Flash Fiction Evening with David Gaffney and Tania Hershman

The Milton Keynes Literary Festival moved online this year, with a series of events for their autumn program, which culminated in a wonderful evening of flash fiction readings from David Gaffney and Tania Hershman and a Q&A session of questions from participants. Most, not easy to answer, but, as Tania mentioned, there are no rules. We talked about what flash fiction is, or what it might be, and about permission to leave things out, to be daring.

It was good to see familiar faces, and meet new ones. David Gaffney swept us up into the world of his clever graphic novel, The Three Rooms in Valerie’s Head, which began as a performance, based on several of his micro-fictions, and is the title of one of my favourite stories in his collection, More Sawn-Off Tales. In amongst this brilliant collection of 150 word stories, The Three Rooms in Valerie’s Head describes the men she hides in the cellar. “Sometimes she would bring three of four ex-boyfriends up from the cellar and arrange them into scenes – a trad-jazz band, or a dispute around a pool table – and she would move their jaws and make them speak in scratchy voices.” He draws us into the world of Valerie’s life of inept lovers and weird obsessions.

Thought-provoking lines from Everything’s West Of Something began, mid-action, with a vase flying through the air. “You can discover everything about your girlfriend by tossing a breakable object towards her.  Is she poised? Confident in her judgements? Does she seem willing to take responsibility for someone else’s actions? Is she comfortable with spontaneity? What is her attitude to risk, debt, transgression, sin, guilt? How does she experience the passing of time? Does she appear to believe in an afterlife? An interventionist god? Ghosts, fate, predestination?”

All Mod Cons was another wonderful reading, about Jake, who “invented a prescription glass windscreen for his car so that he could drive without wearing his corrective lenses. He enjoyed the feeling of freedom – no plastic pads digging into his nose – and it had the added advantage that car thieves couldn’t drive the vehicle unless they happened to have the same degree of myopia.”

We discovered the way that stories formed as he listened and observed details of every day life, with Potato Smiles evolving from an overheard conversation between a couple, where the woman had inadvertently been looking at the children’s menu, had never heard of potato smiles, and ended up ordering them with her steak! These are the nuggets of information that listeners savour, the moments that fuel and form a story.

He talked about inspiration drawn from Lydia Davis’ writing as a short story author. As he read a 150-word flash fiction piece about Eggborough Power Station, a slide show was projected on to the wall behind. This was a work of art in itself. The stories were varied, and, as always, utterly captivating. You can find David’s books at Salt and elsewhere.

Photo credit: Sarah-Clare Conlon

Tania Hershman treated us to readings from her collections, The White Road and Other Stories, My Mother Was an Upright Piano and Some of Us Glow More Than Others, as well as stories from many other places. She has an almost hypnotic style of reading, drawing you into a scene and holding you there, momentarily. Listen to her read a selection of work on SoundCloud. Her writing, often based on Science, is bold, quirky and gives a brutally honest insight into human nature and nature itself. Tania’s Science Journalism background, along with a Writer in Residence year in a lab, feeds into every fibre of her writing. She read two of my favourite stories:

Vegetable Mineral took us into some snappy and insightful dialogue, keeping us hooked to the end. “When you came back with the post, you held the letters out to me as if the red ink would burn through you like acid. ‘Let’s run away,’ I said. ‘Barbados, Brighton, Bermuda, Brooklyn.’ ‘Only B’s?’ you said, and slumped onto the couch. ‘Today is brought to you by the letter B,’ I said. ‘Animal,’ you said. ‘Domesticated?’ I said as I shoved the bills down the back of the armchair.’”

How to be Here, took us on a journey to a riverbank. “Hover, over exactly that spot on the river, half way between the locks and listen. After an hour, century or minute, land on this bank, wait, in long grasses and inhale.” Tania’s stories leave you clasping hold of the final few words, willing them to stay and tell you more. You can find Tania’s books on her page at Bookshop.org.

Sipping from an enviably beautiful cup, Tania answered questions about story length and how to balance narrative with dialogue. She talked about a 800 word story, which took two and a half years to write, and when asked about story length, we learned that David has been asked by editors to expand his work at times, whereas Tania often cuts down her writing, culling the words and reforming a story. Both talked about the feel and shape of a story, and felt that no two writers work the same way, and no two stories are created by any specific process. She discussed her hybrid writing, the freedom of form, and the idea of losing labels. We talked about the importance of permission to be freer with what you write, to take risks.

Photo credit: Tania Hershman

I have, by no means, covered all the stories we heard, but I hope this gives a flavour of the evening. A recording of the session will be available on YouTube within the next few weeks and I’ll add a link here for you to watch. Thank you to the Milton Keynes Literary festival for organising this event, and to Dave Wakely for chairing. Next time, we’ll all bring cake!

‘Publication of the Month’ Nomination by Spillwords Readers

I was thrilled to discover that my story, You Bruise Easily, has been nominated by readers of Spillwords Journal for Publication of the Month. Voting is now closed, but I will keep you posted. The nominations are based on readership popularity within the last 30 days. One very happy author!

I have also reached a landmark of 5,000 followers on Twitter. I really value and appreciate all the support of readers. With six short stories published this year, and two more forthcoming in Fully Lit Magazine, it has been a productive year. If you have missed any, there is a list of publications on my website

Watch this space! I hope you’ve all had a reasonable summer, despite the current circumstances. Stay well.  

Short Story Publication – Circling the Nasturtiums, Anti Heroin Chic

Butterflies were circling the nasturtiums in a frenzied race to find nectar, but it had not yet flowered. It was a lush green and ripe for bloom, when the flame flower would climb, scrambling through other plants, covering unsightly fences. She had not yet flowered, when the ‘gardener’ had grabbed her by the waist and forced her onto his lap, kissing her neck and asking her to marry him. She had been nine years of age, he sixteen. She had tried to explain the age difference. He had told her that he didn’t care. The thought had repulsed her, her fierce kicks into the centre of his shins adding weight to her no, and her get off me. He had eventually let go, accepted her resistance too late… read the story at Anti Heroin Chic 

Author Interview with Vineetha Mokkil

  1. Who or what inspired you to write short stories and when did you begin writing?

All the writers I read and digested inspired me to write. I was a voracious reader as a child. I started writing when I was in middle school. Some of those stories were written for competitions held at school and some stayed on the pages of my notebooks. I’ve loved books ever since I can remember. Reading stories was such a pleasure and a fascinating voyage of discovery—of other lives and worlds—and I couldn’t resist the temptation of trying my hand at writing them. I was enthralled as a reader and I wanted to see if I could write stories to recreate that immersive and magical experience for my readers.

  1. How has living in various places – New York, Delhi and Taos affected your writing? Do you think travel helps to inspire your work?

Every place I’ve lived in or visited shapes my writing in particular ways. The energy of a place—inspiring, soothing, manic or comatose—rubs off on me. The essence of a place stays in my heart long after I say goodbye. The people I meet and the stories they tell, the sights, sounds, skies, and hidden histories of a place all spark my fiction. Travel is inextricably linked to my process. New places jumpstart my imagination. The memories they gift me are fertile ground for stories to germinate.

  1. Do you create a structure for your stories before you begin or are they more fluid?

I tend to write short stories and flash fiction in a fluid way. I have a basic idea of the flow of the story, but it’s not strictly structured before I begin. Whereas with my novel, which I’m currently working on, I found that I had to create a solid structure before I started.

  1. What advice would you give to writers wanting to submit work to literary journals?

Get your story into the best shape possible. Rewrite, refine, edit and polish vigorously before you submit. Keep at it inspite of rejections. Appreciate the feedback editors give you and incorporate it into your work. Acceptances will eventually come your way.

  1. How has winning writing competitions affected your journey as an author?

Writing competitions come with strict deadlines and they force me to sit down at my desk and finish a story on time. Competitions make me a more disciplined writer in this sense. Winning a competition makes me feel my hard work is being appreciated. That’s a wonderful boost for a writer. It gives you reason to believe in yourself and your art and to carry on writing in a world which is largely indifferent to creative endeavours.

  1. Can you tell us about your collection, A Happy Place, and your route to publication with Harper Collins?

I didn’t start out with a collection in mind. The stories were written one at a time. The title story was published in the Santa Fe Writers’ Project Journal. My eternal gratitude to the editors for that acceptance! Then, a few more of my stories got published in literary journals and magazines, and that gave me the confidence to consider putting together a collection. Once I had enough stories, the hunt for an agent started. It was not easy. Some agents loved my writing, but they were running scared of taking on short stories. It took a lot of effort and patience to find an agent who believed in the collection’s possibilities. She sent it out to several publishers and I was thrilled when HarperCollins said yes to it.

  1. Who are your favourite short story authors?

It’s a long list. To name a few: Chekhov, O. Henry, TC Boyle, Anita Desai, Lucia Berlin, Anne Enright, EL Doctorow, Akil Kumarasamy, Chimamanda Adichie, KJ Orr, Deborah Eisenberg.

  1. What do you think is the essence of a good piece of short fiction?

Telling detail, tension, humour, nuance, startling imagery, and the ability to make a word resonate in different registers at the same time.

  1. What are you currently reading and which book would you take to a desert island, and why?

I am currently devoting all my time to working on my novel, though it’s a tough challenge to resist the call of my very attractive to-read pile. The last book I read and was bowled over by was The Friend by Sigrid Nunez, an incredibly perceptive and well-written novel about friendship, loyalty, loss, and grief. My desert island pick would be Michael Ondaatje’s The English Patient. The copy I own is falling apart because I’ve re-read it so many times. This novel surprises me every time I read it. It is so lyrical, insightful, wise, and immense in scope—I’d be delighted to be marooned on an island with it.

 Vineetha Mokkil is the author of the short story collection, A Happy Place and other stories (HarperCollins), which was listed as one of the Ten Best Works of Fiction by The Telegraph. She was shortlisted for the Bath Flash Award June 2018, shortlisted for the Desi Writers Lounge Short Story Contest 2018, and is the winner of the New Asian Writing Short Story Competition 2018. She was a nominee for Best Small Fictions 2019. Her fiction has appeared in Barren, Cosmonauts Avenue, Fictive Dream, The Best Asian Short Stories 2018 (Kitaab, Singapore), GravelJellyfish Review, Quarterly Literary Review Singapore and chosen for the Longform fiction pick-of-the-week.

You can find Vineetha on Twitter @VineethaMokkil and her books on her Amazon author page

Interview with EllipsisZine Editor, Steve Campbell


Ellipsis Zine is an online and print literary magazine for beautifully written fiction & creative nonfiction.

How and why did you begin Ellipsis Zine, and how long has it been running?


I set up Ellipsis Zine in June 2017 and initially wanted to create an online space for flash fiction I liked to read. I hadn’t been writing flash very long and thought that a website with a mixture of work I enjoyed reading would help improve my own writing, while also offering a new space for writers to submit to. I wasn’t sure how well that was going to be received but pretty soon I was swamped with great submissions. Following on from the wave of excitement during the first month, I took the plunge and opened a call for work to be published in print and I was completely overwhelmed with the response.

What have you learned from your experience as Founding Editor?

It’s all subjective. I’ve declined work that has almost immediately been snapped up by other publications and reading them again, it was clear I was wrong to pass on them. There can also be any number of factors for a piece being declined, it’s not always because the piece isn’t ready. The magazine may not be the right fit. Timing can also be important – and not always something that a submittor can do anything about. If a piece submitted deals with the break up of a relationship, for example, I would generally pass on it if I’ve published a similar piece recently.

What do you do with your time outside working on the Zine?

I work in a marketing department, with a background in design, and so the setting up of the magazine and print zines has been a fairly smooth process.

The editorial team has expanded. Can you tell me who is on the team and how or why they were chosen?

I have a great team of flash writers helping me behind the scenes. Stephanie Hutton, Amelia Sachs, Richard De Nooy, Helen Rye, Jennifer Harvey and Christina Dalcher. It was Richard who first suggested putting together a team, to help strengthen the website and have a team to help compile the zines, and as a sounding board for ideas and advice. Working in a bubble can be difficult at times, so having a team of writers to work with has been invaluable.

What are you looking for in a piece that you hope to publish?

We want to publish stories that make us forget where we are, stories that introduce us to people, places and things we’ve never seen before and stories that stick with us long after we leave them. In the same way a great song, novel or film, hangs around with the audience. We want a great piece of flash to be something that will be read again and again, and something that will linger.

Can you tell us about the process from submission to publication in the online and print zines?

With print online submissions, I try to get back to everyone within seven days. If selected, I may put forward minor edit suggestions and then provide a date for publication. This is usually scheduled around a month or so later, depending on the time of year. With the print publications, the time between submission and selection is a little longer. With the last few zines, I’ve had one or more of the editorial board compile the list of published work for me. Again, once chosen, we ask for minor edits to the work. Once the zine is compiled, I will send page proofs to all writers, to ensure I’ve copied everything over correctly. At this point, writers have the opportunity to make any last minute changes. This is usually a week or two before publication.

Do you have any advice for authors sending you submissions?

That’s a tough question, because I tend to want to publish a wide mix of work, but it is important to note that it is all subjective. I’ve published sci-fi, horror and humour and I do notice trends with submissions. I sometimes get a batch of work that hasn’t made the longlist/shortlist of a competition, because they are all on the same theme. I’ve also noticed that I can receive a large amount of work based on death, relationship breakdown, dementia etc. I have written pieces on these subjects myself, and although, individually they are brilliantly written, when I receive a lot of them, they can lose their impact. I’d suggest that anyone who approaches these subjects to think a little differently. This will help set the work apart from others.

Can you tell us a little about the expansion into areas such as the Novella-in-Flash, collections, and zines celebrating LGBTQ writers?

Much like everything with Ellipsis, the expansion into publishing Novella-in-Flash and collections stemmed from wanting to try something new. Stephanie Hutton’s novella was a huge success, selling much more than any of the other zines and so it was natural to try and replicate that success. Talking with Stephanie about an open call, she put forward the idea of publishing an author who wasn’t as established – hence, the call for a debut flash collection from an unpublished author. This desire to give underrepresented voices a platform, naturally, influenced the decision to publish a zine that celebrated LGBTQ writers and their work.

What are your plans for Ellipsis for the coming year?

We have an extremely busy year ahead. There are a few flash events, which I will be attending in the Summer: National Flash Fiction Day, June 15th, has just been confirmed, and a publication launch. Our Love | Pride zine, celebrating LGBTQ writers and their work, is released at the end of February, along with a flash fiction collection in April/May. The Summer zine publication will be collection by a single author. Later in the year we’ll have a call for submissions for another zine and a micro-fiction competition. There are ongoing website submissions and, at some point, I may need to have a lie down.

You have recently had some of your own work published. Can you tell us about your own writing?

I’m still finding my feet with my own writing, but running Ellipsis has been extremely helpful. I have read some amazing work and this has enabled me to see what does/doesn’t work with a piece of flash. I began to write my own novella-in-flash, which was sidelined to write a novel, which was then sidelined to write another novel. At some point in the next few years I’m sure one of these projects may be finished.

What are your top five literary journals or magazines?

I love the work in Flashback Fiction. There is the added bonus of hearing the pieces being read by the authors. Popshot Magazine is also a favourite. I’m a sucker for a printed publication, and this is beautifully put together. I also regularly read MoonPark Review, TSS Publishing and Reflex Fiction, but this list is not exhaustive because there are so many great publications out there. I’ve compiled a list of some of my favourite publications on the Ellipsis website here: ellipsiszine.com/literary-magazines/

Follow EllipsisZine on twitter: twitter.com/EllipsisZine or on facebook: facebook.com/EllipsisZine.LitMag

Ellipsis is managed by Steve Campbell and has the support of an editorial board of international flash fiction writers and published authors. View their biographies here: Editorial Board.

Steve Campbell has work published in places such as Spelk, Fictive Dream, MoonPark Review, Molotov Cocktail and Flashback Fiction. He is Managing Editor of Ellipsis Zine and trying to write a novel. You can follow him via twitter @standondog and his website, standondog.com.