As a kid I was happy to snub numbers. Of course, I had to do math in school, we all have to. But, I didn’t see the beauty in mathematical theory until late in high school, and I didn’t actually appreciate the most basic math facts until I was out of college when, ya know, you need a budget.
The obvious truth is we need math and numbers. We need to calculate tips and measure ingredients. We need to count our blessings and quantify risk. At the most fundamental level, our brains look for shortcuts, and whether it’s tally marks scratched on a cave wall or accounting in QuickBooks, numbers get you there.
When it comes to flash fiction, numbers hold a lot of importance. Sure, most publishers have word counts that they look for, but in the flash world, word count is often used to define the genre itself. During my tenure as EIC, FFO has preferred the longer length, with a large majority of our pieces falling in the 750-1,000-word range, but other journals focus on 750 and less, or accept flash up to 1,500 words.
From a flash craft perspective, numbers can offer opportunities for consolidation and artful cutting. Numbers can be a compositional framework or a plot mechanism. We see flash pieces in the form of numbered lists and timelines.
In this month’s opener, “The Last Eleven Seconds,” David Farrow uses a countdown to imitate the lengthening of time during a climactic moment.
“Ten and Out” by Myna Chang also references a countdown. This story focuses on the end of a series of missions and what’s next for a weary assassin.
In “For Solomon Fishkowski Who Carved Chess Sets in Siberia” by KD Casey, a main character is trying to survive an indeterminate gulag sentence. The number of years changes, adding to the uncertainty of his situation.
Years lend weight to each section of Sam E. Sutin’s “Remembering Dodem Ansibar.” This story consists of three obituaries for Dodem, once a minor noble, resurrected in the midst of necromancer wars.
In Francesco Levato’s “A Bone Deep Ache,” each section is a drabble (a story exactly 100 words), making the overall piece a collection of linked micros.
Finally, in “Europan Culture (Seven Theses),” Meagan Kane reimagines the structure from Jeffrey Jerome Cohen’s essay “Monster Culture (Seven Theses)” as a story about a space outpost on the verge of an ecological disruption.
We hope that our April 2026 issue inspires you to consider numbers in fiction in a new light. If you are a writer, we invite you to try some of the many structural ways numbering can work to tell a story, particularly in flash fiction which focuses so much on brevity.
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Ⓒ Rebecca Halsey