***Cancelled for 2020 due to coronavirus pandemic***
Celebrating its fourth year, Flash Fiction Festival 2020 spreads out over three intensely creative days in June. The festival unfurls on Friday 19th, Sat 20th and Sun 21st June, welcoming fabulous flashers including Kathy Fish, Nuala 0’Connor, Ingrid Jendrzejewski and Tania Hershman.
`the weekend takes place at Trinity College, Bristol, and is packed with inspiring workshops tackling every aspect of flash fiction, from Climate Writing with Deb Tompkins, Creative Visualisation with Karen Jones, Getting to the Heart of the Matter: Creating Emotion & Yearning on the Page: with Kathy Fish, Going Further With the Novella-in-Flash: With Michael Loveday, Writing the Prose Poetry Sequence. With Carrie Etter, I Didn’t Sign Up for This! How to Get on Stage and Read Your Work with Confidence: with Nancy Stohlman, Hybrid flash with Tania Hershman, and Foraging For Inspiration with me!
These are just a few of the wonderful offerings tempting you to sign up. See the website to find out what else is happening.
I helped out at the festival in 2019 and came away with a notebook full of ideas, and a hunger to power up my laptop. The festival team, headed by directors Jude Higgins and Diane Simmons, plus festival curator Meg Pokrass, make this a weekend of imaginative adventures, attracting some of the loveliest writers ever to dip a toe into the art of flash writing. Join the throng before all spaces fill up!
Book your flash festival admission here.
Lifetimes pass in a twinkling in this novella-in-flash from Diane Simmons. Eighteen tightly woven short stories sew together moving glimpses into the love, betrayals and reconciliations of four generations over a span of seventy years from 1932 to 2002.
We enter their world via a door into a pawnbrokers’, where kind-hearted Thomas is moved to help those who enter his dad’s shop in their darkest hours. By the end of the novella, we’re rediscovering the unclaimed items from that shop, alongside Thomas’ grandchildren, and understanding the desperation and hope those shops and their glinting miasma of contents represented.
The book’s earliest flashes stream by at disconcerting speed – it took me a few disconcerted chapters to adjust to their pace. Deaths and funerals rattled by with unnerving rapidity, and I found myself craving deeper delves into the lives Simmons’ wafted past my eyes. One blink, and I felt I might miss a crucial triumph or catastrophe.
The velocity eases as the novella progresses, however, and I realise now how accurately Simmons has captured a sense of the past through the her use of acceleration in those early chapters. Ask anyone about an ancestor, and the likelihood is that in return you’ll receive a blurred array of snapshots – births, marriages and deaths, an anecdote of a feud or act of selflessness and little more.
As we near the current century, we have a chance to catch our breath, and fully focus on the people before us.