James Montgomery writes from Stafford in the UK. His flash fiction has been published in various anthologies and literary magazines, including Splonk, Gone Lawn, Maudlin House, Reflex Fiction and Emerge Literary Journal. James’ stories have won, placed or been highly commended in a number of competitions, including the Bath Flash Fiction Award, the Pokrass Prize and Micro Madness. He also won the People’s Prize in this year’s Welkin Mini, and has work forthcoming in Fractured Lit and Gooseberry Pie.
Bluesky: @jamesmontgomery.bsky.social
Website: jamesmontgomerywrites.com
If you aren’t familiar with his work, here’s one of his pieces to start things off:
911, what’s your emergency? (James Montgomery | Maudlin House)
Why I like it (MK): Telling a story entirely in dialogue is such a hard thing to do. Without the possibility of anchoring details (where are we, who is talking), everything needs to be implied through the spoken words; this is like a magic trick, the narrative building through its small tensions and notes of surprise, so much hidden in the white space and ellipses between the words.
(JM) For this month’s Mondettes, I have chosen ten stories from before 2020. There's such a wealth of treasure in the archives of so many lit mags, and I wanted to use the opportunity to shine a spotlight on some that, I personally feel, have been in the dark a little too long.
Dissolve (Santino Prinzi | Moon Park Review)
Why I like it (JM): Never-endingly beautiful, with such immersive details, and a particularly important story to tell during these times. Lesley C. Weston’s accompanying artwork is simply gorgeous, too.
; ;;;; ;;; Spells I Love You in Semicolons (Georgia Bellas | Matchbook)
Why I like it: A story that takes risks should always be applauded, and this is certainly one of those. I admire how it extends a hand to the reader, an offer to collaborate in its drafting. I find that level of trust inspiring.
Our Bright Lights On (Lynn Mundell | Milk Candy Review)
Why I like it: Pure magic. The imagery is so powerful, so hopeful. And I love the choice of setting—a prenatal yoga class—in which to tell this story.
PROMPT: Choose an everyday setting that brings a specific group of people together and have something supernatural occur. See where it takes you, and what it reveals about the group.
Deaths I’ve Imagined (Kathleen Lane | Monkeybicycle)
Why I like it: Another one that trusts the reader implicitly. Funny, honest and surprising, this hermit crab ingeniously builds to that inevitable ending.
PROMPT: Create a hermit crab story that lists imagined happenings on a particular theme. Think about how the list gives a sense of that character’s inner life and their unique way of seeing the world.
Thunder (Adam Lock | Fictive Dream)
Why I like it: Wonderfully told, this tale about navigating social dynamics and discomfort leads to a moment of genuine connection. The characters of Rebecca and Karl feel so real.
Sometimes, I Think About Mrs Grozny (Emily Devane | Flash Frontier)
Why I like it: A historical flash that’s impossible to not love. Here, a child uses the world they know to make sense of the enigmatic new music teacher, Mrs Grozny. I admire the musicality and playfulness of this piece too, with its ‘crOTZCHets and qUAYYvers’.
PROMPT: Bring together two characters—an adult and a child—who are from very different worlds. Explore why one leaves such a lasting impact on the other.
Good Boys (Tamara Schuyler | SmokeLong Quarterly)
Why I like it: Devastating. A cruel, distressing read, which deals with issues of child and animal abuse, but one that’s masterfully told. Your heart breaks for this cycle of violence.
Everyone Was In On It Except You (Neil Clark | Cheap Pop)
Why I like it: Neil is one of those rare writers where his stories entertain in terms of content and enthral in terms of technique in equal measure. Every story of his lands in spectacular fashion, and this one is no exception.
Hi, Hi, Hi! (Meg Pokrass | New Flash Fiction Review)
Why I like it: Here, Meg so effortlessly tinges humour with sadness. There’s a lot of tension at play in this piece—fleeting moments of connection vs. unmet expectations, imagination vs. memory—but it never once feels weighed down by these.
How To Tell A Story (Kaj Tanaka | Jellyfish Review)
Why I like it: A fitting flash to end on, perhaps. It questions the purpose and nature of stories, and—most importantly—leaves most unsaid, inviting the reader to engage with its evocative imagery without seeking absolute meaning or answers.
What did you think of these choices? Please feel free to share your thoughts in the comments - have you found a new favourite piece? Did you try out one of the prompts?
Next month’s selection will be chosen by Chris Cottom and will be appearing (fingers crossed) on the 17th June.
Opportunities to work with Matt
UNIQUE SELLING POINTS (workshop): 1st July 2025,19:00-20:30 BST (open for bookings)
BEYOND THESE SHORES (panel discussion): 5th August 2025,19:00-20:30 BST (open for bookings)
COLOURFUL CHARACTERS: 4th-17th August 2025 (open for bookings)
I HEAR VOICES (workshop): 2nd September 2025,19:00-20:30 BST (open for bookings)
GLORIOUS WORDS: 8th-21st September 2025 (email me on matt@mattkendrick.co.uk to get your name on the priority list)
GO WITH THE FLOW: 13th-26th October 2025 (email me on matt@mattkendrick.co.uk to get your name on the priority list)
LYRICAL WRITING: 10th-23rd November 2025 (email me on matt@mattkendrick.co.uk to get your name on the priority list)
Editing
NOVEL / NOVELLA EDITING: First steps review / structural review / line edit / submission review
EDITING FOR COLLECTIONS: Structural overview report / line edit
SHORT FICTION EDITING: Structural review / line edit / detailed edit
911, What’s Your Emergency is one of my favorites. I often share it with my creative writing students and they love it too. Good to see it here 😊