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Smoking With Nick Harmon
by Nancy Stebbins

Photo by Karrah Kobus
Art by Karrah Kobus
What was the starting point of this story?

It's interesting, this story didn't begin how my stories normally do. Generally, I'll get a voice in my head that's repeating a sentence and then a paragraph (often times when my fiancée is telling me something of importance that I will later claim she never said,) then I start writing it down. If it goes somewhere, or exposes something/someone interesting, I'll stay with it and hopefully it becomes a story.

With this story, though, I had a character in mind—a real person actually. I used to know this homeless guy named Darwin. I'd run into him outside of bars after close. He'd be holding his sign that said, "Why lie, I need money for beer," and I'd trade him a regular cigarette for one he'd rolled. That was the extent of my charity, but I think he was fine with it. One time I sort of "came to" sitting against the front of a bookstore. I was sipping on a half pint of McCormick's vodka and realized Darwin was sitting to my left and this other homeless guy, Ron, with three fingers missing from one of his hands, was on my right. Another time I was in detox and this younger guy was trying to take the plastic mat Darwin was sleeping on. A fight started, but I don't remember how it ended. So, he and I had this weird, always coincidental, almost Déjà vu feeling, relationship during—needless to say—a very strange period in my life.

Anyway, so I imagined Darwin having to wash his clothes in a creek. That's how it started.

You do a wonderful job creating this dark and dangerous (and cold) world. By the end of the piece, it's pretty clear Mendel is doomed, and we don't know how the efforts of the narrator and Karen will go. Did you imagine them past this piece? Do they survive?

Thanks for the compliment. Honestly, I'm getting a little anxiety thinking about the idea of my characters existing after the stories are over. Those poor, sad bastards. Maybe, if I ever get writer's block, I'll put together something about them all coexisting on an island, somewhere far out in the Universe where they can only do harm to each other. Let's hope that never happens.

If I were to write this as a full length piece, not flash, I think the story would still start and end at the same places. I don't think we're ever intended to know what happens. Though, if I were to venture a guess, I would say Mendel is dead. Karen would stab him to death in the middle of the night with her "trench stick," without consulting the narrator first. But she would then discover Mendel's pistol was empty the whole time. However, the complete opposite could also happen—Mendel could get the best of the narrator and Karen—or they could all live happily ever after. This story is really about how humans react to fear. It's such a primitive instinct, and it exists in all of us. The interesting thing about fear is there doesn't have to be a real threat behind it. An empty threat, that can't be proven to be empty, produces just as much fear as an actual threat.

Do your stories tend to be dark?

You know, that's not really something I think about, but I guess most of them could (or would) be considered dark. Of course, it's subjective. I don't see them as particularly dark, and I've never set out to write a "dark" story. I write about subjects and people that interest me, and if you're writing an honest story that has anything to do with people, at all, it will be, to some extent, dark, right? Even if you write a "silver lining" story, there still has to be something to put that silver lining on.

I suppose it just depends on where your imagination takes you. It's not like you can control it. I want to write unique, interesting stories that entertain and hopefully make readers feel and/or think. When I get my characters to a place where I need to start throwing shit at them, I think, what could happen here that is interesting, unique, entertains and yet is still consistent with the character's behaviors and the world around them. Generally, the best ideas I come up with are pretty messed up. Fortunately, the real world is pretty messed up, so I don't think my stories ever seem too far-fetched. Disturbing, maybe, but not unrealistic—the truth in that statement, of course, being more disturbing that any work of fiction.

What is your approach to titles for flash pieces? Is it different than for longer pieces?

Yeah, you see how the story's about fear and "Fear" is also in the title? That's just how clever I am when it comes to titles. Maybe that's not true, but I don't consider them my strong suit, nor do I enjoy deciding on them. When I'm thinking about a title, first and foremost, I'm trying to not ruin the story. That probably sounds bad, but, in my opinion, a weak title can do more harm than a strong title can do good.

So, I suppose, I probably go about the whole process backwards: not what's good for the story, but rather, what's not bad for it. I'll get a few floating around—using that logic—and then decide which one of those is best.

To answer your second question: no, I think it's whatever feels best for the story, regardless of length. Though I do think the titles of my shorter pieces tend to be longer, for whatever that's worth.

Read The Fear of Something Happening.

Karrah Kobus is a conceptual portrait artist and wedding photographer from Minneapolis, MN. Karrah stumbled upon the magic of photography while studying for an anthropology course—she came across a photo created by Rosie Hardy and knew immediately that she was meant to be a photographer also. With her budding career taking her across America and to Mexico and Canada, it has been an adventurous two years for Karrah. She's driven across the country to meet perfect strangers and bathe in waterfalls after covering herself in mud. She's spent countless nights, mornings and afternoons running around aimlessly and just because she had her camera; everything was, and always will be, okay. Sometimes she feels like photographers have uncovered a special secret. A crazy, amazing, and beautiful secret. The key to truly living. And all she wants is to be alive.


Issue Thirty-Eight (December 17, 2012): Call Me Your Unbroken by Chuck Augello «» Slow Dance by Andrea Danowski «» Moms' Advice by Amy Denham «» Crushed Ice by Gary Fincke «» Second Runner-Up by Faith Gardner «» The Fear of Something Happening by Nick Harmon «» Christopher by Annie Hartnett «» Messing with Texas by Anderson Holderness «» Exercise in Translation by Naira Kuzmich «» Boy Cyclops by Helen McClory «» We Were Always Laughing by Mark O'Neil «» The Speed of the Sound by Patty Petelin «» The Earth Drowns Us by Brenda Peynado «» Shit To Do with a Wedding Dress by Angela Readman «» The Invitation by Amy Scharmann «» The Abridged Biography of an American Sniper by Linda Simoni-Wastila «» Dark Times by Matthew Smart «» Parameters of a Kingdom by Laurie Saurborn Young «» Interviews: Chuck Augello «» Andrea Danowski «» Amy Denham «» Gary Fincke «» Faith Gardner «» Nick Harmon «» Annie Hartnett «» Anderson Holderness «» Naira Kuzmich «» Helen McClory «» Mark O'Neil «» Patty Petelin «» Brenda Peynado «» Angela Readman «» Amy Scharmann «» Linda Simoni-Wastila «» Matthew Smart «» Laurie Saurborn Young «» Cover Art by Josh George «» Letter From the Editor
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