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Diagnose and fix problems in flash fiction and micro fiction. Use when flash fiction feels weak, when writing stories under 1500 words, when working with micro fiction, sudden fiction, or compressed narrative forms.
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SOC 職業分類に基づく
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| name | flash-fiction |
| description | Diagnose and fix problems in flash fiction and micro fiction. Use when flash fiction feels weak, when writing stories under 1500 words, when working with micro fiction, sudden fiction, or compressed narrative forms. |
| license | MIT |
| metadata | {"author":"jwynia","version":"1.0","type":"diagnostic","mode":"evaluative","domain":"fiction"} |
Diagnose and fix problems in flash fiction and micro fiction (typically under 1500 words). Flash fiction demands exceptional craft efficiency—every word must serve multiple purposes. This skill identifies which dimension needs attention when a piece isn't working.
| State | Signal | Core Issue |
|---|---|---|
| FF1 | Opening doesn't hook | Structure/Pacing problem |
| FF2 | Characters feel thin | Character compression failure |
| FF3 | Beginning/ending disconnect | Frame weakness |
| FF4 | Everything on surface | Subtext missing |
| FF5 | Prose feels flat | Imagery/figurative language weak |
| FF6 | Setting generic | Sensory detail lacking |
| FF7 | Theme absent or preachy | Thematic development off |
| FF8 | Words don't sing | Language precision/rhythm issues |
| FF9 | Something feels "off" | Logical consistency breach |
Symptoms:
Diagnostic Questions:
Interventions:
Transformation Pattern:
WEAK: "Sarah had been working at the firm for three years when she found the file."
STRONG: "The file had no label—just a smudge of what looked like dried blood along its edge."
Symptoms:
Diagnostic Questions:
Interventions:
Transformation Pattern:
WEAK: "James had PTSD from the war. He moved to escape memories."
STRONG: "James flinched at the turkey platter's clatter, hand reaching for the phantom sidearm.
He'd chosen this town for its population sign: 827 souls—small enough to hear rumors
of strangers before meeting them."
Symptoms:
Diagnostic Questions:
Interventions:
Transformation Pattern:
WEAK ENDING: "So they decided not to sell. They were happy. The end."
STRONG ENDING: "Daniel returned the FOR SALE sign to the garage, laid it beside the smaller
one from his childhood treehouse. Some prices, they'd decided, were too steep to calculate."
Symptoms:
Diagnostic Questions:
Interventions:
Transformation Pattern:
EXPLICIT: "John never recovered from his divorce. He felt bitter about Maria leaving him."
IMPLIED: "John twisted his wedding ring finger, a reflex unchanged by three years and
the absence of metal. The man at the next table laughed, and John recognized
the laugh before the face."
Symptoms:
Diagnostic Questions:
Interventions:
Transformation Pattern:
FLAT: "The factory was abandoned and looked sad."
RICH: "Machinery hulked under dust shrouds, metal teeth gleaming in fractured light
between boarded windows. No one suggested splitting up."
Symptoms:
Diagnostic Questions:
Interventions:
Transformation Pattern:
GENERIC: "The coffee shop was busy. People sat drinking coffee."
SPECIFIC: "The Fallout Shelter Café's concrete walls trapped steam from twenty
underemployed grad students' laptops, their whispered theories competing
with grinding beans and Ella Fitzgerald's crackled vinyl."
Symptoms:
Diagnostic Questions:
Interventions:
Transformation Pattern:
STATED: "Carl realized that trust was essential for relationships."
EMBODIED: "Carl handed her the combination to the safe where he kept
his mother's letters, then turned away so he wouldn't see her expression."
Symptoms:
Diagnostic Questions:
Interventions:
Transformation Pattern:
WEAK: "She went across the field quickly."
PRECISE: "She slashed through the wheat, scattering husks."
MONOTONOUS: "He opened the door. He looked inside. He saw nothing. He closed the door."
VARIED: "He opened the door and looked inside. Nothing. The door clicked shut as he turned."
Symptoms:
Diagnostic Questions:
Interventions:
Transformation Pattern:
IMPOSSIBLE: "She finished her shift at midnight, drove 30 miles home,
cooked dinner, and was in bed by 12:15."
POSSIBLE: "She finished at midnight. The apartment she'd rented
closer to the hospital meant she could be cooking within minutes."
For any flash fiction piece:
Structure (FF1)
Character (FF2)
Frame (FF3)
Subtext (FF4)
Imagery (FF5)
Setting (FF6)
Theme (FF7)
Language (FF8)
Consistency (FF9)
Trying to compress a novel-length story into flash length. Flash fiction is not a summary—it's a complete experience in miniature. Choose a scope that fits.
Relying entirely on a surprise ending. If the story only works with the twist, the preceding content isn't pulling weight. The journey should matter.
Beautiful prose without narrative movement. Flash fiction still needs change—something must be different by the end, even if subtle.
Inbound:
story-sense: After identifying story statedrafting: During first draft creationrevision: For line-level polishOutbound:
prose-style: For deeper language workdialogue: For conversation problemsendings: For closure issuesComplementary:
scene-sequencing: Single-scene pacingcharacter-arc: Compressed transformationcliche-transcendence: Fresh imagery generation| Length | Name | Focus Priority |
|---|---|---|
| <100 | Drabble | Single image, single moment, maximum compression |
| 100-500 | Micro fiction | One scene, one shift, implication over statement |
| 500-1000 | Flash fiction | Small arc, 1-2 scenes, full iceberg effect |
| 1000-1500 | Sudden fiction | Multiple scenes possible, more character room |
| 1500-2500 | Short short | Approaching short story territory |
Frameworks synthesized from flash fiction craft analysis, incorporating principles from: