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The short story is not just a story that is short: the short story generally differs significantly from the novel in terms of scope, timeframe, number of characters and locations. How details acquire priority in short fiction. The relationships between the short story, flash fiction and poetry. The challenges and pleasures of short and very short fiction. The usefulness of short form writing to the developing novelist in the scope it offers for experimentation with narrative voice, characterisation and dialogue, as well as its value in its own right.
‘It is a complexity of afterthought, a psychological or emotional residue, that we seek to leave with the reader following the intense experience of consuming a short story.’
In her analysis of the rising prominence of recent short and flash fiction, Angela Naimou considers narrative brevity as an opening to geopolitical and temporal expansiveness in her chapter on “Short, Micro, and Flash Fiction.” Measured in major prize awards, sales, or downloads, short and short-short fiction have paradoxically thrived during the spatial and temporal conceptual expansions of, for example, globalization and the Anthropocene. Naimou identifies the techniques of short fiction representing planetary stories of migration, climate crisis, and evolutionary history in works by Teju Cole, Edwidge Danticat, Rachel B. Glaser, Viet Thanh Nguyen, and George Saunders.
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