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For four weeks Russell’s been researching rail travel, because he wants to be Ethan Hawke in Before Sunrise. He’s prepared for other variations if this one won’t work, although he’s not updating Shakespeare, serenading Winona Ryder, or pretending he’s someone he’s not (unless it’s Ethan Hawke, obviously).

I try to be supportive. He asks me, ‘Where can I get a good hamburger?’ until he gets the accent right. We walk around the city, late nights and early mornings, and he keeps saying, ‘I didn’t think it’d be this cold. It didn’t look cold in the film.’ Sometimes, I swear he’s saying ‘Uma Thurman’ under his breath, but he may just be shivering.

He’s got his inter-rail pass already. I bite my lip to stop from saying, ‘This isn’t what Ethan would have, because Ethan’s American.’ I don’t relay any of Russell’s flaws back to him (he really can’t say ‘banana’) because I’m not in the habit of destroying hope.

Before he leaves I ask him, ‘Why Ethan?’ and he mumbles something about oddly tall beautiful women, whilst fastening the clips on his rucksack. I stand on tiptoes, crane my neck and say, ‘You don’t need to travel round Europe for that.’ And then he kisses me continentally, on both cheeks, as his train pulls in.




(originally published in Fractured West Issue 3)

This year I was an intern for National Flash Fiction Day, which involved receiving, compiling and covertly reading submissions before anyone else saw them. Sure, it was an admin task, the core of which involved building a spreadsheet of all the anthology entries, logging names, email addresses and word counts. But it somehow managed to be super fun. It was great seeing entries arrive in the inbox, some from recognisable names, some from newcomers, and getting to read them first. I didn’t have a say in the judging process, but it was awesome reading the stories before anyone else, trying to guess what might make the cut. The main lesson I took from this was that a story might be great, but that doesn’t mean it’ll fit into any project, necessarily. There was such a volume of entries, it must’ve been tough to choose what made it into the book, and what didn’t. And a part of that has to be which stories create a product, fit together, are cohesive. A story doesn’t always find a home on its first submission. Which is why it’s massively worth re-subbing, over and over again if need be. It was cool to see the breadth of responses too, each about a piece of art, be it book, film, sculpture, each so unique, personal, different, new.

From the spreadsheet I created a mail merge, which built a word document containing all of the submissions, each uniform, all in the same font, anonymous, with title only, so that the judges could read every story without the prejudice of knowing its author. I like that Calum and Holly read all the submissions this way, it makes it so much more fair if the first time they see the work they have no idea who submitted it. Everyone has an equal shot.

Once the selection was made, I compiled a new document with the chosen entries in it, which Calum typeset (and I still can’t believe how quickly he made the book happen, and that we’ll have it in a week).

There are many reasons I love flash. It’s the first form I really enjoyed working in. I just got it and it, me: it’s like the most reliable boyfriend/girlfriend ever. Flash can tell a whole story, a half of it, or a moment only, as it passes. It’s at times impossible to define, maybe called poetry or a prose poem in the mouths of others. It works in sequence or solo, but it’ll never spawn 7 sequels like Die Hard’s going to. It’s so much more efficient than that. Sparse yet filled with possibility which the reader injects like a jam machine in a donut factory. It’s compact, resourceful, won’t waste morsels. It’s the opposite of a Kardashian. And I’m totally, one hundred and ten percent, in love with it. 
Amy's new Trash TV blog, co-edited by fellow flash writer Amy Roberts is at: www.clarissaexplainsfuckall.com

Amy's microfiction site is: www.july2061.com

The man was rude to his wife, mostly. But she loved him all the same, loved him as much as when they’d met - her, fresh out of college, him with flecks of grey already creeping into his hair. Decades on, she was still young, black haired, funny, smart. And she was good at her job, well liked by those she managed, and she earned a good wage. Still, when she came home he’d often ignore her, or choose to grunt instead of speaking.
             She loved to cook, and she loved to cook for him – and she was good at it, and not just at your average meal. Her teriyaki was as good as her hot pot and her madras was as good as anything. But mostly, despite cleaning his plate, he’d be rude, critical, grumpy.
             ‘It’s fine,’ he’d snap if she pushed him for a verdict on something new or recently perfected.
             He was retired, had been for years, and his days were predictable, but she still asked him about them.
             ‘How was your day?’ she’d say, a warm smile on soft lips.
             ‘Fine.’
             She’d ask, ‘Been in the garden? How are the plants?’
             Sometimes, if he was in the right mood, he’d tell her what he’d been doing, tell her what he planned to do, use words like compost, borders, trimming, pruning, and colour.
             He loved his garden, and not just because he enjoyed the work, or  because he appreciated the exercise and fresh air, or because he loved its smells and colours. He and his plants were friends. He’d talk to them, tell them secrets. Give them instructions – explain when to bloom, and for how long, show them why they should adjust the angles of their stems, which way they ought to face. And the plants listened. But this was a secret. No-one could know.
             The man’s wife knew. Not that she said anything, if it made him happy then fine.
             She’d seen him a number of times, watched him from their kitchen window, seen him with his head inclined towards a hanging basket, nodding as he spoke to it, or with his hands on his hips, chatting to their cherry tree. One day she’d come home to find him on his knees, arms waving, conducting their bedding plants.
             The first time she mentioned it to him was on the day he died.
             He’d become grey and thin very quickly; he had begun to look like an old man, and she, his wife, was worried.
             She found him in their room. He was cupping the head of a poinsettia, whispering to it tenderly and with enthusiasm. She heard him tell it her name.
             ‘Hi,’ she said, ‘How are you doing?’
             ‘Fine,’ he said.
             ‘Is it true what they say?’ she asked, easing herself onto their bed, ‘Does it help them grow?’
             ‘Some people think so,’ he told her.
             ‘What do you say to them?’ asked his wife, patting their mattress, inviting him to join her.
             He straightened and smiled. The mattress creaked under his weight.
             ‘Ever think what you’ll do when I’m gone?’ he asked.
             ‘Don’t be silly! There’s life in you yet,’ she said, that warmth on her lips, hoping.
             ‘I think about it,’ he continued. ‘You’ll be a long time without me.’
             ‘Don’t talk like that.’
             ‘Wish I was younger,’ he said. ‘Or that you were older. Big gap between us.’
             The man’s wife hushed him. She didn’t want to hear this.
             ‘So the flowers,’ she said. ‘What do you tell them?’
             ‘Secrets,’ he said. ‘Instructions. Things they need to remember once I’ve gone. And they will, you know,’ he told her, smiling, ‘Just you wait.’
             She pulled him close and held him, because she loved him. They lay together that night, old next to young, man next to wife. He told her he loved her and that he always would - and that she should believe what he said about the flowers - and he apologised for being grumpy most of the time and explained that it was because he felt guilty for being so much older - and he said that he thought he was selfish and she told him to sshhh.
             In the morning he was dead, died in his sleep.
             With a funeral to arrange and friends and relatives to deal with and wills to action - and everything else that comes with losing a husband - the woman, now a widow, didn’t think about the flowers or about what her husband had said. She went weeks once without watering them.
             She was in the garden when it came back to her, she was just there, just breathing, when she noticed that the flowerbed was different – its flowers made shapes. Letters. Words.
             The words spelled her name, they spelled ALWAYS and, at the end, after the blues and yellows and pinks that formed the name of her husband, they made an X.
BIO

Nik Perring is a short fiction writer from the UK. His stories have been collected into books (Not So Perfect (Roast Books) and (with Caroline Smailes) Freaks!(TFP?HarperCollins)), published in many fine places all over the world, been used on a distance learning course in the US and a number of other cool things. His online home is here (http://nikperring.com) and he’s on Twitter as @nikperring and he’d love you to say hi.

Despite being labeled as a flash fiction author (quite rightly, it’s what I do and what I’ve been doing for many years) I very, very, rarely set out to write something small. When I sit down to write a story, the most important thing by far is to do the story and the idea that generated it justice – to turn it into the best thing it can be. To make it interesting. To make it affecting. To make it, if at all possible, good. Word count is never anything I worry about, nor is how long it’s going to take me to finish. For me, it’s all about the story.
But what’s happened over the past few years (I think my first flash was published in 2008, over at the wonderful Smokelong) is that the stories I’ve written have ended up being short. And often that’s surprised me. Often, when writing them, or working on them, or spending days and days tweaking and polishing and (sometimes) starting all over again, the stories feel big. There have been a few occasions when I’ve finished and gone to check on the word count and been surprised, thought: Really? Is that all?
Don’t get me wrong, I’m not disappointed when something I thought could have been a few thousand words is actually a few hundred. If I thought about it (which is something I don’t often do – I’m only doing it now because I’m writing this for the great National Flash Fiction Day) it would make me happy. It’d mean I’ve got rid of everything that doesn’t need to be there, and that the story’s as concise and efficient as I can make it. It also means – and I think this is the point – that story actually IS bigger than the number of words I’ve used to tell it. I like to think of it as something similar to a kiss; it can last a moment and a lifetime too.
And that is the point. It’s not about the number of pages or the number of words that dictates a story’s size – it’s the story itself.

And, as we’re talking about kisses and stories, the next post is a story called ‘Kiss’ (from NotSo Perfect). 

Hello everyone,

Well, we are now one week away from the day! Hasn't it come around quickly.
Sorry that the bulletins have been a little thin this year, there is a really good excuse, and I'll tell you what it is when I think of it.
Anyway, a quick roundup as we go into the final week.
Once more we are running the FlashFlood journal. It's looking for your stories - up to 3 stories, up to 500 words each - and they will all appear on the site on NFFD itself. We want to make it a full day, so please send us in your work. Details and submission guidelines are over at http://flashfloodjournal.blogspot.co.uk/.
During the week we will also be running a series of posts about flash-fiction, with accompanying stories, over on the NFFD blog (http://nationalflashfictionday.blogspot.co.uk/) Do please go and have a read, and we have a few spots left so if you'd like to write something for us, please get in touch.
I also have an inkling of a plan for something online on the day itself. If you might be available to help out next Saturday, please do get in touch about that too!
What else? Well, the anthology has gone to print and will be here in time for the day. Copies will be on sale at the Bristol events (more below on that) and are currently available to pre-order from the website at http://nationalflashfictionday.co.uk/anthology.html
If you can't wait that long, of if you find paper to be just too passé then you can now buy the ebook from Amazon at http://www.amazon.co.uk/gp/product/B00DEFT5ZY/ref=as_li_tf_tl?ie=UTF8&camp=1634&creative=6738&creativeASIN=B00DEFT5ZY&linkCode=as2&tag=natiflasfictd-21 (if you are outside the UK, just change the .co.uk to something more relevant...)
We have also added a shop to the website so you can easily find your flash-fix from our authors' books,. our anthologies, or our beautiful short-story cards. That's up at http://nationalflashfictionday.co.uk/shop.html
And then, most importantly, we have events that are happening on the day. They are quite nicely spread out - Bristol, Cardiff, Dublin, Edinburgh, Hartlepool and Shrewsbury. If you have an event that we haven't yet listed, please let us know. If you already have, and we've missed the email, please poke us with a stick.
I will be appearing at the Bristol events, with fresh copies of Scraps, leading a workshop with Tania Hershman and then reading in the evening with a huge range of wonderful writers. Do come along if you can. More details at https://www.facebook.com/BristolFlash.
I'm sure there are more things I should tell you, but that's enough to go on with, don't you think?
If you have anything we've missed, please drop us a line and we'll spread the word.
And so, until next week, happy flashing!
All the best
Calum Kerr
Director, National Flash-Fiction Day
This bulletin was original sent as an email to the Mailing List. If you would like to join the list, drop us a line at nationalflashfictionday@gmail.com.

1

My parents were astonished when I was born with a tail.  My mother respected the narrative it held; she refused to let the doctors remove it.  My father shrugged.  He never bowed to day-to-day decisions.
When I was eight, I asked my mother, ‘Why don’t my friends have tails?’She said people are afraid of difference.  ‘Don’t be too quick to conform to others’ ideals,’ she said.  She chopped her fingers as if they were a pair of scissors.  
Her words bemused me but her snip, cut, snip made me giggle.
When I was twelve, Martha Karn called me a freak and my mother a liar.  I ran home and burst into her study.  Papers spiralled upwards in a malformed helix.
‘Why didn’t you let them cut it off?’
She caught my tears.  ‘It can’t be removed as easily as you might think.  Besides, it wasn’t my choice to make.’
‘I want it gone,’ I said.  ‘I want to be like everyone else.’
‘Wait until you’re older.’  She stroked my hair.  The fabric of her blouse was full of the scent of highlighter pens, books and dust.
At sixteen, Marcus Ace pulled up beside me, revved his bike, tugged on my tail and winked.  He didn’t care what anyone thought.  My friends were jealous we were dating.  Then I learned of his brag.
After that, I coiled it beneath dark, baggy jumpers; strangers assumed it was rolls of fat.
At eighteen, I had it removed.  My mother wept as hard as when I showed her the engagement ring.  
Later, I caught Marcus in bed with my best friend and realised he was no different from anybody else. 
If I sit quietly and don’t concentrate too hard, I can sense it shifting from side to side as it puckers the scar etched into my skin.


When Calum asked for volunteers for a writing project last year, I put myself forward, not knowing exactly what was involved.  When I found out it was to be an editor for a flash fiction journal in the run-up to the first National Flash Fiction Day, my initial reaction was I’m not qualified.  Then I paused and calmed down.  I’d been writing for around six years, read many books on the craft, had fifty or so short fiction publications (including a few short lists and competition placements), had attended writing classes and had reviewed short stories for Ether Books.  My qualifications had crept up on me.  So, I agreed to give it a go.

The format, as I’m sure many already know, is that the FlashFlood is open to submissions for seven days (a short window).  We don’t publicise before the start date, which makes submissions more spontaneous.  The seven editors each take a twenty-four hour shift.  Because of the short duration there is little room for discussion and the decision of each editor for a story that comes in on their shift is final.  I like this autonomy, and the fact that the editors are experienced authors in their own right, each with individual approaches.  I feel it gives our selections a diversity that might be lost if we spent a month discussing the merits of each entry and made a collective decision.

In terms of selection, I usually know within a couple of sentences if I’m not going to accept a piece (although I always read every entry at least twice); because however amazing a story might be, repeated typos, poor grammar and sloppy language will lead to rejection.  Thankfully, the quality of submissions is generally high.  But this makes our job that much harder, and ultimately, subjective.  

I have a preference for the fantastical or sci-fi, and I’m not keen on twists (unless done extremely well).  I like stories that contain subtexts but I require accessibility, or at the very least, to feel a connection to the character or their circumstances.  If I reach the end and I’m not sure what it was all about, I’m likely to reject it, however accomplished the language.  But of course the other editors will have inclinations for different genres and styles.

We are now on our fourth journal in the run-up to the second National Flash Fiction Day and editing has proved to be an enjoyable and rewarding experience.  The response time for submissions is possibly the shortest for any journal running, and entries close at midnight on Thursday 20th June.  So, what are you waiting for?  Get flashing!


The Team are:
Calum Kerr
Caroline Kelly
Cassandra Parkin
Nettie Thomson
Susan Howe
Susi Holliday
Shirley Golden

3

Most of the time writing flash-fiction is exactly unlike writing anything else. The immediacy of the form bypasses the rational and the words come, not from careful planning or deliberation, but from somewhere more connected to a moment, a single frame in the movie that plays outside our windows.
This instant of creation comes from prompts, a trigger from any medium that pops one thought into a writer’s head.
“I knowhow this story ends.”
Endings in flash, at least for me, are the key. I resist the surprise, the sleight of hand reveal, instead trying to continue the narrative to a conclusion that fits wholly within the world of the story but takes the reader towards a new, less obvious corner.
I have recently finished a collection of flash-fiction based on the I Ching which, as a series of prompts, were entirely magnificent. The non-specific nature of the words were like mishearing something on the bus, or catching a snippet of conversation as the radio dial moves.
For example, from the I Ching fortune for “Grace”:
Grace has success. In small matters it is favorable to undertake something. Constant perseverance brings good fortune. Humiliation, but in the end good fortune. Simple grace. No blame.”
This small element has so many possibilities for a good story that if you stop and think about it for too long you will be overwhelmed by them. Think fast, what is the first idea that drops into your head?
Mine was girl-guides selling cookies.
It didn’t end as nicely as you’d think.
The I Ching, I was happy to discover, was full of these strange little moments. They were somehow, soft, malleable, a kind of mental plasticine that begged to be squeezed and re-shaped.

Statements are limiting, as a writer all I really want is a nice, vague non-rhetorical ‘what if…” to get the creative juices flowing.
And mood music.
And coffee.
When thinking about a flash, or in fact any kind of fiction, my method is always to know how the story ends. The simple reasoning for this is that water always flows downhill. I can start where I like, take as many detours as I want, but I always know where I’m heading.
Sometimes the really interesting stuff happens when you realise there is another valley on the other side of the mountain, the happy accident of the unexpected second ending.
This happens all the time, and those stories are always my favourites.


Learn more about Tim at www.timjstevenson.com

‘It was like being at war, I suppose,’ the Professor said.
 He relaxed deeper into his red leather armchair and sipped his brandy in the candlelight.
 His wife raised an eyebrow and stuck the poker into the remains of the fire before retrieving her cup of tea.
 ‘Not battles. Not soldiers in the trenches. That’s not what I mean.’ He stared at the last flames in the hearth.
 ‘It was a race to be the first,’ he began again. ‘The speed of sound, the moon landing, you know the kind of thing.’
 ‘The atom bomb?’ she asked.
 ‘Precisely,’ he replied.
 She knew not to pry any further. He’d always known how to keep a secret. All she knew was that deep in the Atacama Desert was a machine and it had kept her husband from her.
 ‘It was difficult,’ he said at last.
 ‘The work?’
 ‘Missing you.’
 She reached across the gap between them and gently squeezed his hand.
 ‘Not being able to call, not even being allowed to write a letter, that was the hardest thing to stomach.’
 His wife closed her eyes and let him talk. Four years of pent up thoughts rolled across the carpet.
 ‘I wondered if you’d changed,’ he said. ‘I had your photograph by my bed and wondered if you’d cut your hair or decided on a new favourite dress. It was hard to remember you.’
 She put her hand up to her curls and ran her hand through the auburn and the grey.
 ‘It’s strange how some things are hard to recollect, the little details,’ he said. ‘But that place we used to go to for tea on the square, the rickety tables and the homemade cakes, as clear as day. I used to dream about it.’
 ‘And the sofa by the fire,’ she said.
 In the deep orange glow her husband smiled.
 ‘Yes, all those crumbs under the cushions,’ he said. What were they? Coconut? Banana bread?’
 ‘Almonds,’ she said.
 ‘Oh yes. Crushed almonds, that wonderful smell.’
 Her husband had come home early. Homesickness he’d said, but she suspected.
 ‘I love you Julie,’ he said.
 She turned to face him. ‘Judith,’ she said.


'The Almond Crumb Sofa' is one of the stories from Scraps, the 2013 National Flash-Fiction Day Anthology. 

Learn more about Tim at www.timjstevenson.com

We now have only just over a week to go until this year's National Flash-Fiction Day. Can you feel the excitement in the air? We can almost taste it...

Once more, we are running the FlashFlood journal and submissions are now open over at http://flashfloodjournal.blogspot.co.uk/.

We also have events listed on our website that you can get involved with: http://host2021.temp.domains/~nationo0/events.html.

To whet your appetite for the day, (and, frankly, to ramp up the tension), over the next week we're going to be posting a series of articles about flash-fiction from a variety of different writers. We'll also feature one of their stories, just to give you some relief from that horrible non-fictiony stuff. 

If you would like to contribute an article and story, please get in touch at nationalflashfictionday@gmail.com.

But, with no further ado, let's on with the first one, from this year's Micro-Fiction competition winner, Tim Stevenson.