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The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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A Flash Fiction Roundtable: Short but Never Small
What’s the state of flash fiction today? Seems there’s no short answer. But I asked a handful of author/editors who write and review flash fiction day in, day out (see some of their favorites published at The Millions earlier this month). Their responses are expansive, touching on the difference between adapted fragments and “a real flash piece;” transitioning from nonfiction and poetry; erotic gapes; Carver, Sarraute, Oulipo, and Joseph Cornell; fast-food literature; guerilla literacy; readers as co-creators, and the future of flash’s evolving aesthetics.
Nancy Stohlman is the author of three books of flash fiction, editor of three anthologies of flash fiction, and a prominent instructor of flash fiction techniques; Tara Lynn Masih is the founding editor of Best Small Fictions anthology series and the Field Guide to Writing Flash Fiction; Lynn Mundell is a co-founder of 100 Word Story whose flash fiction has been published in numerous journals and anthologies; and Grant Faulkner is the author of Pep Talks for Writers and the flash collection Fissures.
Jon Roemer: What was the first flash fiction you read? Were you writing it before you knew it as a practice, and then realized it's a thing? Or did you have model practitioners before you first started?
Tara Lynn Masih: Yes, I was taught to write in what some call "vignettes," brief scenes that my high school writing teacher encouraged her students to explore… It wasn't till someone gave me Shapard and Thomas's Sudden Fiction that I knew, years later, that what we had been doing in that classroom years earlier was becoming "a thing."
Nancy Stohlman: Flash fiction arrived for me in 2007 as I was writing my third novel, agonizing over it like a relationship you really really want to work out, dammit! It was during my MFA at Naropa University—I took a flash fiction class with Barbara Henning, and after so many years of writing more—talk more about this, give more description here, more backstory here, explain this more—it was such a relief to write less. I feel like flash fiction saved me from writing all those novels. Because I never really wanted to say all that other stuff anyway. Six months later I co-founded Fast Forward Press...I read hundreds of submissions and I started to lean into flash with my body, listening for my own voice to emerge.
Lynn Mundell: Apparently, I was reading flash fiction long before it was called that since I read Hemingway in high school and then Chekhov, Raymond Carver, and Kate Chopin, among others, in college. During this time I wrote poetry, and much later turned to creative nonfiction. It wasn't until we opened up shop at 100 Word Story that I really started reading flash in earnest, then expanding to include writing my first flashes—a trio of "scary tales" for an early Halloween issue...That said, I really love a good, fat novel!
Grant Faulkner: I began writing short shorts before I truly knew flash fiction as a genre. I’m a ragpicker by nature, so I’ve always collected odd things that I find on the streets or in flea markets, and I view a lot of my flash pieces in such a way. Life isn’t a round, complete circle—it’s shaped by fragments, shards, and pinpricks. It’s a collage of snapshots, a collection of the unspoken, an attic full of situations you can’t quite get rid of. The brevity of flash is perfect for capturing the small but telling moments when life pivots almost unnoticeably, yet profoundly.
JR: When do you turn to it now? As a writing exercise, or as something that just happens, or with the forethought of achieving something specifically flash? Has your approached evolved or changed?
TLM: Flash is a creative respite for me. It's been there through some very stressful times, both personally and professionally. I can sit down at my desk without pressure. I can simply enjoy creating something I know won't take months or years, yet get the same feeling of fulfillment after I've completed a flash piece that satisfies me. Sometimes within the hour.
NS: When I first started writing flash fiction I was just pretending to write it—I was basically a flash fraud. My “flash” stories were just cannibalized from my novels and other longer projects and given new titles. And this sort of worked, for a minute, but it felt like cheating (and it was). I think many writers spend some transitional time as flash frauds while learning the form. Eventually you run out of excerpts or longer stories to butcher and you’re forced to do what you should be doing from the beginning—seeing through the flash fiction lens. The switch flips. I knew when I finally wrote a real flash piece and not something passed off as one. It felt different. These days my work keeps getting shorter and shorter. I’m afraid one day an entire story will be distilled down to the letter P. And it will be perfect.
LM: I am intentional when I write flash, although my "failed" flashes are probably just exercises or warmups for the better writing. For me flash writing is very challenging but also understandable, because there is a crossover with poetry writing as far as length, use of metaphor, dramatic leaps, and inventive forms in order to deliver a finished piece. I have also returned to creative nonfiction by writing some in flash form. I write anything between six-word stories and those around 1,000 words. It's just lately that I find myself writing longer pieces, although I will probably keep writing flash because I love it and I still have so much to learn within the form.
GF: When I get an idea for a story, I always know immediately whether it’s a short short, a short story, or a novel. It’s just an intuitive sense of what form the story needs. The change in my approach over the years comes from my rag-picker aesthetic. I collect words and stray phrases and snippets in notebooks, and often one of those starts to flow into a story. Writing flash has influenced my longer writing. My novels now often move with a flash aesthetic—I like imagining stories in a fragmented, elliptical way—so I think there’s a little flash in all of my writing. I think often of Roland Barthes’s question in Pleasure of the Text: "Is not the most erotic portion of the body where the garment gapes?" It’s an apt metaphor for flash fiction because these tiny stories flow from tantalizing glimpses that lure the reader forward. Writing flash has taught me how to move a story along by implications, through escalating hints, and that what’s left out of a story is often more important than what’s included.
JR: What do you think about working with limits, like 100 words? French Oulipo writers felt constraints could be freeing, that overtly imposing them is a way to acknowledge the constraints on writing everywhere. Do you find limits freeing?
TLM: I love working with word count limits because it is more of a challenge. It's double enforcement of the rule of concision. Not only do you have to be concise, you have to find ways to tell your story in an even smaller box. I personally don't feel it's freeing, it's just fun and rewarding if it works.
NS: We’re working within limits all the time—publishers define a novel as 60,000 words, for instance, so writers write to that finish line. I love the Oulipo movement, it’s a big inspiration to me. Interesting things bulge against a boundary: you can only paint with the color green; you must finish a film in 48 hours; you have to write a story without using the letter E. Beethoven wrote his most important symphony when he was deaf. I think the magic of flash fiction happens because of the constraint. But flash fiction is influenced by other artistic movements, too—the Impressionists suggested entire scenes with just dots and splashes, for instance. Of course people didn’t consider it “art” for a long time, and that’s where politics comes in. Remember that the novel was once considered a vulgar, lesser art form mostly written by (yikes!) women! I’ll quote Yoda here: We must unlearn what we have learned.
LM: It's sort of like pruning a bonsai, trying to make this perfect, unique item that can be viewed and absorbed in a sitting or returned to and admired with a longer look. That said, the stakes are high because you can really screw it up if you don't accomplish a complete story within that allotted word count, and there sure isn't anywhere to hide from the failure.
GF: The constraints of different forms spark different types of creativity, whether it's a sonnet, a villanelle, or a 100-word story. These "boxes" make the creative act more difficult, yet the requirements of the form force the writer to look beyond obvious associations. Imaginative leaps don't necessarily happen by thinking "outside the box" as the popular saying goes, but within the box. I learned this when I started writing 100-word stories after years of writing novels. A novel is like a Southwestern city. You have so much land to build on that you can just keep building further outwards. Writing a story in exactly 100 words is more like building a tiny town hemmed in by mountains and the sea. You have to be very careful with each element you add. You have to eliminate excess. I like to think of my miniatures as one of the artist Joseph Cornell’s box collages—a poetry of assemblages confined in a frame that is its own expansive world. The condensation of a 100-word story can open up the irreducible mystery of a single intense moment.
JR: Most people who haven't read flash fiction presume it's like poetry—like an old-fashioned tone poem, impressionistic and without characters and plot. That style of flash certainly exists and delivers in lots of beautiful ways. But flash fiction can also achieve solid narratives, with a beginning, a middle, and an end. When you read flash fiction, what do you like best?
TLM: I like the best of every form. In Best Small Fictions, we've drawn attention to the haibun story. I love its mix of prose and haibun, another challenge. Form doesn't sway me one way or another, it's voice, subject matter, setting, details, etc. The same for any short story.
NS: People who think flash fiction is like prose poetry have not read enough flash fiction. Just because a piece of writing is small doesn’t mean it’s flash fiction. For me the difference is a sense of urgency: Flash fiction is always telling a story. A woman at a cafe watching the way the fall leaves shimmer in the sun could be a prose poem or a vignette or even a character study. But a woman at a café watching the way the fall leaves shimmer in the sun—as a man in overalls is sawing through the trunk—has urgency. Obviously there’s crossover. Can’t poetry tell a story? Of course. Can’t flash fiction be poetic? Absolutely. But the answer lies in the driving force of a piece: prose poetry and vignettes are driven by imagery and emotion whereas flash fiction has an almost desperate need to tell a story before it’s too late.
LM: I like a wide range of styles, from the impressionistic to the "traditional" stories that are very plot-driven, but for me a successful flash has to have a thrust or denouement, even within flash that is more of a hybrid between poetry and fiction. A favorite impressionistic piece is called "Candlelight," by Christina Sanders, in which the daughters witness their mother glow and then dim over the years as she is thwarted at work, men, and just life. It has characters and moves through time, but this very short flash is told through this one really gorgeous image carried throughout.
GF: Although a good short short has a beginning, a middle, and an end, flash stories are built through gaps as much as the connective tissue of words. They end, as Jayne Anne Phillips said, in a breath that takes the reader in and beyond the story. The most haunting stories are those that don't provide answers, but open up questions. I like to think of the writer Ku Ling’s words: "A good short-short is short but not small, light but not slight." In many ways, short shorts are the prose version of haiku. Like a haiku, a 100-word story is an imagist's medium. Every word, every detail matters, but it moves through caesuras and crevices, and like poetry, tone, diction, and timbre can guide a story as much as a rising narrative trajectory of actions.
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JR: When people talk about flash, they often mention the modern short attention span. But reading well-crafted flash is a long, long way from clicking on, say, a simple blog post. What do you think about the attention-span angle? Can you make more demands on the reader in flash, compared to longer forms? Can flash fiction be too dense?
TLM: They've been discussing the shrinking of the American attention span since the Industrial Revolution in the 1800s. Periodicals back then were publishing many "short short stories," which was the term most of the journals used. So I don't quite buy that theory. Especially since many readers still prefer reading novels. But I do think it lends itself well to online journals and social media, which has helped spread it around the world.
NS: I think there should be a special level of Dante’s Inferno reserved for the people who make the short-attention span comment. Is the bonsai tree proof that its creator didn’t have the attention span for a full-sized tree? Basically the logic in the short attention span argument is that flash fiction is the fast food of literature, served up for increasingly dumb and/or distracted readers. I believe just the opposite: not only is flash fiction cultivating a new kind of writer but also a new kind of reader. The reader become a co-creator in the process rather than just a passive consumer. The writer throws clues, the reader lines them up. What the author omits, the reader intuits. I think it requires more intelligence from the reader. And anyone who has tried writing flash thinking it will be easy has usually had a very shocking revelation. Like painting the Mona Lisa on a grain of rice.
LM: We have so much thrown at us these days, from work emails that grind through the evening and weekends to a news cycle that brings tragedy right to us even as it is unfolding. That has to impact our ability to focus on the present and to commit to things that take longer to do. But I am overjoyed to report that I still see people reading and even writing during my weekday train commute, and my youngest son, who is 15, read War and Peace over the summer, which he thoroughly enjoyed. Flash is another form to read, not a replacement for people who are distracted. That said, I suppose flash is very well-suited for social media, since you can read a flash on your phone from the many, many online literary journals out there, or even tweet the shortest flashes. I like to think that flash is doing a form of guerilla literacy to all of the people glued to their devices!
GF: In this world of more—more emails, more social media, etc.—people’s reading styles have changed. People scan and read in nuggets, and online platforms are largely designed for that type of storytelling. When we started 100 Word Story, we thought 100 words was the perfect length of story to read online because 100 words is essentially a Facebook post. That said, most flash stories shouldn’t be read in such a breezy fashion. In fact, because they speak to what’s left out, because they often border on prose poetry, the reader needs to pause, reflect, and fill in the gaps—to be a co-creator, essentially.
JR: Should flash fiction be considered and judged in a category separate from the conventional short story and its traditions? Readers and writers bring different expectations to short stories than to novels, and its traditions have shaped those expectations. Is it helpful to construct a separate category for flash? Does that fit with the spirit of flash fiction? Or should I quit poking at it?
TLM: When I dream of the future, I see flash being taught side by side with the longer form. I know some academics still think of it either as a gimmick or as just a really short story. I do believe that there are differences in practice and execution, and just as there are different forms in poetry, there are different forms in prose. Separate it if you wish, but don't disregard it.
NS: Absolutely, especially when we start looking towards flash books. And absolutely there are politics involved—for starters who has the power of naming and defining? Don’t forget the term “flash fiction” has only recently, in the last 25 years, given legitimacy to the form—until then all these stories were “marooned in a wasteland” as Susan Sontag would say, forced to compete with much different stories. In 2011, an anthology of flash fiction I co-edited, Fast Forward: The Mix Tape, was a finalist for a Colorado Book Award—but they didn’t have a category for flash fiction, so it had to go in “literary fiction” and compete against two novels! Apples versus oranges. Flash fiction writers are using a different set of skills and writing a different kind of story. A word of caution: Flash fiction is still emerging, still soft in the hands, still pliable, still wonderfully gooey and fresh. And while this stage of emergence and convergence is desirable, it also leaves the art form vulnerable to others who will want to define it, start to put rules on it. It’s exciting to envision flash as mainstream, but there is also the very real possibility that we will lose some of the elasticity we currently enjoy.
LM: Flash may be a sister or cousin to short story and to poetry, but it is its own form with its own challenges and expectations, and now standards. As such, we see contests and "best of" nominations and anthologies dedicated to the form, which seems appropriate to me. I tend to read those because it is a sort of curating of the best writers and stories out there, which I might not be able to find on my own. What might be more debatable is what to call flash. Some like to call it short-short stories because that signals that it is not something trendy, which is sort of what flash sort of sounds like, but rather part of the family of storytelling as old as man.
GF: I find it interesting that some keep defining the word count of flash upward—from 1,000 words to 1,500 words to 2,000 words. At the same time, the conventional short story seems to be shrinking in length. Journals that used to accept stories that were 8,000 or 10,000 words long now ask for stories that are less than 5,000 words. Maybe the forms will meet in the middle, but a novelistic short story by Alice Munro is obviously quite different than a one-sentence story by Lydia Davis, so I think of flash as a distinct aesthetic, one that lives on the border of prose and poetry, one that requires a different sensibility, so I turn to it as a writer and a reader with different expectations and needs.
JR: Who are your favorite flash fiction writers? Who has been influential for you?
TLM: There are too many to list. But I'd have to put Yasunari Kawabata at the very top of mine. His Palm-of-the-Hand Stories should be required reading in every English class.
NS: This is a hard question to answer, because what is happening in the flash world right now is a full-on literary movement: every flash fiction writer I know is kicking some serious butt. Literature is changing. It’s an exciting time to throw rocks into the status quo and watch the ripples. The anthology Flash Fiction Forward by James Thomas and Robert Shapard was influential in my flash education but the book that finally did it for me was Lydia Davis’s The Thirteenth Woman and Other Stories. I was in Puerto Rico by myself and I read that book and I was like—yeah. I get it.)
LM: This may be the hardest question of all, since there are so many excellent flash writers out there! I am going to skirt around any hard feelings by not naming a friend or 100 Word Story writer. I am a Lydia Davis groupie, and an Etgar Keret admirer. I love Jenson Beach, who wrote one of my favorite flashes, "Family." I am a big fan of a California writer named Kara Vernor, whose work takes risks and is memorable and sophisticated. I just discovered Helen McClory after reading her incredible flash called "Pretty Dead Girl Takes a Break." I couldn't find the story again online so I bought her book in order to reread that one story! That's the best kind of flash, that you just really crave and want to read over and over again.
GF: Nathalie Sarraute’s Tropisms is landmark collection of short-shorts for me. “Tropism” is a biological term that Sarraute described as the “interior movements that precede and prepare our words and actions, at the limits of our consciousness.” Sarraute sees these subconscious pulses as fleeting and often indecipherable, so we are unable to comprehend them when they happen. I love short shorts because they’re perfectly equipped to capture the nuanced turnings, the tropisms, of life.
Image Credit: pixabay.
Recommended Flash Fiction from the Editors of 100 Word Story
As writers and editors of flash fiction, we love stories that are structured around a story’s gaps, the nuanced caesuras of what’s left out. In fact, the promise of a good flash story—a genre usually defined as being less than 1,000 words—is the way a narrative moves through an escalating series of hints. There’s no expectation of comprehensiveness, and often little room for connective tissue; rather, flash fiction invites the reader to live in the spaces of a story and imagine what’s left out.
As list-makers, however, we wish we could have been more comprehensive. One list begets other lists, and in making this list, we realized how many more lists are needed for flash fiction as it continues to emerge and become ever more popular.
As a concession to the lack of comprehensiveness, we’ve broken this list into three categories: some of our favorite classics, a few go-to anthologies, and then a sprinkling of recent collections. Please, though, consider this list to be a piece of flash fiction itself—a series of hints toward other wonderful flash collections in the world, including ours, Nothing Short of 100, a collection of the best 100-word stories from 100 Word Story magazine.
Palm-of-the-Hand Stories by Yasunari Kawabata
Yasunari Kawabata, the 2oth-century Japanese writer and Nobel Prize Winner, wrote short shorts before the category of flash fiction existed. He called his stories “palm-of-the-hand” stories because they were so small they could essentially fit in one’s palm.
This collection includes a total of 70 stories drawn from 1922 until Kawabata's death in 1972 (he died in a gas-filled room, a probable suicide). He started writing the stories as his way to write poetry. Each one of his miniatures is molded by a spare understatement, a suggestiveness that comes from his painterly eye for detail, a focus on the telling perception.
Kawabata was so dedicated to an aesthetics of concision that he even condensed his most famous novel, Snow Country, into an 11-page story, “Gleanings from Snow Country,” which appears in this collection.
The Collected Stories of Lydia Davis
Lydia Davis is as close as you'll get to royalty in the flash fiction genre. Sometimes it can seem as if she invented brevity. The Collected Stories of Lydia Davis includes 200 pieces, amounting to just 700 pages (an average of approximately three pages per story), 30 years' worth of work.
Davis’s distinctive voice pulls stories from our everyday concerns, misunderstandings, and mishaps to fashion short shorts that are wry and wise. Her best stories explore the chasm of love, with narrators obsessively going through lists and chronologies of events to try to understand what happened. Davis's stories have very little in the way of plot. Some stories, in fact, are just a single sentence or two. As Jonathan Franzen said, “She has the sensitivity to track the stuff that is so evanescent it flies right by the rest of us.”
Clarice Lispector: The Complete Stories
If Elena Ferrante met Lydia Davis, they might write somewhat like the late Clarice Lispector. Dark, sharp, moody, yet sometimes focused on prosaic themes and occurrences, these stories represent the beloved Brazilian writer’s work from adolescence to the end of her life.
Lispector’s stories, sometimes a little bit mad, certainly delirious, decenter the reader in exhilarating and exhausting ways. “Coherence, I don’t want it anymore,” a character in one of her stories thinks. “Coherence is mutilation. I want disorder.” Brevity plus disorder makes for fascinating aesthetic.
Ecstatic Cahoots by Stuart Dybek
Ecstatic Cahoots starts with two lines of dialogue — "You're going to leave your watch on?" / "You're leaving on your cross?" — that recur throughout the collection in different situations, like the refrain of a song or poem that changes meaning through repetition.
The collection includes 50 stories that range in length from two lines to 13 pages. Many of Dybek’s quirky miniature masterpieces are a type of prose poem, and you might even say some read as prayers. In an interview with 100 Word Story, he said that one target to aim for in flash fiction is a “profound suggestiveness,” and with such a technique in hand he makes the small moments in his stories have big meanings.
99 Stories of God by Joy Williams
99 Stories of God is a collection of radically compressed stories, many barely a page long, some just a single paragraph, with a quirky and jabbing whimsy that is reminiscent of Lydia Davis. Not all of the stories are written about God, but they are all written with a sacred adherence to Emily Dickinson’s guide to writing: “Tell all the truth but tell it slant.”
Williams plays with deep questions in her stories, such as the existence and invisibility of God. Her disjointed connections, piercing details, and brutal humor jar one’s notions of the world, and often leave one baffled, but in the best of ways.
Flash Fiction Anthologies
The Rose Metal Press Field Guide to Writing Flash Fiction: Tips from Editors, Teachers, and Writers in the Field
If you want a mentor text to guide you into writing flash fiction, there’s no better book than this one. The book is a true field guide, with probing essays on the art of flash fiction by such masters as Steve Almond, Pamela Painter, Robert Olen Butler, Deb Olin Unferth, Ron Carlson, and Jayne Anne Phillips. The book is designed as a teaching resource, but its essays, prompts, and exercises equip any flash writer to explore how constraints can open up a different kind of creativity and invite in unconventional approaches.
Best Small Fictions Anthologies
Publisher Braddock Avenue Books describes Best Small Fictions as “the first contemporary anthology solely devoted to honoring the best short hybrid fiction published in a calendar year.” Founded by Tara L. Masih in 2015 and annually staffed with the genre’s most respected writers and editors, the annual series is eagerly awaited by nominated writers while also serving as a sort of primer for those wanting to understand the evolution of the short-short form.
The 2018 Best Small Fictions will showcase 53 stories that first appeared in a range of literary publications—from a 50-word short in the tiny hand-stapled Blink-Ink to a longer piece from The New Yorker—and highlight another 101 finalists.
New Micro: Exceptionally Short Fiction
Micro fiction is defined as a story that is less than 300 words. This anthology, coming out in August, includes newcomers and established writers alike: Amy Hempel, Kim Addonizio, Richard Brautigan, Bonnie Jo Campbell, Stuart Dybek, Joyce Carol Oates, and James Tate among them. The anthology is the latest from James Thomas, who along with Robert Shapard, helped put flash fiction on the writing map with their series of flash fiction anthologies (Sudden Fiction, Flash Fiction Forward, Flash Fiction International) that began decades ago. This time, Thomas teamed with microfiction author Robert Scotellaro (who wrote a notable collection of 100-word stories, Bad Motel, and has work in 100 Word Story as well).
Recent Flash We’re Excited By
Every Kiss a War by Leesa Cross-Smith
Cross-Smith’s stories are Southern with a capital S, steeped in cigarette smoke, whiskey, and sex. In this collection, lovers cheat and regret, embrace and fight, make out and make up. Evocative and written in a warm, confident style, the stories in this collection make you feel like you’re sitting with an old friend on a porch in summer, talking about life, sipping something so good it burns.
Dictionary Stories by Jez Burrows
Flash fiction invites unconventional approaches to telling stories in such a small space, as exemplified by Jez Burrows’s Dictionary Stories. Burrows became obsessed with the italicized example sentences in dictionaries and began playing with them, remixing them into idiosyncratic pieces of short fiction. It all started when Burrows looked up the word “study,” and saw this dramatic story starter: “He perched on the edge of the bed, a study in confusion and misery.” The collection, which includes 150 stories, was spawned by a popular Tumblr blog, and each story is categorized by topic, whether it’s “dating” or “the occult.”
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Other Household Toxins by Christopher Allen
A respected editor at SmokeLong Quarterly, Allen collected his own stories for seven years before publishing his book with Matter Press. He moves smoothly between the everyday and the surreal, with a focus on fathers and sons, lovers, and taboo, moving easily between hard and gentle tales.
Pretty by Kim Chinquee
Sophisticated, restrained, and even slightly aloof, Chinquee’s stories often focus on love lost, found, and squandered. This collection is for studying and re-reading, with images and characters sometimes appearing teasingly just on the edge of our field of vision.
Damn Sure Right by Meg Pokrass
When you read Meg Pokrass, you know she was once a poet. In fact, she’s taken many of her poems and transformed them into stories—perhaps the perfect activity for any flash fiction author. But to present her fiction as guided mainly by lyricism is misleading. There are few authors out there as daring and honest and real as Meg Pokrass. She possesses that rare gift of a writer, knowing how to poetically tell a tale while not flinching from the uncomfortable truths she discovers along the way.
Because I Wanted to Write You a Pop Song by Kara Vernor
Kara Vernor’s work is world weary yet hopeful, her characters inhabiting malls, amusement parks, video stories, blue collar neighborhoods. With an unflinching voice, Vernor tells stories largely about girls and women who are trying to figure out life and find their place in it. Read “Ferris Wheel,” a remarkable micro about a blind date with the hopes of the narrator lifting up and dropping like an old, creaky ride.
On the Edges of Vision by Helen McClory
Dark and disturbing, these stories don’t shy away from violence and grit. If nothing else, read “Pretty Dead Girl Takes a Break” to see just how masterfully McClory mingles the surreal ramblings of the victim with our everyday obsession with crime. This flash alone is a downright harrowing social commentary on women as victims—and entertainment.
Grant Faulkner is the Executive Director of National Novel Writing Month and the co-founder of 100 Word Story. His stories have appeared in dozens of literary magazines, including Tin House, The Southwest Review, and The Gettysburg Review. His essays on creativity have been published in The New York Times, Poets & Writers, Writer’s Digest, and The Writer. He recently published a book of essays on creativity with Chronicle Books, Pep Talks for Writers: 52 Insights and Actions to Boost Your Creative Mojo. He's also published a collection of 100-word stories, Fissures, which have been included in The Best Small Fictions 2016 and the new W.W. Norton Anthology New Micro: Exceptionally Short Stories.
Lynn Mundell is co-founder and co-editor of 100 Word Story and co-editor of its anthology, Nothing Short Of: Selected Tales from 100 Word Story, as well as a managing editor at a large health care organization. Her short-short stories and creative nonfiction have appeared in many U.S. and U.K. literary journals, including Tin House online, Booth, Superstition Review, Portland Review, Permafrost, Flash: The International Short-Short Story Magazine, The Sun, and Five Points, as well as in anthologies including New Micro: Exceptionally Short Fiction (W.W. Norton & Company, August 2018). Lynn earned her MFA in Creative Writing from American University and is an advisory board member of the U.C. Berkeley Extension Post-Baccalaureate Certificate Program in Writing.
Beret Olsen is a writer, photographer, teacher, and long-time proponent of the Oxford comma. Currently, Beret teaches black and white film photography in the Bay Area, where she lives with her husband and two pre-tweens. She writes two blogs: Bad Parenting 101 and LobeStir, and you can find her photography at www.beretolsen.com.
Jon Roemer is publisher/senior editor of Outpost19, an award-winning publishing house based in San Francisco. His writing has appeared at The Writer, OZY, San Francisco Chronicle Book Review, 3:AM and elsewhere. Jon studied literature and fiction writing at Northwestern and Arizona and has developed creative projects for a handful of Fortune 100 companies.
Image Credit: Pexels.
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