Denton Loving lives on a farm near the historic Cumberland Gap, where Tennessee, Kentucky and Virginia come together. He is a graduate of Lincoln Memorial University, where he works as a fundraiser and co-directs the Mountain Heritage Literary Festival. His story "Authentically Weathered Lumber" received the 2007 Gurney Norman Prize for Short Fiction through the journal Kudzu. Other work has appeared or is forthcoming in Birmingham Arts Journal, Appalachian Journal and in the anthologies Outscape: Writings on Fences and Frontiers, Freckles to Wrinkles, and MOTIF: Writing by Ear. His story "A Sorrow of Mothers" won the short fiction prize in 2008 from the Alabama Writers Conclave.

Davin Malasarn is a writer and research scientist in Paris, France. He received a PEN Center USA Emerging Voices Fellowship in 2008. He was a finalist in the 2008 Glimmer Train Very Short Fiction Contest. Two of his stories, "A Boy In The Sky" and "I Am Waiting For My Dogs To Die" were nominated for Pushcart Prizes.

Stefani Nellen's work has recently appeared or is forthcoming in Inkwell, Cosmos Magazine, Apex Digest, Quarter After Eight, Dzanc Books' Best of the Web 2008 Anthology (with a story originally published in Smokelong Quarterly), and online at FRiGG, Mad Hatters' Review, Bust Down the Door and Eat All the Chickens #7 (the Flash Issue), and others. She's a graduate of the 2008 Clarion Science Fiction and Fantasy Writers Workshop. Stefani splits her time between the US and the Netherlands.

Meg Pokrass lives in San Francisco. Her stories and poetry have appeared or are forthcoming here: Pindeldyboz, Smokelong Quarterly, Wigleaf, Elimae, FRiGG, Word Riot, DOGZPLOT, 971 Menu, The Rose and Thorn, Thieves Jargon, Eclectica, Insolent Rudder, Chanterelle's Notebook, Toasted Cheese, 34th Parallel, Bent Pin Quarterly, The Orange Room, among others. She has performed with theatre companies throughout the US and considers writing a natural extension of sensory work developed as an actor. Check out www.megpokrass.com

Beth Thomas is originally from New Mexico but now lives in Las Vegas due to military relocation. She works as a technical writer in the aerospace/defense industry, and in her spare time plays with her kid, goes to breakfast buffets, plays video games, and watches an unhealthy amount of TV. She has work appearing or forthcoming in FRiGG, Grey's Sporting Journal, Keyhole Magazine, Dogzplot 08 Anthology, elimae, and others. She received the 2007 Kathy Fish Fellowship at SmokeLong Quarterly.

Andrew Tibbetts is an award winning short story writer. He is published in This Magazine, The New Quarterly, The Fiddlehead, Descant, and The Malahat Review. He is currently working on a novel/short-story-sequence hybrid tentatively called "Smell This for Me, Would You?" By day he is a psychotherapist in Toronto.

Shellie Zacharia teaches in Gainesville, Florida. Her stories have appeared in Hobart, Opium, Keyhole, The Pinch, Zone 3, Inkwell, Washington Square, Juked, Pequin, Monkeybicycle, and elsewhere.

In your first few days on the "job" at SLQ, what have you found to be some of the surprises of reading submissions?

Stefanie Freele: Perhaps the only real surprise I noticed was a large amount of stories that start with dialogue as the first line--as in "Go away" he said. I don't know who is speaking, I'm not sure of the tone, the age, the character, what he looks like etc., so that is always sort of a harder thing to read as I feel I need to read the first paragraph or so and then go back and read it again so I can hear the words.

Denton Loving: Flash fiction is a genre I have always enjoyed, but reading submissions is allowing me to see patterns in what I think is good and bad. I tend to always read with the eye of a writer, looking for ways to learn from the good stuff and making mental notes to not do what I find to be badly done. Because flash is short by definition, it has been surprising to me that I can read a relatively large number of submissions at one sitting and am able to find similarities and differences in the stories. It's easier when you can compare one to another, even though it's often like comparing apples to bad cliches. It's helping to define my personal likes though.

Davin Malasarn: I may be completely wrong on this, but I think many of the stories I've read are the result of people trying to impress editors and readers. The stories that stand out to me are ones that are the most self-indulgent, written by people who are creating art for themselves.

Stefani Nellen: I was surprised to see how quickly I developed a 'yes' or 'no' reaction after the first couple of lines. That doesn't mean I always stop there (and sometimes a yes becomes a no and vice versa), but still, it's different from reading stories as a friend or reviewer, where you scrutinize every line. The cumulative effect of reading many flashes in a row is fascinating to me.

Meg Pokrass: The strength of the writer's unique voice in these short pieces is everything! That became clear right away when reading lots of submissions. Unusual details are about the strongest hook. The first line is crucial, but not as a standalone.

Beth Thomas: I have been surprised by how varied the editors' responses can be. A story can get a very positive reaction from one person and a very negative reaction from another. As a writer, this makes me feel better.

Andrew Tibbetts: I am surprised that I have read no submissions yet and people are still talking to me.

Shellie Zacharia: It's fun! It's interesting to see the variety of stories and styles and who likes what.


What is your taste in flash fiction? What do you like to see? What makes a story a "hard sell" for you? What makes it an impossible one?

Stefanie Freele:I guess I like a story where my grin is getting bigger and bigger as I read. Triumphant stuff. Not necessarily a funny grin, but a grin of dang, this is good, I wish I wrote that. I'd like to see more absurdity, humor, quirkiness without being off-the-wall just for the sake of it. I'm sick of reading about stories that are about cheating (spouses, affairs etc.). They would have to be very fresh to make me say yea. Cliches are the kiss of death.

Denton Loving: I honestly don't know if I have a definable taste in flash fiction. It's a genre that amazes me when it's done well. I don't care for this saying, but here it's true: I don't always know what I like, but I know it when I see it. I feel there is a close kinship between flash fiction and poetry, and yet they're different. So I don't care for submissions that really are poems in prose form. I'm not a plot-driven reader or writer, but I still tend to think there should be some kind of action in the story. An event should occur whether it's a murder or simply eating a cookie. It's hard for me to buy into stories that have an unnecessarily unusual structure. I believe writers should experiment with form, but in the end, it has to enhance the story and not just exist for its own sake. What I have hated seeing the most are the stories that are based on an amazing concept but fail to sustain the idea. Those are the stories that are the most impossible for me, and yet they're the one's I most hope will get another draft and another until they are fully realized and find a home somewhere.

Davin Malasarn: I admit that I tend to prefer serious stories, ones that investigate unique emotions that I've experienced myself but was never able to put a name to. I do like funny stories, but those have to be truly original and memorable for me to support. I think humorous writing is often much more difficult to write than serious writing, so the special pieces pass by less frequently. Nothing is impossible, however. I have loved all types of stories.

Stefani Nellen: I would like to see humor and something happening. Alternatively (or additionally) I love to see how something new is done with the form: flashes told backwards or cut up in the middle, mini dramas, recipes, fake translations.... I find it hard to answer the question about the hard sell. I guess my pet peeves concern language rather than topics (of course, it's no secret that there isn't exactly a shortage of stories dealing with cancer, Alzheimer's, alcoholism, dysfunctional relationships, and generalized alienation). I'm not too keen on earnest and diligent writing. Conversely, I'm not enthusiastic about random copy-and-paste jobs from someone's morning pages, either. But then, I won't know for sure until I read it.

Meg Pokrass: I love a story that gets me to look for and savor tiny details, sometimes mundane details. Ones you think you're not supposed to write about can be the best! A "hard sell" story for me is plot-based more than character-based. An impossible story for me is written to get noticed, for shock value, essentially negative attention.

Beth Thomas: I like a unique opener, something that tells me I haven't read this story before. I like for things to happen "now" in the story, rather than just be retold or summarized. A hard sell would be...stories that are wholly negative, gloomy; stories that are summaries with no action; stories that use the word "fuck" in the first sentence just for shock value. Impossible sell: unoriginal stories, stories where the characters are completely passive, stories that are "clever" just for the sake of being clever.

Andrew Tibbetts:If it feels too much like a poem I wonder why it isn't. If it feels too much a short story I wonder why it isn't. It should feel like there's nothing else to say and no other way to say it. Plus, reading it should hurt.

Shellie Zacharia: I like quirky characters. Well, and I also like beautiful, interesting language. A hard sell for me is a piece that's extremely depressing. Or grotesque. Impossible? Hmmm. Really bad writing.


What are some of the challenges you foresee in your new job?

Stefanie Freele: TIME. There are submissions coming in and I want to read each one and give it the time it deserves. Plus, I've got several other writing projects going on.

Denton Loving:Despite already saying I'm not sure I can define my tastes, I've already come to think they may be pretty different from most of the other staff members' tastes. I hope to be a real contribution to the team because I've long respected flash writers in general and SmokeLong Quarterly in particular. So I think it's going to be a challenge for me to sometimes understand why some pieces are so loved and some are so strongly disliked.

Davin Malasarn: I'm most worried about whether or not I'll be able to approach each new story with an open mind. Reading four good stories about a particular subject matter, for example, makes it more difficult for the writer of that fifth story to get accepted, even if their story is just as good. My emotions on a particular day will also affect my reading. But, I think that's inherent to this process, and writers are hopefully aware that a rejection--or even an acceptance--isn't always the sign or good or bad work.

Stefani Nellen: None yet. Keeping up with the submissions, perhaps, but reading a couple of flashes each day is actually nice.

Meg Pokrass: I was worried about about the time commitment originally, but the system has been set up well with many fine staffers to keep everyone well rested, and avoid "burn out." That way every story gets many fresh reads before decisions are made. SLQ cares about their staffers, like they do everything. I'm so lucky to be part of this. I hope I will continue to write as much as I'd like during this busy time. I may need a nudge to do so.

Beth Thomas: I think it's a challenge to judge a story independent of what came before it, based solely on its own merits.

Andrew Tibbetts: Actually doing it.

Shellie Zacharia: Time management. I'm not that good at it. I'll sit down to read a few submissions and then a few becomes more and...


Let us say you find this email in your SmokeLong box: "I'd to like write flash fiction, but I'm not sure what it is. Help!" What are some specific things you would tell this would-be flash writer? Say you also receive this email: "I want to write flash fiction for SmokeLong Quarterly. Help!" How differently would you answer that request?

Stefanie Freele: Write for SmokeLong Quarterly or just write flash fiction? The answer is pretty much the same. Read. Read all the issues and look at the bios of contributors. Read the magazines they're published in. Study the techniques of these authors. What a cool way to do research. Beats watching test tubes.

Denton Loving: For anyone wanting to write flash, I'd suggest what my writing teacher told me about writing in general: If you want to write well, you have to read good stuff. So would-be-flash writers should read lots of flash and figure out what they think is good and why. Regarding SLQ, I have to go back to the way Tommy White described it to me: slightly off-kilter, a little sad, and a little sexy. That's a tall order to fill, and I'm still working it out for myself. Check back with me.

Davin Malasarn: Flash fiction should embrace the idea of the "flash." Whether the story is sad or funny or serious, I want it to feel like it is a fleeting beauty, an instance of magic that's gone before you can even figure out why you like it. Form and function interact, and a story told in flash form should be different from what can be told in a novel or 10,000-word short story.

Stefani Nellen: Reply to first email: Read journals that publish great flash, such as (of course) SmokeLong, juked, FRiGG, Vestal Review, elimae.... Flash fiction is more than a short story that happens to be less than a thousand (or five hundred) words. Treat the word limit as something to work with, not something to work against. Start writing with the goal of writing something short instead of giving up on a short story and pruning it into a flash (as I have done in the past!) Start writing by telling yourself that you'll have to pay for every word. Do you really need it? Think in terms of moments instead of, er, in terms of arches or development or...hello? Are you still listening...? Reply to second email: The same as the above. And: work published in Smokelong tends to be on the realist side of the spectrum rather than the experimental side. The stories tend towards the dark and eerie, but never the dreary. Most importantly, note the wide range of unusual topics. If a story appears obvious to you, it might be too obvious. When in doubt, submit?

Meg Pokrass:I started writing flash by expanding some poems I'd written. I still start many stories as poems. I hunt the web and papers for unusual pieces that spark my imagination as well. And for SLQ specifically, my advice is this: If you've tried sending before, don't give up! There are so many submissions, you must try not to see it personally. If you love the magazine, and keep reading it, and keep sending to it, you're moving yourself in the right direction. Also, read flash, and short fiction on the web and in anthologies. Hoard stories of the writers you love and study them.

Beth Thomas: I might say that I can't just tell someone what flash fiction is. WTF do I know? I would say, read the greats and learn from them. These people are successful for a reason and they can show you what flash is. If someone wanted to get something published in SLQ specifically, I would say do something unique, but not unique just for the sake of it. Write a clear opening paragraph. Tell a story. Make things happen. Be clever but not "clever." Don't be cute. Don't send your first draft, or second. Proofread. Cut out unnecessary words. Emotion is good; sentimentality is bad. Don't be overly gross or overly precious.

Shellie Zacharia: I'd say, "Read flash." There are flash anthologies (and journals) that showcase good examples. For flash, think scene. Think language. Think brevity. For writing for SmokeLong, read, write, and then look at your piece and ask if it is more than just a short piece of prose. It needs to stand out. End strong.


What are some things we all should know about you?

Stefanie Freele: Hmm. I write standing up. I love snow.

Denton Loving: The stuff you SHOULD know about me are things you have to figure out for yourself - after you get to know me. They're the things I can't tell you. However, a few random facts are that I love it when it rains (much to the annoyance of my friends), I wish I had some musical ability (but I don't), and I tend to write (and even talk) in parentheses.

Davin Malasarn: Know that I'm human and my own writing ability is constantly evolving and hopefully improving. The more I learn, the more I can appreciate other stories. Know that, in the end, it's all about making love.

Stefani Nellen: Hmm...I don't think anyone should know anything about me. Your life is probably going to be fine even if you don't know anything about me. But here are some random facts: I'm a Clarion graduate, I read everything from slash fiction to Thomas Mann, I'm fascinated with running (which is probably going to be 'unifying theme' of my first short story collection which I want to finish this year), I like looking at unaffordable real estate online, and I love reading on the train. My sick imagination is my own business, he he he.

Meg Pokrass: I love to laugh, and I do not recognize myself as an adult. I still feel very kiddish. My favorite cartoonist is Roz Chast. My favorite writer is Richard Ford. My favorite film maker is Christopher Guest, and the older films of Woody Allen. Laughing is curative for me, probably because I'm a person who has always suffered from anxiety. Also, I collect and care for a wide assortment of household animals. I spend a lot of time with my kid. I sing dumb songs to my dog.

Beth Thomas: I am enjoying this more than I probably should be. I love Dr. Pepper and cable TV. I am allergic to cats and stories about cats.

Andrew Tibbetts: You should know that I'm currently in love and it's not going well. I am having a hard time doing anything other than wallowing in my delicious/hideous mixed emotions. People in love should get time off work, until it's all over.

Shellie Zacharia: I want to do a couple things in the near future: practice guitar and learn to knit hats.