(“Talking Shop” is an ongoing series on the craft of creative writing.)
Minimalism has turned our society upside down.
Apple products have left consumers spellbound by their simplicity. Room decor has become increasingly elegant. Web designers succeed or fail, depending on how effortless their websites are to navigate.
What might be less obvious, however, are the ways in which minimalism has infiltrated our art.
For instance, sparse instrumentation and simple words created the smash hit “Say Something (I’m Giving Up On You)” by A Great Big World.
I believe that a similar frame of mind dominates some of the best flash fiction.
An old writing maxim is “Show, don’t tell.” In other words, rather than describing a character as “a nervous type,” show these traits by what the character does: give him a nervous tic, make him ring his hands, give his speech a stammer, let him pace the room, etc.
The same applies to flash fiction, but sometimes the most revealing aspects of a character or a plot lie in what isn’t revealed.
Consider, for example, the poem “The Death of the Ball Turret Gunner,” by Randall Jarrell:
From my mother’s sleep I fell into the State,
And I hunched in its belly till my wet fur froze.
Six miles from earth, loosed from its dream of life,
I woke to black flak and the nightmare fighters.
When I died they washed me out of the turret with a hose.
Though it isn’t microfiction, this piece of writing perfectly illustrates how writing can be made more luminous by what is left out. The narrator didn’t give you the gruesome details of the how the ball turret gunner died. Instead he turned your stomach by simply stating: “When I died, they washed me out of the turret with a hose.”
In the New York Times article “Hearing the Notes That Aren’t Played,” David Mamet writes,
How much can one remove and still have the composition be intelligible? This understanding, or its lack, divides those who can write from those who can really write. Checkhov removed the plot. Pinter, elaborating, removed the history, the narration; Beckett, the characterization. We hear it anyway. Omission is a form of creation.
This idea that “omission is a form of creation” seems to me at the crux of many great pieces of writing. What are some examples you have found of this principle at work? Do you know any great flash fiction that utilizes this technique? Let’s talk in the comments below!