The Green-Eyed Monster: Jealousy in the Time of Quarantine: Nancy Stohlman guests on Jane Friedman

Read full article on Jane Friedman.com

An excerpt:

One good thing about a year’s worth of quarantine? A lot less FOMO. We’re less afraid of missing out because everyone is missing out. We aren’t worried about being left off the guest list because there is no guest list. And for many of us who were trying to be everything to everyone, this has been a huge relief.

But…now that our attention and focus has been narrowed even more tightly to the screen, we might be noticing a different kind of FOMO creeping up. We’re maybe noticing there are other writers doing a lot during quarantine: publishing or producing with a seemingly endless supply of creative juice, while the project you were working on was cancelled, or postponed, or just feels irrelevant now in this plague world. Maybe all your writer friends seem inspired and you’re stuck. And you feel that nasty green-eyed monster putting his hand on his hips again.

I’m going to go out on a limb and suggest that, despite our very best efforts, artistic jealousy affects us all at one time or another. If you’ve never felt the green monster, then you’re a better person than me. Mind you, I genuinely like my colleagues and I want them all to succeed. Most days I subscribe to the “we all win when we all win” mentality, and I truly believe it’s the only way to have a long, rewarding artistic life.

But… no matter who you are, there is probably somebody out there who is kicking more butt than you, and it seems to be happening effortlessly.

What to do about it???

KEEP READING HERE

Going Short wins a Reader Views Award!

While I am obviously THRILLED–I truly believe this award also belongs to all of you. THANK YOU for supporting this quirky little book.

And most importantly, this is a WIN for flash fiction!

Thank you Jude Higgins and Ad Hoc Fiction! Thank you Becky LeJeune and Sandra Bond! Thank you Janice Leagra and Maiya Winter! Thank you Samantha Lien!

It takes a village. I love you all. xoxo

The Short of It: The Origin Story of Going Short and the Changing Landscape of Flash

Curtis Smith is an amazing interviewer. Here’s a little excerpt from our conversation at JMWW where we talk about origin stories, including the genesis of Going Short, my time co-founding/running Fast Forward Press, and how ultimately most books are smarter than we are.

Read the full interview at JMWW

Nancy Stohlman has been writing, publishing, and teaching flash fiction for more than a decade, and her latest book, Going Short: An Invitation to Flash Fiction (Ad Hoc Fiction, 2020), is her treatise on the form.

Curtis Smith: Congratulations on the publication of Going Short. Can you tell us a bit about the book’s origins—your motivations and how you came to work with Ad Hoc?

Nancy Stohlman: Thank you, Curtis. And I just want to say that the response to Going Short has been so heartwarming and validating in a year that was otherwise challenging. So thank you all for that.

The book has been simmering for a long time, over 10 years. I think sometimes we’re called to write books that are smarter than we are, so it basically took me 10 years to catch up. There were (and still are) very few flash fiction specific books, and I wanted to write a craft book (as opposed to a straight textbook)—I envisioned it like having a long conversation about flash fiction with a fellow writer. Ad Hoc was a natural choice; I first collaborated with them at the Flash Fiction Festival in the UK in 2018, and I have always been impressed by their vision of a flash fiction community—a vision I share. It seemed like (and has been) a natural and perfect fit for this book.

CS: You’ve been writing flash for a long time. Who were your influences? What initially drew you to the form. How has the form (and market) changed?

NS: Running a flash fiction press before flash fiction had really “caught on” was enormously influential in my education and trajectory. In 2007, during graduate school at Naropa’s Jack Kerouac School of Disembodied Poetics (I never get tired of saying that name!), a group of us co-founded Fast Forward Press, and then from 2008-2013 we put out a yearly print flash fiction anthology as well as some early flash novels. So much of my education came from reading and analyzing hundreds of story submissions, both the ones I loved and the ones we rejected. We had many spirited conversations about was is/isn’t flash fiction, what constituted a story. At that time our answers were purely instinctual, but I see now that we were helping to define the genre in those early stages.

The flash fiction landscape has changed quite a bit, even in the last decade, but I think the work we did there laid much groundwork, including acting as a honing signal for other early flash fiction writers. More than a dozen years after our first anthologies, I can flip through the Tables of Contents and see so many flash fiction giants and friends, names like Kim Chinquee, Robert Scotellaro, Meg Tuite, Chris Bowen, Jane Anne Phillips, Tom Hazuka, Sally Reno—and you!

KEEP READING

Find out more about Going Short

Flash Fiction is The Cupcake of Literature: a Smokelong Interview

Just in time for Valentine’s Day, I’m resharing this fun interview between me and April Bradley.

Here’s a little excerpt:

Read the whole thing on Smokelong Quarterly.

April Bradley: You help readers understand in Going Short that “flash fictions are stories under 1,000 words and that flash fiction is always telling a story, even if much of that story is implied.” You also talk about constraints—“Embracing the constraint is the true gift of flash fiction.”— and how flash has “created a new sort of genre freedom.” How does the gift of constraint and “narrative contortions” create something unique and yet recognizable as flash? Is there something more to flash than mere word count and a sense of story?

Nancy Stohlman: I love the nuance of this question. And I will defer to metaphor and ask: Why do we love cupcakes? I mean—they have the exact same ingredients as cake; they both have milk, eggs, butter, flour, frosting. Why not just have a slice of cake?

Flash fiction is the cupcake of literature. And it’s a totally different experience than a 3-layer wedding cake. Yes, they both have plot, character, story, poetry. But for me, the gift is in the intention. I love cakes and cupcakes, but I love them differently and for different reasons, and they require different visions and skills. Yes, we could produce gallons of batter and pour it into big sheet pans, and that is glorious. But we can also focus, shrink, and condense a tiny bit of our creative batter into a perfect circle, the delicate precision of a story you can hold in the palm of your hand.

April Bradley: How does microfiction differ?

Well, I guess that would make micro fiction the cake pop. One bite, and one bite only. But wow—what a bite.

READ MORE HERE