Best British and Irish Flash Fiction 2018 -2019: Senior Editors


From 1st June 2018 to 31st May 2019, four Senior Editors will be curating a comprehensive list of outstanding Flash Fiction published online and in print, written by citizens of Britain and Ireland:

Best British and Irish Flash Fiction

2018-19

Each season a Senior Editor will be responsible for curating and selecting a list of Flash Fiction with discussion and debate over the final list to take place in June 2019.

Details of the Senior Editors can be found below. 

 

 

Editors and publishers of websites, journals, magazines, anthologies, and collections are encouraged to submit recommendations to our Senior Editors, via our online portal:

HERE

URL links or Word documents can be attached. Editors and publishers are equally welcome to contact Senior Editors and send them Flash Fiction in hard copy.

Individual writers should NOT submit their work or the work of others, however they may make suggestions via email or on social media. We do encourage the involvement of the Flash Fiction community.

Criteria

  • Language: English
  • Writer’s Nationality: British or Irish
  • Publication: Open globally, print or online. Writers must be British or Irish.
  • Published between: 1st June 2018 and 31st May 2019
  • Type: Flash Fiction
  • Length: 1000 words or under.
  • Genre: Any

We are committed to finding the very best Flash Fiction from all over Britain and Ireland, encouraging and embracing writers from any and every background. 

Process

Each Senior editor will be responsible for collating at least 50 exceptional Flash Fiction during their reading period, with a list of at least 200 pieces being gathered by 31st May 2019. The Senior editors will then meet to whittle down the list to a longlist of 100, and a shortlist of the best 50 Flash Fiction written by British and Irish authors.

Objectives

The U.K. and Ireland are fast becoming home to Flash Fiction, with publications, competitions, and writers emerging all across these two small, neighbouring islands.

TSS Publishing wishes to celebrate this wealth of talent and reinforce the extraordinary opportunity this wonderful form has to offer.

 


Senior Editors

 

SUMMER 2018

1st June –  31st August

Senior Editor: Rebecca Williams 

Contact: Rebecca@theshortstory.co.uk  

Biography

Rebecca Williams has had pieces in Zero Flash, EllipsisZine, The Cabinet of Heed, Retreat West and Spelk amongst others and is currently working on a novel. She enjoys stories that are dark, quirky and bold. Her favourite authors include Bret Easton Ellis, Margaret Atwood and Alice Hoffman. She lives in Surrey with her young family. You can find her on Twitter @stupidgirl45 or on her website here.

Editor’s Statement:

Rebecca Williams likes quirky, dark fiction and wants to be made to feel something – sorrow, anger, fear, love. She also likes a bit of horror, sci fi, or speculative fiction. She does’t like overly flowery descriptions or stories without plot.

She wants to be taken somewhere she wouldn’t normally go.

Rebecca is also all about diverse voices and making sure the unheard are heard.

 



 

AUTUMN 2018

1st September –  30th November

Senior Editor: Barbara Lovric

Contact: Barbara@theshortstory.co.uk

Biography

Barbara Lovric is an American expat living in County Kerry. A previous Irish Writers’ Centre Novel Fair winner, she was short-listed for the 2017 Over the Edge New Writer of the Year Award and long listed for the 2017 Bare Fiction Prize. She has short work in The Fiction Pool, The Incubator, and Cabinet of Heed. Her debut novel will be published in Spring 2019. You can find out more by checking out her website here. She Tweets @BALovric

Editor’s Statement

I love great STORIES – your unexpected and unique, but not sold on mad twists in the last line. 

My eyes glaze over at: relationship angst (unless see above); pretty words with no narrative drive; cats, and butterflies.

I don’t care who you are; what degrees you do or don’t have; the colour of your skin or god (if any), or who you like to jump in the sack with. The only thing I care about is your story and how you tell it. For more info, see Barbara’s recent Reader’s Report for TSS – click here.

 


WINTER 2018-19

1st December – 28th February

Senior Editor: Neil Campbell

Contact: Neil@theshortstory.co.uk

Biography

Neil Campbell is from Manchester. He has appeared three times in Best British Short Stories, and has four collections of short fiction published: Broken Doll, Pictures from Hopper, Ekphrasis and Fog Lane. His first novel, Sky Hooks was published in 2016. His second novel, Zero Hours, was published earlier this year. You can find him on Twitter @neilcambers and on his website here.

Editor’s Statement:

I have always preferred stories where meaning is inferred through symbolism and metaphor. Plot is secondary for me. My favourite flash fiction of all time is ‘Gold Coast’ by the American writer Stuart Dybek. It is closer in form to prose poetry than fiction, and these are the kinds of flash fictions I enjoy the most. I also believe diversity is incredibly important in fiction’s role of reflecting contemporary society, and while that is obviously not the only remit of fiction, it will play a necessary part in my choices.

 



 

SPRING 2019 

Senior Editor: Elisabeth Ingram Wallace

Contact: Elisabeth@theshortstory.co.uk

Biography

Elisabeth Ingram Wallace lives in Scotland, and her writing is published in SmokeLong Quarterly, Atticus Review, Flash Frontier, and the Bath Flash Fiction Award anthologies. A finalist for The Best Small Fictions 2018, she has a Scottish Book Trust ‘New Writers Award’, a Dewar Arts Award, and won ‘Writing the Future 2017’. She studied English as a mature student at Oxford University, and has a Creative Writing M.Litt. with Distinction from the University of Glasgow. She also won the TSS Flash 400 summer competition with her Flash ‘Space Hopped’ which can be read here.  You can find her on Twitter @ingram_wallace or on her website here. 

Editor’s Statement:

In Flash Fiction, I want honesty, humour, and risk.

I want emotional movement, and play with structure, subject, and language.

I don’t want weird for weirds sake – some surreal riff about mutating into a pilchard, without any heart. If you want to mutate into a pilchard give it some welly, some purpose – for the love of all that is aquatic!

I don’t want a self-indulgent dream sequence, shuffling around in the glittery unitard of prose poetry. When people prose-poem me, I get confused, and bored, and then I’ll start talking about pilchards until I cry, and you cry, and then we’ll all explode into pilchards, and you don’t want that.

I find depressing preachy stuff a bit depressing and preachy. If it belongs in the ‘Painful Lives’ section of a bookshop, I’m not buying. 

I want words I feel in my gut. Glandular stories.

This interview explains more – click here.