The winning entry of National Flash Fiction Day’s inaugural novella-in-flash competition is a vivid splash of light striated with human emotions.
Joanna Campbell’s ‘Sybilla’ draws us into the seemingly peaceful world of a Berlin bookshop where shelves are stacked with books rescued from bombed homes. Campbell’s lyrical writing paints exquisite watercolours of each scene. In the first flash, aka chapter, ‘Stacking’, we get to know the routine of Lara and Felix, from the “blue cup and saucer” Lara keeps by the cash register, which Felix refills from “a steaming jug every hour”, to the rows they construct “of jacketless little books about trees and butterflies and canals” and the pile they build of books about “ships, viaducts and mountains.”
Adding to that the sounds of “coffee pouring and the hands of the grandfather clock juddering” and my first impression was that there’s nowhere else I’d rather spend time.
But outside in their city of ruined buildings, a wall is rising that divides West from East Berlin: “The Wall grows fast, casting the shop into shadow.”
With the sub-title “from blank page to finished manuscript”, this is very much the printed equivalent of taking a focused MA on the topic of the novella. It’s laid out beautifully clearly into modules, with delicious, restorative snacks in the form of exemplary flash fiction nuggets to nibble on along the way.
Author, editor and creative coach Michael Loveday explains that his book is an assortment of suggestions to help you find out what works for you in the area of novella-in-flash. In this way, it seems intended to be used less as a map than a tourist guide of hotspots you can choose to visit and enjoy.
Even if you would usually bypass the Prologue, you ought not to this once, as in Loveday’s hands it becomes almost like a ‘meet and greet’ at the start of a tour. “This craft guide isn’t seeking to set out fixed rules for how every novella-in-flash should be written,” he writes. “So much remarkable writing deliberately breaks the boundaries of common practice. Instead, (it) is intended as a springboard, a source of ideas and options.”
Set in a coastal village and on the surrounding seas, Tom O’Brien’s intensely told novella-in-flash examines the insularity and isolation of grief.
Our narrator is Rosa, living on the shore of the sea that swallowed her husband Matteo ten years ago. With the sound of waves endlessly within earshot, she can’t move on from the hope that Matteo will re-emerge with the next tide.
It opens with a powerful declaration: ‘“I know that you’re dead,” I said to my husband. He didn’t respond.’
Rituals bring scant comfort – the making of tea for a wraith who can never drink it, the poring over of treasures he gave her as tokens of their love – each repeated as if Rosa can lull nature into letting what it has taken slip back to where it, or rather he, belongs.
Rosa confides: ‘There was no storm when he drowned. A freak wave hit the boat, they told me, caused by something far away.’ The details of this sentence are intriguing – the idea of something so seemingly inconsequentially distant could cause such devastation in the centre of a woman’s life ripples through every story that makes up the novella.
Piecing together the gritty aftermath of an earthquake in extraordinarily vivid and poetic language, Tracey Slaughter’s novella-in-flash has the strength to shake you to your core.
Written entirely in the second person, she places ‘you’ directly inside the drama that unfolds as people count their loved ones, their possessions and their blessings. With each header a line from instructions on what to do in a disaster, she both deepens and lessens the horror through the relationships shivering around her narrator: her severely injured husband, her missing, presumably dead, lover, her guilt-stricken father and his determinedly buoyant friend Jack, who provides much of the comfort while seeking relief from his own fears through gathering and hoarding fragments of other people’s shattered lives.
In “use common sense, keep calm, and follow any instructions given’, Slaughter depicts the discombobulation following a cataclysm on this scale, wryly observing the sightseers venting in the narrator’s dad’s taxi. “They feel compassion, but also ripped off. It’s like booking a luxury break in a carpark.” Even in the bleakness, Slaughter serves up humour amid lines of startling beauty: “The gouge through the Cathedral roof is like a hole straight through to God.”
Slaughter describes unfathomable terrors in sentences so perfectly crafted that we’re standing right there beside the narrator. Her husband, being carried through a fractured hospital, is “all the emergency I could breathe.” Glass is a threat: “we know it careens at you in jerks, until your freckles are lit up, red studded.”
Fewer friendships are more complicated than the same-sex ones we have as we near and break into our teens. In ‘When It’s Not Called Making Love,’ Karen Jones draws us into the intimacy that straddles bullying and lust, as innocence sloughs off cell by cell.
Jones makes powerful use of the novel-in-flash form, with each of her 16 flash fictions building on the last as her characters hurtle towards adulthood.
While each story could be siphoned off to stand alone and shimmering in solitary perfection, each plays such a crucial role to the overarching tale that should any be removed, the whole structure could shatter. This contributes to the tension of the underlying story, with a sense of characters clinging on by their fingertips.
The novella opens with ‘Recommended Stopping Distance’, a flash that rings out for almost a full page in one long torrential sentence, before finally a full stop allows us to take a breath. There’s so much crammed into this first sentence that it’s worth reading twice – once for the sheer exhilaration of it, and again, to catch the details that may become important later.
In this powerfully layered and tightly stitched novella-in-flash, author Mary-Jane Holmes weaves a world where nature waits in corners and on the edge of hearing, barely out of sight.
Our protagonist, known as ‘No-more’ after the refrain her mother was rumoured to have repeated after her birth “over and over again”, is as spirited as the wild creatures who share the landscape she roams. The opening story deposits her in our lap as her mother leaves her “howling in twitch grass by the river” so that she survives only because her father finds her stumbles back to the loom, leaving her father Maurice to tie her to his back so that her waking moments are spent “in quarry and field” with his blood pulsing against her own.
Although rooted in “the marshlands from Damvix to Gruelle” in France, there’s a sensuous texture to the novella that evokes folk tales from all parts of the world where people are in rhythm with the land.
Holmes draw us ever deeper into a place where we can feel the cool mud under our feet, and when No-more’s beloved father is hooked by a tip of a weather-vane he is repairing, we fly with him, caught on the same breeze, so visceral is the writing.
Bookended by the purchase and sale of a home, Alison Woodhouse’s debut novella in flash explores the bricks and mortar that form a family. Woodhouse mines the emotions grinding below the activities of everyday life – the small resentments, disappointments and unspoken dreams we pick up on without identifying, knowing only that we feel uneasy.
The unnamed estate agent has ambitions for the home she needs to sell – “She hoped she’d found the right family to bring the house back to life.”
In less than four pages, Woodhouse introduces us to the individuals that make up the 1980s family tasked with this job: Martin, “who turned up in a smart suit, carrying a briefcase”, Helen, “flustered and fifteen minutes late”, plus the children, later named as Joe and Natalie, who “had climbed into the pink bath. They sat opposite each other, foreheads touching as they whispered.”
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.
A novella in flash in a canny concept. Flash by nature and when done well can contain within a few hundred words the resonance of an entire novel. By layering one on top of another to build up to the length of a novella (or at least, a meaty short story), you get a cumulative effect. Each individual piece, ranging from a single line or paragraph to a page or two, has the strength to stand alone, but by adding more attuned pieces to the slew, you end up with a distinctly explosive novella form. Quite simply, you get more bang for your buck.
This is never truer than with Luke Whisnant’s In the Debris Field, the title novella of Bath Flash Fiction Award’s trio of novellas in flash. Whisnant tells the story of Dennis (referred to throughout almost solely as ‘You’), his twin sister Denise and brother Donnie as they skid through childhood to middle-age. Contained in such small parcels, each tale’s narrative is heightened, summoning the raw emotions of adolescence with soaring skill. Continue reading