Thank you. It was a huge honor, and I was exposed to so many beautiful novellas-in-flash. I was absolutely overwhelmed by the talent. I don’t think I read a single bad one.

• You always have a lot of projects on the go. Recently you have been the recipient of the Gone Back to the Wild project in New York State to write 100 word stories about the wilderness in Western New York. Can you tell us a bit more about the project?. How is that going ? I think you have a couple of books being published that have arisen from it.

It’s good. The first book Gone Back to Wild is out. The second one Slowly through the Grove will be out soon both from Arroyo Seco Press. I’m grateful to the press and the New York State Council on the Arts. I’m writing 100 pieces for each book and each piece is exactly 100 words. The process draws out memories and emotions that I didn’t know I had. Basically I compose all of them as Italian sonnets and then slowly take them out of that form and transform them into prose poems or vignettes depending on the subject matter. That way they have a kind of underlying music, or so I hope.

I’m writing about the natural world of Western New York. When I say, New York, people think of the city. But I live in a rural community maybe 8 hours from the city. I’m near Pennsylvania in Northern Appalachia. Think maple forests and Amish people and corn farms. There are so few people here that I can wander the woods in joyful isolation and meditate. It’s a forest full of whitetail deer and bears and woodchucks. That’s what the collections are about, the meditation and radical wonder that comes with intentional isolation.

• Have you any new projects coming up?

I do. I’m working on a zuihitsu project, which is a Japanese form that’s hybrid prose and poetry. It’s essentially a journal that rambles. I’ve been rereading and studying the Romantic poets and artists in the UK and their influence beyond, and I’m writing about them in relation to Appalachia, trying to see beyond the stereotypes associated with this area. I’m not sure if your British readers are aware of those stereotypes, but this place and these people are often denigrated, but the beauty that universally exists throughout the earth in all people and places exists here as well, and taking the time to see it is an act of spirituality. That’s what I hope to accomplish with these pieces.

• We’d love to know about your different asynchronous classes on poetry, flash fiction levels one and two, memoir and building a career in the small presses. They sound very exciting and good value. Are the flash fiction ones suitable for anyone who hasn’t written flash before?

Yes, I have two levels of those classes, a basic class for people who have never written flash and a more advanced class for people wanting to write novellas-in-flash. I have video taped lectures with students and then we follow up with one-on-one personal manuscript reviews. I think people like the manuscript reviews the most. I love working with people, so please contact me if you’re interested!

• What, for you, makes a winning fiction of 300 words or less

An extraordinary point-of-view. We all have that, but we often don’t realize how our points-of-view are astounding to other people. The pieces that capture me are the thoughts of people I have never fully contemplated before. So they see a place differently from me or they understand a concept in a new way.

I love to show people my Appalachia for example and then have them show me theirs. What we get from that is a new vision and now entry into humanity. Its a way to develop my compassion and empathy. It’s what masters like Meg Pokrass, Pamela Painter, and you too Jude give to us.

• What do you think writers most need to pay attention to before they submit?

Blocking out all the voices who told them that the way they see the world is the wrong way. Often, I see well-crafted pieces that are essentially like work that came before. When I taught at a college in Long Beach California, unsurprisingly a lot of the students wanted to write like Bukowski because he was around. His voice often dominated their experience, but I didn’t want his experience. He was all right, but I was much more interested in seeing how they saw the world.

• As you are known for your interest in writing about nature, can you give us a nature based prompt to inspire a story writers might want to enter?

This is my favorite prompt: Write about the first time you can remember being outside by yourself. Do NOT write about the first time you were actually outside by yourself. Write about the first time that you REMEMBER it. If that was when you were 4 years old, great! If that’s when you were 68 years old, that’s equally good.

The 32nd Award closes on Sunday February 1st 2026

Thank you to our 31st Award Judge, Kathryn Aldridge-Morris, for her excellent and detailed comments on her reading process and the winning stories

Judge’s report

Reading this longlist reaffirmed my belief that flash fiction writers are where it’s at in the literary world. The stories in this round popped with pitch-perfect prose and demonstrated a deep understanding of how form impacts story. There was something stand-out in every flash I read, and it was clear why they’d made it through to the longlist. Congratulations to all the writers, thank you for trusting me with your words, and thank you Jude Higgins for inviting me to judge and immerse myself in these story worlds.

There were so many stories in the shortlist which moved me, through gorgeous language, brilliant metaphor and imagery, or made me laugh at human behaviour and the state of the world or portrayed characters and relationships that felt authentic and relatable. It would be impossible to select only a couple for a special mention. I journalled for days. I dreamt about the stories. Ultimately, some started to dominate my notes and my dreams, some whose emotional impact refused to fade and which revealed new meanings on multiple readings.

First place: Two nude night-owls
Wise and understated, this story is a masterclass in how to depict yearning and suadade; an untranslatable Portuguese word which tries to pin down the feeling of nostalgia for a thing—or person— you’ve never had. ‘I miss you, but I haven’t met you yet’ sang Bjork. The narratorial voice lingered and pulled me back over and over. We open and it’s past midnight, literally and metaphorically in the narrator’s life. The unfolding scene is cinematic and dreamy. The story speaks to the peculiarities of our times. We are together but separate. We’ve never been more connected, never seen so much into each other’s lives, yet we’re living through an epidemic of loneliness. ‘We’ve never discussed a fence or planted a screen of shrubs…’ says the narrator who sees his neighbour swim nude every night. This is about the necessity of letting go, reinforced by the casual repetition of ‘whatever’ throughout the piece. Closeness to death is bringing a reckoning with what truly matters and the narrator’s realisation at the end is quietly devastating.

Second place: Vagina First<
The moment I’m conscious a piece is a breathless sentence it can pull me out of the story. In Vagina First the voice is so compelling, the cadence so perfect, the structure doesn’t draw attention to itself until it lands on that perfect beat. Nothing detracts from the tension between a daughter’s palpable excitement at leaving home and her mother’s struggle with letting go. The emotional impact is heightened because the mother’s actions are filtered through the lens of the daughter and with each detail casually relayed we feel in our bones the mother’s fierce, protective love. This writer also understands how to use comedy to help land a gut punch. Not enough that this mother wants to conjure up an image of a bear eating her daughter. She needs to ratchet up the stakes, and the timing of the phrase ‘vagina first’ is exquisite. It makes us laugh because it is unexpected, but also, I think, because it forces a moment of recognition of the crazy things love can make us say and do. This piece not only made me feel, but it made me think – of the man vs bear debate, of how patriarchal fascism comes for women’s rights first. Then, the final, crushingly sad image of the mother opens up a whole new layer of understanding.

Third place: My Husband Watches Henry the Donkey
This story is a skilful snapshot of the complex, divisive and absurd times we’re living though. In the future people will need to read stories like this to understand how it was possible we watched reels of donkeys as a form of solace. But we do. A sick body politic is making the couple in this story sick. With deft use of the rule of three, sentences starting with the verbs ‘Losing…Blocking…Avoiding’ reveal how the politics of division is insidiously seeping into their lives. But we see them doing what they can to resist despair, resist authoritarianism. This is a story about hope and where we go to find it. The light-touch humour in the dialogue imbues the relationship with a gentleness, which itself feels like a form of resistance; an antidote to a world where everyone is screaming at each other. Through great storytelling, (note the perfect mix of sentence lengths to create pace), this writer has created characters I love and I’m rooting for them, as much as for what they represent.

Highly commended: The Menopausal Woman and the Tsunami
This story is a gloriously sassy subversion of the misery-menopause narrative. I love these women, living their best lives on swan floaties getting wasted on gin martinis. This writer pulls off humour and makes it look easy with perfect comic timing and juxtaposition. I love that The Menopausal Woman is never named, neatly conveying the flattening of middle-aged women’s identities. The husband (who is named) remains off-page on the other end of the phone, and with a succinct reference to them as newlyweds, we see how a relationship changes over time. He’s not a bad husband, she’s just kind of outgrown him as she enters her zero-fucks era. These sisters have already faced down the tsunami that is menopause, so, whatever, get another gin and bring it on!