GOING SHORT

This book begins by defining the genre, differentiating “flash”—stories under 1,000 words in length—from prose poetry and emphasizing the strength of brevity: “sometimes the more you know about something, the less you like it.” Stohlman shares important tips from the outset, urging readers to focus on brief portions of larger narratives—to “ ‘drop’ us into that little slice of story.” From there, she describes how to imply events, write strong dialogue, and work with word constraints and prompts (and around clichés). Importantly, she spends a lot of time debunking myths about flash, including false notions that shorter stories are easier to write than long ones and that when you submit a story for publication, an editor wants you to fail. It’s not about pleasing an editor, she writes: “It’s about making the story happy.” Toward the book’s end, the author describes how the literary landscape is shifting more toward flash and then closes with a promising list of 100 prompts. Stohlman relates her work in short, vignettelike chapters, mirroring her content through form and crisply driving her points home (“Discover what you don’t need to say”). In a book full of excellent tips, the section on collecting flash fiction into book form is particularly beneficial; she advocates relishing the organization process and embracing “accidents” in one’s work, because if one knows too much about what one is writing, she says, “it gets boring.” As she argues, “flash fiction has an almost desperate need to tell a story before it’s too late.” Overall, this is a fast-paced and memorable work.

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