Reflections on a Decade-long Journey to Getting a Flash Fiction Story Published

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This story took a long time to place. I don’t think it took so long because it was poorly written. In fact, I’ve had some compliments on it over the years. The editor at 34thParallel (one of the first magazines I ever submitted to) sort of gushed over it:

Dear R.E.
Let me say I’m impressed by your story; dialect in any form is difficult–damn difficult–for a whole lot of reasons of which I’m sure you’re aware. So I’ll repeat, I’m impressed–damn impressed (if you’ll excuse my language).

Only this April, the editor over at Barren Magazine had this to say about the two dialogue flash fiction stories I had submitted for consideration:

Thank you for sending “Expire” and “Attributes of a Girl” for our review. I really loved the experimentation but (especially “Expire“) we literally couldn’t tell what was happening. I know these responses are annoying but hope it helps a little!

Tahoma Literary Review also found the piece hard to understand. While they apparently made their way through the dialect, they ultimately decided that it didn’t work:

[I]n “Expire,” I found myself working really hard to parse the patois/dialect.

In other words, the form/gimmick outstripped the narrative.

I don’t blame any of these publications for rejecting Expire. It is a purposefully difficult piece. In fact, that’s the whole point. The form/gimmick is another layer of the theme. In fact, the way the story is presented makes the reading experience mirror the central issue of the story.

If you do figure out what is going on, then you realize that the story is about how difficult it is to get a point across when trying to tell a story. The piece is constructed in a way that makes it difficult to get.

While the narrative revolves around a guy who doesn’t understand a specific word in a story being told about the Titanic, the form of the story itself challenges you — the reader — to understand the story on the page. Expire is printed as a block of text, using only dialogue without any dialogue tags, and one of the speakers in the story uses a black American vernacular to boot. So, indeed, you should have found yourself “working really hard” to figure out “what was happening.” The reward for that hard work is connecting your own challenge reading the story to story’s central conflict. The difficult reading experience combined with the fictional narrative reveals the theme.

Expire is hard, and it’s meant to be hard. So I’m not surprised that I’ve received both positive feedback and criticism. Yes, I’m a little surprised it took me a whole decade (with a total of 40 submission attempts) to get Expire published, but published it is at long last by Raw Art Review.

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One of the differences with Raw Art Review is their commitment to trying to get a work. And that’s why I think they published this story where others didn’t. Bullet ten of their current submissions guidelines says this:

Editors assume you are smarter than we are. We will strive to understand your intention ; stay open-minded and try to avoid imposing our presumptions on your work.

Trace Sheridan, the editor with 34thParallel who in 2009 wrote that she was “damn impressed” with the use of dialect in the story, asked to see some more pieces alongside it. She ended up publishing my story Bad Weather instead of Expire. I don’t know exactly why she or her team didn’t publish it, although I think they would have had I had more stories like it — dialogical and dialectical — since she asked to see some more stories while also asking, “Is this part of a larger set/collection of pieces?” And, at the time, no, it wasn’t a part of anything larger than itself.

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Expire did eventually inspire me to spend a year writing dialogues. It was a good year. And I came out of that year with a good collection. Truly, I owe a whole book to Expire that I wouldn’t have otherwise written. Expire not only set the tone and implicit theme of the entire collection, but as a story that took a decade to get published, it reminds me that storytelling is a difficult art, even when you accomplish perfectly what you intended to do, like I did with Expire. It is one of my best pieces. And like many great pieces of storytelling, it says something that not everyone can hear and not everyone will like, but it says what it has to say boldly. And it’s been saying it for ten years, and it will continue to say it as the first story in my book of dialogue-only fiction and as an important addition to my oeuvre.

Randal Eldon Greene is the an author of one short novel and many even shorter stories. He is currently editing a collection of dialogue-only fiction and completing his second novel. Follow his writing journey here on Medium, Twitter, Facebook, and Goodreads. Links to all his creative work plus interviews can be found at AuthorGreene.com

Dialogues by Randal Eldon Greene on Medium

(Featured photography in this article originally found on Pixabay under a CC License. The magazine photos were shared from the respective websites of the publishers. All other artwork is original.)

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Randal Eldon Greene

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Bookworm & logophile. Words at www.AuthorGreene.com 📗

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Randal Eldon Greene

Written by

Bookworm & logophile. Words at www.AuthorGreene.com 📗

The Ascent

A community of storytellers documenting the journey to happiness & fulfillment. Join 128,000+ others making the climb on one of the fastest-growing pubs on Medium.

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