Welcome to The Inlander's third-ever 101-Word Fiction Contest, in which we invite readers to share micro-masterpieces of narrative, voice and character. We then winnow those submissions to the very best ones and publish the winners in The Inlander and here on Inlander.com.
This year, we're providing this handy form, which will keep track of your word count and automatically forward your submission to contest czar Michael Bowen.
Don't delay. We will close the contest on Thursday, March 10 at 3 pm. (Winning stories will be published on Thursday, March 31.)
Email Us:
feedback@inlander.com
Submission Deadline:
Thursday, March 10 at 3 pm
Publication Date:
Thursday, March 31
Auntie's Showdown:
Sunday, April 17
(see below)
We will invite eight lucky writers to write three additional stories (including some required phrases, props and themes) and to compete in a single-elimination tournament, known as the "101-Word Flash Fiction Showdown," on the final day of Get Lit! (Sunday, April 17, from 3:30-5 pm at Auntie's Bookstore in downtown Spokane).
RULES AND REGULATIONS
Deadline: Thursday, March 10, at 3 pm
Length: Well, uh, 101 words. (That's a maximum; your story can be shorter. The story's title and your name do not count toward the 101-word limit.
FAQ
Can I submit more than one story?
Yes, you may. You can enter as often as you like, but keep in mind how competitive this is.
Really?
The record last time was 11 stories from one person. Not sure any got printed, though. Maybe one.
Are there any required themes or settings?
No. Let your imagination run free.
When will the best stories appear in print and online?
Thursday, March 31
How many submissions do you receive?
In April 2009, we received 430 entries. We printed 30 of them in The Inlander, along with 25 more here online. So it's competitive: Only about one of every seven stories we receive end up being strongly considered for publication.
GUIDELINES
Details matter. In general, use specifics instead of abstractions. Beware the story that's filled with abstract nouns. Short time frames work best. Investigate a spot of time, not someone's entire life story.
Show, don't tell. In other words, don't preach at the reader; allow her to figure out your thoughts for herself. Give her the hints so that she'll feel the emotions alongside you and your characters.
Sensational events don't make for good flash fiction. The simple fact that someone was mugged or raped or met his birth mother or sailed around the world is NOT, in itself, a compelling thing to read in 101 words.
Misspellings and misused words do not inspire great confidence.
Avoid aimlessness and anticlimax: Something's gotta happen. There has to be a payoff. (And don't telegraph it too early, so that the "payoff" is something we knew at the outset.)
Clarity matters. If readers' first reaction is "What was THAT all about?," it's not a good sign.
Avoid cliches and on-the-nose situations.
The story should take us somewhere (emotionally, intellectually) that we were not when we first start reading. We're an alt-weekly. We like snark, cynicism, dark comedy, disillusionment and sarcasm. But we also like wonder and hope and surprise.
Play for high stakes. If the conflict is whether or not he'll wake up grumpy in the morning, so what? But ... if he tends to get violent and hurt people when he wakes up grumpy - well, then, that adds some tension.
The lead sentence should be an attention-grabber. It may be absurd or disgusting or puzzling; it may come from an odd point of view or be deceptively mundane. But whatever it is, it should signal that the writer has taken care with his point of attack and that he's likely to have something to say.
Why should we care about these characters? If you don't have a ready reply, prepare to revise.
