I’m thrilled to share the National Flash Fiction Day 2026 Anthology with you, and introduce the title and cover of NFFDs latest anthology, Mudlarking: National Flash Fiction Day Anthology 2026. My story, Lotus, will be published alongside some wonderful short fiction authors. The launch date is on 13 June 2026, and you can pre-order a copy here. Mudlarking can be pre-ordered worldwide, and will be available as an eBook on Amazon UK and US soon.
I will be giving a reading of Lotus at the online launch on 13th June at 7:30pm, so keep an eye on the NFFD website for more information. The collection is edited by Karen Jones and Sharon Telfer. Joanna Campbell created the art work for the cover design; her watercolour was inspired by Mudlarking, a story in the collection by Rachel Dunlop.
Wonderful news that Pens of the Earth will be launching a new audiobook version of Wild Seas, Wilder Cities on 29th June 2026 at Portsmouth Guildhall’s Lens Studio.
Here is a little more about their journey …
‘I believe in the power of community, and also in the power of stories to bring about change.’ Wilder Voices workshop attendee
In 2025, following the paperback and ebook publication of Wild Seas, Wilder Cities, Pens of the Earth received funding from Portsmouth Creates to invite people across Portsmouth to learn performance skills and join many of the book’s contributing authors and poets to record the upbeat and diverse environmental fiction, articles and poetry contained within the book.
‘… proud to be a part of making this book more accessible and able to reach a wider readership – or listenership I should say!’ Wilder Voices workshop attendee
The audiobook was created as part of the Portsmouth Creates In Our Words festival of literature, literacy, and storytelling – designed to inspire, engage and connect people of all ages. The inspiration of this brief enabled Pens of the Earth to reach out and involve people from all walks of life in the recordings, including teachers, actors, authors, poets, artists, environmentalists, environmental volunteers, and other members of the public.
‘I have been reading the book and love it. The whole idea of all these authors coming together to create such a masterpiece is truly inspiring and reading some of the work enabled me to be part of that.’ Wilder Voices workshop attendee
From mid-October to early December 2025, fifty different people took part in the recordings, and the diverse voices bring to life the ‘rising chorus of voices’ previously described by Nicola Chester in her 2024 review of our published book.
‘Really great to meet new creative souls, great morning, all learnt from each other.’ Wilder Voices workshop attendee
They began with three workshop and recording days led by Christine Lawrence at Casemates Studios in their vibrant and friendly venue, hosting the workshops in one of their rehearsal rooms.
Later in November, they recorded the Wild Seas, Wilder Cities contributors, welcomed back some of the workshop participants who were eager to read more, and invited a number of volunteers from the local acting and spoken word communities.
I often have conversations with people who are struggling to write, and I think challenges to creativity are increasing. We live in a world of constant connectivity, but our brains weren’t designed to be constantly switched on. We check emails, check social media, and we’re often accessible for most of our waking hours. It takes a conscious effort to step away and to switch off.
We live in a world of constant connectivity, but our brains weren’t designed to be constantly switched on.
Creativity, and writing in particular, needs room to breathe. Our bodies need movement, often in nature, and our minds need time to wander freely without distractions. Movement can unlock creativity in ways that sitting at a desk can’t match. When you’ve had inspiration for a story or a poem, was it when you were busy, or when you had space to think? Was it while you were sitting still, or on the move?
Movement can unlock creativity in ways that sitting at a desk can’t match.
Ideas often come to me on a train journey, a walk, or just as I fall asleep. The most creative ideas often surface when we are not trying to focus on creativity, but when there’s space for our minds to wander. If you struggle to write at home, change your scene and find a quiet corner of a cafe. Sometimes, it helps to write with someone else. I’ve written with a friend writing and writing partner over the years in their office space when no one was working, or online together in silence regularly.
The most creative ideas often surface when we are not trying to focus on creativity, but when there’s space for our minds to wander.
Unstructured time is more important than we realise. Allowing ourselves to simply be, rather than constantly doing, is key to creativity. It helps the brain to make new connections and create new ideas. Creating space away from mental busyness involves finding a rhythm that works for you. It will be different for each individual.
Unstructured time is more important than we realise.
What sparks your creativity? Drop a message in the comments.
I’m thrilled to share the news that my recent story, Lotus, has been selected for publication in the National Flash Fiction Day 2026 Anthology. Here is what the editors had to say:
After reading scads of brilliant stories on the theme of BRIDGES, editors Karen Jones and Sharon Telfer have finalised their selections for the 2026 National Flash Fiction Day anthology and for the third annual Editors’ Choice Awards.
Below is the list of the stories that will appear in this year’s anthology. Thank you so much to everybody who submitted their stories for consideration for this year’s anthology. It was an honour to read each and every piece. We appreciate the chance to read your work! We hope that you will all join us for the launch of the anthology on National Flash Fiction Day later this year.
2026 National Flash Fiction Day Anthology Line Up
‘A Brief History of Trolls’ by Anne Howkins
‘A Frog Funeral’ by Finnian Burnett
‘As Easy as Falling Off a Log’ by Paula Durance
‘Bridge Over Troubled Water (Show Choir 6TH Grade)’ by Jessica Edmond
‘Bridge Over Troubled Water’ by Mileva Anastasiadou
‘Bridge That Gap with a Cadbury’s Snack’ by Alison Wassell
‘Cantilever’ by James Roderick Burns
‘Come On’ by Patricia Q. Bidar
‘Dice’ by C. L. Spillard
‘Doggerland (or, 10,000 years ago there were no migrant boats crossing the English Channel)’ by Erin Bondo
‘Don’t Look Down’ by Hilary Ayshford
‘Falling from the Mid-Point’ by Keith Rutter
‘Forty-nine Hedgehogs and the Hump-bottom Bridge’ by Rosaleen Lynch
‘Gentle Yoga Guide to Dealing with Materializing’ by Andy Lavender
‘He and She’ by Shelley Roche-Jacques
‘How to Fill the Space’ by Debra A. Daniel
‘Hue and Cry’ by Sarah Masters
‘If You Leave From the Southwest Gate and Follow the Cliffs for Half a Day, You Will Reach the Chasm, and the Bridge and the Heap’ by Jenna Muiderman
‘In Hebden Bridge at Midnight’ by Lucienne Cummings
‘Jack the Zoo’ by Jaime Gill
‘Learning to Talk Like the Bridge Ladies’ by Lola Page
‘Le Nez’ by Jill Munro
‘Lotus’ by F. C. Malby
‘Maybe Sarajevo’ by Cassandra Parkin
‘Meet Me Halfway’ by Rob Walton
‘Mile Marker 1.5’ by Steven Patchett
‘Mothman Caused the Silver Bridge Collapse’ by Sonora Hills
‘Mudlarking Under Richmond Bridge During the Annual Draw Off’ by Rachael Dunlop
‘Nepenthes’ by Jules Foshee
‘No Jerusalem for Alf Bridges’ by Andy Larter
‘Northolt Park’ by Sally Jane Tate
‘Nose’ by Rebecca Klassen
‘On Southend Pier, Sergeant Cranley Doesn’t Cut the Mustard’ by Gill O’Halloran
‘Placenta’ by Karen Arnold
‘Reasons to Be with You Parts One to Five’ by Emily MacDonald
‘Salad Days’ by Melanie Maggard
‘Seven Bridges Road’ by Sara Hills
‘Sister Benedict’ by Fiona Vigo Marshall
‘The Calm After the Storm’ by Jo Rigg
‘The Keep’ by Beth Sherman
‘The Passing Place’ by Bryony Burton
‘The Valley’ by Isabel McKeough
‘The World Doesn’t Like People It Can’t Mold’ by Christina Tudor
‘This Life’s Span’ by Audrey Niven
‘Vivaldi in B, Please Hold’ by Nivara Lune
‘Watermarked’ by Rosaleen Lynch
‘What It Holds’ by M.M. Bailey
‘What Single People Do on Sundays’ by Cath Holland
‘When Will the Bridge Break?’ by May Suri
‘Why I Sometimes Wish I was a Troll Under a Bridge’ by Rebecca Field
I’ve had lots of questions and about plotting stories, and my articles on plot and structure continue to be among my most read posts.
What is a Subplot?
A subplot is a secondary storyline which runs alongside the main plot. It often involves supporting characters, additional conflicts, or personal struggles that relate directly or indirectly to the protagonist’s journey. Some of the best subplots connect to the main narrative, either by reinforcing the theme, revealing character traits, or influencing the main plot’s outcome.
Why We Need Subplots?
Whether you are writing scripts, short stories or novels, having multiple plot strands creates a necessary expansion of the main themes and layers your stories. Subplots add depth, complexity, and emotional resonance to a story. They transform a simple narrative into a layered experience that feels more realistic and engaging. Understanding how and why to use them strengthens your writing.
Subplots Add Depth to Characters
One of the greatest strengths of subplots is their ability to develop characters beyond the main storyline. The main plot often focuses on a specific external goal: solving a mystery, defeating an antagonist, or achieving a dream. Subplots, however, often explore the internal lives of characters: their relationships, fears, and motivations. This creates intrigue and insights for the reader, which might be missed through the main plot line.
Creating More Realistic Worlds
Real life rarely follows a single narrative thread. People juggle relationships, responsibilities, and individual struggles. Subplots highlight this layering effect by weaving multiple storylines together. This creates a world which feels more realistic. Supporting characters also show their own motivations and story arcs rather than existing solely to support the protagonist. This creates a richer, more immersive experience for the reader.
Subplots Strengthen Themes
Subplots are powerful tools for reinforcing the central themes of a story. A well-designed subplot often mirrors, contrasts, or adds complications to the central plot. If the main plot explores trust, a subplot might show a different character grappling with betrayal in a different context. These variations allow readers to view themes from multiple angles, making the story feel more authentic.
Change of Pace
A single storyline moving at full intensity from beginning to end can become exhausting for readers. Bringing in subplots shift the focus and builds gradual tension, creating breathing space between key points in the plot. They can also act as narrative bridges which keep readers engaged, while the main plot builds toward a pivotal turning point.
Subplots Drive the Main Plot Forward
Although subplots are secondary, they often have direct consequences for the main storyline. A subplot might influence a character’s choices during a critical moment, or reveal information which changes the direction of the main conflict. When subplots intersect with the main narrative, the story feels more interconnected.
Some Examples in Films
If you’ve ever watched the film, Crash, you’ll see how well subplots are used to increase tension and keep the viewer hooked. Set in LA over several days, we see the stories of different characters interweaving. Its impact is intense. Layering is important, and an interweaving of plot and subplot creates a richer, more diverse experience.
In the film, Shawshank Redemption, the role of Brooks as Red’s negative mentor, tricking the viewer into expecting Red will follow the same path towards destruction.
What about Bilbo Baggins, who saves the dwarves from the spiders in The Hobbit. Baggins is a good example of creating conflict through a subplot to illustrate growth in a character.
F C MALBY 
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