Set a timer for five minutes, select one of the more than 300 "prompts" at random, then immediately start writing and don't stop until time is up. The rules of Fast Fiction are simple; the results, liberating. By telling you what to write about ("write a story about a coward", "...warmth", or "...a whisper"), the timed exercises focus all your energies on the telling. By imposing a deadline, they force you to write spontaneously, bypassing the inner critic and allowing your voice - as well as surprising images and associations - to emerge on the page. Step by step, Allen shows how to turn your five-minute writings into short short stories - intense fictions that use language with power and precision. She then shows you how to use the timed exercises to built longer stories and novels. You'll see, for example, how one of her students turned eight of his exercises into a chapter for his novel. By looking at your fiction a piece at a time, the writing process becomes less intimidating and more open to experiment. Allen illustrates all the possibilities with examples of students' work, as well as a variety of published shorts - from classics by Anton Chekhov and Robert Walser to contemporary pieces by Joyce Carol Oates and Mark Strand.

Writers flock to National Novel Writing Month (NaNoWriMo) each November because it provides a procrastination-busting deadline. But only a fraction of the participants meet their goal. Denise Jaden was part of that fraction, writing first drafts of two subsequently published novels in that tight time frame. In Fast Fiction, she shows other writers how to do what she did, step-by-step, writer to writer. To ensure success, her program begins a month before the month of drafting. During this prep period writers think through plot, theme, characters, setting, etc. Then Jaden provides day-by-day coaching for the thirty-day drafting period. After writers “race to the finish,” they are not left high and dry. Jaden's “After the Draft” revision tips allow writers to determine if a draft is not just workable but compelling, so that they don't waste months or years developing it. Her camaraderie and skill allow Jaden to both instruct and inspire.

"These stories are not merely flashes in the pan; there's pay dirt here!" ―DeWitt Henry, editor of Ploughshares

An anthology of bite-sized tales represents the work of some of today's best fiction writers and includes Rick Moody's definition of an armoire, Lydia Davis's sojourn into the world of cats, and Dave Eggers's exploration of narrow escapes. Original.

Science Fiction is the genre that looks at the implications of technology on society, which in this age of exponential technological growth makes it the most relevant branch of literature going. This is only the start, and the close of the 21st century will look absolutely nothing like its inception. It has been said that science fiction is an ongoing dialogue about the future, and the front line of that dialogue is the short story. The field has a long history of producing famous anthologies to showcase its distinguished short fiction, but it has been several years since there has been a prestigious all-original science fiction anthology series. Fast Forward is offered in the tradition of Damon Knight’s prestigious and influential anthology series, Orbit, and Frederik Pohl’s landmark Star SF. Fast Forward marks the start of a new hard science fiction anthology series, dedicated to presenting the vanguard of the genre and charting the undiscovered country that is the future. Contributors scheduled for the first volume include: Kage Baker, Paolo Bacigalupi, Tony Ballantyne, Stephen Baxter, Elizabeth Bear, A. M. Dellamonica, Paul Di Filippo, Robyn Hitchcock, Louise Marley, Ken MacLeod, Ian McDonald, John Meaney, Larry Niven and Brenda Cooper, Mike Resnick and Nancy Kress, Justina Robson, Pamela Sargent, Mary A. Turzillo, Robert Charles Wilson, Gene Wolfe, and George Zebrowski.

At only a page each in length, Richard Mallinson's elegantly structured short stories are a pithy fast fiction for a modern multimedia age. A rapid succession of carefully worked observations, the stories read like a dynamic anthology of life's collisions and interactions, its projected plans and unexpected rotations. There is a great joy in the subverted (the interviewer becomes the interviewee; the private detective becomes the conspirator) as well as an interest in the open-ended. Possibility abounds, for these are always tales of the present; the past is unclear and the future unwritten. Adhering to the strict one-page format, the writing is marvelously precise: it is highly disciplined, but infinitely rich, conjuring the most unique and sharply observed characters with remarkably few words. If indeed "we read fiction . . . in order to meet individuals" as the character Tolson declares in Mallinson's "Tolson's Creed," then in this anthology we are introduced to a plethora of distinct personalities, rendered all the more compelling by their relentless unpredictability.

A dazzling new anthology of the very best very short fiction from around the world. What is a flash fiction called in other countries? In Latin America it is a micro, in Denmark kortprosa, in Bulgaria mikro razkaz. These short shorts, usually no more than 750 words, range from linear narratives to the more unusual: stories based on mathematical forms, a paragraph-length novel, a scientific report on volcanic fireflies that proliferate in nightclubs. Flash has always—and everywhere—been a form of experiment, of possibility. A new entry in the lauded Flash and Sudden Fiction anthologies, this collection includes 86 of the most beautiful, provocative, and moving narratives by authors from six continents, including best-selling writer Etgar Keret, Zimbabwean writer Petina Gappah, Korean screenwriter Kim Young-ha, Nobel Prize winner Czeslaw Milosz, and Argentinian “Queen of the Microstory” Ana María Shua, among many others. These brilliantly chosen stories challenge readers to widen their vision and celebrate both the local and the universal.