The idea of plot or the story itself was mentioned several times previously but never expanded on too much but it is a part of flash fiction just as it is in other forms of fiction. Returning to the example of the man in the airport,
“An inattentive, transient jackass says, – “Check it” – high-pitched, estrogenic sound awkwardly steam from thick, too-big lips covering precarious tan teeth. Mirrored sunglasses sterilize eyes plunging transgressor back to fatigued, faded skin, unkempt hair – a mind of questions, comments, demands, justifications – stayed verbally, exposed physically – “Is there a problem?” Pigments, parchments, binding, images relapse then release ribbed steel, scuffed plastic, relabeled boxes reskinned with tape, twine, and plastic that meld into a horizontal borough in motion, eclectic and naïve to the pigment of deities.
Emma’s work winks at the categorization of place and then challenges our prescribed definitions of the common place locations we all pass through everyday. In this three part series she's bring us to a place most of us feel we already know quite well - our home - and once there her work gets us to see it in a whole new way.
So then, plot does not matter.
It does, of course, but it gets to it in a different way. The primary focus of flash fiction is to present mental associations through words to the reader that will allow the reader to enter into whatever memory or knowledge they have which mirrors the associations of the character in the story at that moment in the piece of flash fiction.
Flash fiction is versatile. It might not always be easy to write, but it’s certainly rewarding. Sometimes, it’s even fun. Best of all? You can use flash fiction to push the boundaries of your craft and end up with something surprising.
So step outside your comfort zone and into something new.