Flash Fiction with Heather Luby

Flash Fiction with Heather Luby

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Heather LubyThis week, we’re joined by Heather Luby, managing editor of The Citron Reivew, to take a look at a very popular form of story telling: Flash Fiction. Because the form is so short (less than a thousand words), authors must be careful to craft the story in a very exact manner. Aaron, Steve and Heather take a look at some ways for you to master flash fiction. These tips and tricks can even help you improve your craft in the writing of your novel. As always, you can listen above (pardon the audio quality, we had some technical difficulties–they’re fixed now and will be better next week) or download the episode here. Remember, you can always find Steve and me on Facebook, Twitter, iTunes, and Stitcher.

Quick PSA: Aaron was also on Wednesday Comics this week. He and Nathan Bodell talked about the controversial topic of the different types (and dangers) of kryptonite. Good times. You can listen to it here.

You’ll also notice that all our book links, rather than directing you to Amazon.com as normal, now point you to Better World Books. This is mainly because prices are similar to Amazon, and for every book purchased on Better World Books, the company donates a book to someone in need. Great little program. A real win-win, if you will. Now, on to the show notes.

Flash Fiction has several definitions, but the one we use at The Citron Review is a story of less than 1,000 words, which works out to be about three pages. While the form isn’t new, the popularity of it has risen dramatically with the proliferation of online journals. And because the form is so demanding, there are several things you should keep in mind as you write:


  • When you set out to write, don’t think, “I’m going to write some flash fiction!” If you do, you’ll probably write a story that’s uninspired, or too brief, or not completely realized. Instead, simply write your story. When you are done, if it’s come out as flash fiction, that’s probably what it wants to be. If, instead, it comes out longer, you’ll probably want to keep it at that length. Let the story determine whether it’s flash fiction or not.
  • Respect the adage “late in, early out.” You don’t have time to give us long, complicated background information. Start in the middle. Your readers are smart enough to pick up the pieces and put them where they go. Also, resist the urge to over explain at the end. The most common advice I give is, “cut the last two lines.” Your sweet spot is usually earlier than you realize. (More on endings later).
  • Create immediacy. Hit hard and fast. The power of a flash story is in its brevity, in providing enough details to create an emotional resonance that will impact the reader. This, more than anything, is at the heart of flash fiction.
  • Flash fiction puts a premium on words. Love language. Love imagery. Often, these stories are a type of prose poetry. They carry the same attention to detail, use imagery as symbolism, and, most of all, create a lyrical voice to tell an emotionally resonant story. Often, what happens is not as important as the telling of the events. The moral, the theme, is little more than the emotional impact it carries. Make us feel.
  • Try to keep the number of characters down. Too many can clutter your story. We only need one or two. This isn’t a hard and fast rule, but the best stories seldom have more than two characters.


  • The ending should present a moment of closure. It shouldn’t be abrupt (as if the flash is an excerpt from a larger work). While most flash stories have open resolves, they often point toward a final outcome. The ending is inevitable, but the inevitable is not shown.
  • Because flash is so imagery-driven, poignant images can often serve as a resolve.
  • The goal is to find the “truth” not the “twist.” The ending should be inevitable, unavoidable, but can be surprising. Consider the advice, “a great ending is one you never saw coming, but once you’ve read it, it seems as if no other ending would make sense.” This is what Flannery O’Connor referred to as the unexpected but inevitable ending. Poe says the final line of a short story should be like a flashlight that, once read, will shed light on the rest of the story, and illuminate the reader’s understanding in a new way. It’s a tall order, sure, but so is writing great flash fiction.
  • Some of our favorite flash fiction selections come from a book called Flash Fiction Forward. Namely, Hannah Bottomy’s Currents, which is a story written in reverse order. Each paragraph begins with the words “before that.” Because we being with the end, the end (which is actually the beginning) becomes especially powerful, and hits like a fist of bricks.
  • A note on “backward stories” and “stories in the form of book indexes” and other gimmicks: Try to avoid them. If you set out to write a gimmicky story, you’ll likely fail. Instead, write the story as the story wants to be told. If, after you have written it, you decide it’s more emotionally resonant to tell backward, say, or in the form of a book index, then go for it. But let the unique telling serve the story, rather than the story serving the gimmick.
  • Another great flash story is Popular Mechanics by Raymond Carver, which you can find in his collection of short stories called What We Talk About When We Talk About Love. Though it features an nontraditional ending, it is a story that stays with you for the rest of your life.
  • Some outstanding examples from The Citron Review: Jon Pearson’s Invisible as God is a fantastic example of a lyrical story-telling, a kind of prose poem, that elevates imagery and detail into the realm of the emotionally resonant. Also, Alan Stewart Carl’s Remaining, which is a more traditional type of story, but one that is very well executed in terms of precise language and detail.


  • Be sure to submit regularly. The process of submission (and the subsequent rejections and acceptances) will tell you much about what you’re doing right and wrong. Never be afraid to put your work out in the world. It’s the only way to see if your story’s wings are strong enough to fly.
  • Love language. Read a lot of poetry.
  • Invest in Field Guide to Writing Flash Fiction by Rose Metal Press. It’s full of incredible tips and tricks from all the experts.

Thanks again for listening. We’d love to hear your thoughts. Leave your comments below, or send us an e-mail at firstsinfictionpodcast@gmail.com.

7 thoughts on “Flash Fiction with Heather Luby”

  • Thank you for this podcast I totally ended help on flash fiction because often times I do feel uninspired and that is why my short story is so horrific. And I was also having difficulties with twist.

  • I really like the idea of starting in the middle and the reader picking it up. As a reader I totally realize this but as a writer it was harder for me to get.

  • I really liked this one. I don’t read a lot of flash fiction so I’m not very strong in it. These will definitely be helpful.

    • This helped to show what I tend to do wrong when I write short stories, which will probably help me out in the future. Thank you for the help in writing short stories.

  • I’ve never really explored the different types of fiction, but obviously flash fiction can be very powerful if it isn’t forced… This post has helped me think outside of the box a bit. Thanks!

  • I’m with everyone else on this one. I’ve never really read flash fiction so I’m lacking in that area. So thank you for doing this podcast. I will have to practice at this, no doubt about it.

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