Flush Fiction, Volume I
(2006)Stories to Be Read in One Sitting
An anthology of stories edited by Selina Rosen
So Flush Fiction is not just a showcase of many of our (Yard Dog Press's) very talented writers and artists, but it is also a testament to what we truly are, a community of artists bound together by our art and our need to entertain our cliental. If I stayed in my own head and didn't listen and watch the writers and artists Yard Dog Press would be just like every other house ;a business with no soul, not a vital living entity with a personality all it's own. Yard Dog Press is not an extension of me; it is the ideas of everyone who works for it. When you buy a yard Dog Press book you aren't just supplying yourself with some great inexpensive entertainment, you're also helping to preserve a style of writing science fiction (I'm from the old school where Science fiction meant horror and fantasy too without having to say all three every time) which is sadly harder and harder to find on book store shelves. You aren't just supporting my dream to bring our sort of Sci Fi back to the readers but you're supporting the dreams and hopes of every writer and artist that works for us, a dream that there is still a place for our work in the hearts of science fiction fans and readers in general.
I edited Flush Fiction, but held to my promise not to reject anything. I have always contended that a writer writes their best work when they write just exactly what they want to write without worrying about what any editor, agent or publisher has to say. I think the stories in Flush Fiction prove my point; there isn't a dog in the bunch. Creative people are always being told that they need to have their hands tied to do better work. I was told by one big shot editor from a New York house, "You're a good writer but what you need is for an agent to stick you in a box and tell you what to write." If a writer can't write what they want you they might as well be digging ditch, at least then they can be sure of a pay check.
Now some of the biggest names in this business make their livings writing 700 thousand word vignettes. They wouldn't know how to tell a complete store if it jumped up and bit them on the ass so keep that in mind as you read the stories in Flush Fiction. None of these stories are over a thousand words, every one of them is a complete story, with a beginning a middle and an end that's conclusive. If a certain rich and famous writer who shall remain nameless can't finish a story in several extremely long books how genius are these fuckers that can do it in under 1000 words.
I edited Flush Fiction, but held to my promise not to reject anything. I have always contended that a writer writes their best work when they write just exactly what they want to write without worrying about what any editor, agent or publisher has to say. I think the stories in Flush Fiction prove my point; there isn't a dog in the bunch. Creative people are always being told that they need to have their hands tied to do better work. I was told by one big shot editor from a New York house, "You're a good writer but what you need is for an agent to stick you in a box and tell you what to write." If a writer can't write what they want you they might as well be digging ditch, at least then they can be sure of a pay check.
Now some of the biggest names in this business make their livings writing 700 thousand word vignettes. They wouldn't know how to tell a complete store if it jumped up and bit them on the ass so keep that in mind as you read the stories in Flush Fiction. None of these stories are over a thousand words, every one of them is a complete story, with a beginning a middle and an end that's conclusive. If a certain rich and famous writer who shall remain nameless can't finish a story in several extremely long books how genius are these fuckers that can do it in under 1000 words.
Used availability for Selina Rosen's Flush Fiction, Volume I