Flash Fictioning in 2024
Student/Client Success
It’s always gratifying to see how students and participants in generative classes spin my prompts or more developmental advice to create arresting and resonant stories. This year, I’ve tried to make a better effort to collect these stories for all of us to read or reread. Thank you all for trusting me with your writing, creative processes, and exercises in flash fiction this year.
Two Taxi Rides at Dawn by Jaime Gill
A Dirty Moss of Green by Karen Crawford
Teen Angels by Karen Crawford
The Sweet Smell of Cherries by Karen Crawford
Leap by Karen Crawford
Shock and Awe by Karen Crawford
Fiction: Class by Karen Crawford
The Kiss, the Touch, the Everything by Timothy Boudreau
A Three-Hour Tour by Didi Wood
When I’m a Ghost by Didi Wood
Sunshine by Jesse McQuay
The Migrating Eel I Met on His Way to the Sargasso Sea by Evan Michael Anderson
Wayne’s Booth by Charles Stephens
A Knock At The Door by Stephanie Yu
Try this at Home:
Creating characters from Paintings
Dialogue is a great way to create characters through their responses to each other. One of the things a flash writer can do to build tension and velocity is to put two counter-pointed characters into a setting together and see what happens. These characters do not need to be exact opposites. As Douglas Glover says, “Well, they are not “opposites’ in the sense of antonyms. They are opposite as in opposing actions or intentions; they interfere with each other.” Competing desires pushed to the extremes of each character drive the narrative forward and create this sense of velocity as the reader deliciously struggles to keep up! The more these characters oppose each other, the less time there is for describing feelings and getting into the weeds of the setting. These characters are forced to make decisions, take action, and worry about the fallout only after trying to achieve their goals and desires. Not only does this guarantee conflict and tension but it can also be used to explore or develop the characterization.
Write with me in 2025!
From Opening to Ending-Writing a Flash Fiction Draft
February 9-23, 2025
Asynchronous using Canvas (free learning platform)
Cost: $140
12 spots left!
In this 2 week asynchronous workshop, writers will be focused on creating one full flash draft from opening to ending to everything in-between. Writers will attempt to write one full draft per week. We’ll look at model texts and use prompts for each element of a successful flash including openings, escalation, backstory, metaphor, middles, endings, and titles. Instead of 5-6 separate starts, we’ll concentrate on crafting one full story with inspiring prompts for each craft element. Come create a complete and urgent story(s) with me and your fellow writers!
Writing Flash Fiction with Raymond Carver
March 9-23, 2025
Asynchronous using Canvas (free learning platform)
Cost: $140
12 spots left!
In this 2 week asynchronous workshop, we’ll use the work of Raymond Carver to investigate how to create tone and mood in our flash and micros. The way Carver’s characters long for and fight against isolation in an alienating world. We’ll focus on how Carver balances character, setting, and conflict while deploying his famous minimalism. How can we apply his craft moves to our own writing in 2025? Let’s find out together!
Participants will receive craft analysis of six Carver stories, have the opportunity to write to six Carver-inspired prompts, and receive positive feedback from their peers and the instructor. Prompts will be launched on Monday, Wednesday, and Friday for two weeks.
Creating characters through POV in Flash Fiction
Cost: $30
When: April 16, 2025 12-1:30 pm EST
Join writer Tommy Dean for a 1.5-hour generative writing session focused on creating and revealing characters through different point of views in micro and flash fiction! We’ll look at model texts and hopefully get inspired by the writing prompts! Participant will have the opportunity to start 5-6 drafts during this session. Flash word count/space limits put pressure on the writer to create and or/reveal characters quickly, but specifically and uniquely if they want to form dynamic and affecting stories.