and Johanna Robinson will be reading your submissions.  These fantastic flash writers, readers and editors will be doing it all: reading the submissions that come in, compiling a shortlist, and then deciding on the winning and highly commended pieces.

Our submission window opens on Thursday 1 December 2022 and closes on Wednesday 15 February 2023.  We will be announcing results on or before 15 March 2023.  We'll be reading flash of up to 100 words on any theme, but we are not able to consider simultaneous submissions this year.

For the 2023 competition, we're thrilled that all our highly commended runners-up as well as our first, second and third place winners will receive cash prizes. All winning and commended pieces will be published online as well as in the 2023 National Flash Fiction Day print anthology. Check back on 1 December for full details and submission guidelines.

In the new year, we'll be posting interviews with our judges so you can get a better sense of what they're looking for, but in the meantime, you can read more about each of them below.

Huge thanks to our judges for taking on the 2023 NFFD Microfiction Competition and we look forward to reading your work!

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2023 Microfiction Competition Judges

Originally from Manchester, Tim Craig lives in London. A previous winner of the Bridport Prize for Flash Fiction, his short-short fiction has placed or been commended four times in the Bath Flash Fiction Award and has also appeared in the Best Microfiction 2019 and 2022 anthologies. His debut collection Now You See Him was published in 2022 by AdHoc Fiction.

Amanda Huggins is the author of All Our Squandered Beauty and Crossing the Lines – both of which won a Saboteur Award for Best Novella – as well as five collections of short stories and poetry. Amanda's fiction and travel writing have appeared in publications such as Mslexia, Popshot, Tokyo Weekender, The Telegraph, Traveller, Wanderlust and the Guardian. Three of her flash fiction stories have also been broadcast on BBC radio. She has won numerous awards, including the Colm Toibin International Short Story Award, the H E Bates Short Story Prize and the British Guild of Travel Writers New Travel Writer of the Year. She was a runner-up in the Costa Short Story Award and the Fish Short Story Prize, and has been shortlisted for the Bridport Flash Prize, The Alpine Fellowship Award and many others. Amanda lives in Yorkshire and works as an editor and publishing assistant.

Fiona J. Mackintosh (www.fionajmackintosh.com) is the Scottish-American author of a flash collection, The Yet Unknowing World published in the UK by Ad Hoc Fiction. She has won the Fish, Bath, Reflex, Flash 500, and NFFD Micro competitions, and her short stories have been listed in several competitions in the UK and Ireland. She lives just outside Washington D.C., and her historical novel Ancestral Virgins is currently on submission to agents.

Johanna Robinson is based near Liverpool, UK, and has been writing short fiction since 2016. Her work has been featured in various magazines and anthologies, including SmokeLong, Reflex Press and Mslexia. In 2020, she won the TSS Cambridge Prize for Flash Fiction and the Bath Flash Fiction Award, and in 2019 Ad Hoc Fiction published her novella-in-flash Homing, which follows a Norwegian Resistance family in the Second World War. She is currently working on a novel set in Victorian Liverpool, and has been funded by Arts Council England. More of her work can be found at www.johanna-robinson.com.