Send Us Your Best, Your Freshest Picks!
Submissions for the Fall 2022 issue of The Dribble Drabble Review are open. This carefully curated, biannual (Spring and Fall), online literary e-zine is staking its claim among venues for all things little-ature. A solid group of international writers continue to respond proving a worldwide response to our ongoing call for exceptional quality short-form compositions. Note: TDDR is open themed, so let those imaginations blossom.
Dribbles should be written at exactly 50 words with Drabbles written at exactly 100 words (not including titles). Send your original, unpublished entries to the editor via the contact tab provided; send up to five entries in each category, formatted as you like, with your name and brief bio (all in the body of your email). Your bio should not exceed approx. 50 words, please. Submit prose, poetry, or prose poetry for that matter! Deadline: midnight, CST, on August 15, 2022. Regrettably, only accepted submissions will be notified within 60 days of delivery due to the sheer number of entries. Too, entrants agree that submission in and of itself will serve as an author's permission to publish (with first electronic and non-exclusive archival rights) as well as the right to publish in future print anthologies.
Simultaneous entries are permissible, but notify us if your piece is selected elsewhere in order to pull it from our pool of prospects. Rights revert back to the author upon production of the next sequential edition of TDDR. Too, we do require, in regard to reprints, that TDDR be indicated as your piece's original publisher.
We will do our best to accommodate special formatting, while we also reserve the right to edit upon need. Note: in forms as short as these, we do encourage active / present tense, but it is not a mandate.
Please abstain from sending any erotica, politically infused or discriminatory / hate-related themes.
This is a non-monetary opportunity; but, there is also no cost to submit. Compensation will consist of supporting our writers with quality presentations of their work, a strong artistic community, and individual promotion.
10 Things I Think I Know About Flash Fiction by Guy Hogan
Flash fiction has been good to me. It won me a K. LeRoy Irvis Fellowship that not only paid for my MFA in fiction writing, but also gave me a generous monthly stipend and free medical for three years. I'm pretty proud of this accomplishment, especially since I was in my late fifties when I got my MFA from the University of Pittsburgh in 2006. I had to teach a class of fiction writing to undergrads during my second and third years at Pitt. Yes, I was a teaching assistant (TA). I served in Vietnam. And along the way I've managed to get my flash fiction published in several publications, some of them paying markets. All this unseemly boasting is to establish my credentials. I know something about flash fiction. You can find my thesis, COMPRESSIONISM: THE PITTSBURGH STORIES, on Amazon in Kindle or paperback and my later work on Patreon where a lot of the content is free to the public. None of what follows is meant to be the rules of writing flash fiction. I'm just thinking out loud and maybe my ruminating will give you some aid and comfort on your own journey as a writer of flash fiction. So, what are these ten things I think I know about flash fiction?
All flash fiction is made up of a significant event with closure.
The significant event can take place before the beginning of the story or during the story or after the ending of the story.
The closure can be implied.
Because so much of a flash fiction story must be implied the reader becomes part of the creative process.
Dialogue is not merely talk.
Dialogue should do three things. It should characterize the speaker. It should add to the meaning of the story and it should move the story to its resolution.
The thing that makes a flash fiction story a flash fiction story is its form. Content or genre is secondary. You can make flash fiction out of anything.
And what is the form of a flash fiction story? There's the beginning, the middle and the end. This is the form of the traditional short story. I like to put my own spin on the form of flash fiction. There's the setup, the build up and the payoff.
The flash fiction writer is someone who can write short on long subjects.
And finally, here's a quote from Ernest Hemingway my favorite author: "If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing."
Well, that's all I have for you right now. Keep reading and writing that flash fiction. We're all in this together. I'm rooting for you.
Enjoy this 5th/Spring Issue, and submit for our Fall 2022 Issue today!
The Word on the Street
This journal is so beautiful, I am honoured to be part of it.
Valerie Pocock, Cansda
A fine issue. Full of gems. Bless your heart, your eyes, and your solid sensibilities.
Bob Thurber, USA
A very worthwhile read.
Kevin Russell, USA
OMG, I love the name and concept...
Abby Rose Manis, USA
It's a pleasure to see such a quality debut; there are so many wannabes.
John Mannone, USA
Lynn White, USA
Thanks for giving little-ature, as you cleverly put it, this wonderful platform.
Blake Kirkland, USA