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A one-page story.

Alternatively, listen to the podcast:

https://open.spotify.com/embed/episode/7IIEKR4nrHtZWOymtb5sBD?utm_source=generator

By William Van Zyl (Published in October 2021; edited in April 2025).

At 11:16 am, it was all over. On July 15, 2016 – at 11:17 am – John Parrish ran over his robber friend, Jack Leonard, and grabbed his bag full of money. They had just robbed the Atlantic Bank in London. Four million and two hundred thousand British pounds were collected in total. It vanished out of the large walk-in safe in just over 3 minutes.

The get-away car disappeared into the busy streets of London. Two unknown men, dressed in tight stockings over their heads, then weaved through the traffic without their tight masks.

The two remaining bank robbers successfully evaded arrest and were not traced. The trail went cold.

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Five years passed.

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Vanessa Parrish graduated from King’s College London as a forensic scientist after 5 years of study. Her short but heartfelt speech touched the hearts of all the attendees at the ceremony.

Did John Parrish double-cross his friend Jack Leonard on that fateful day? The three of them carried handguns with silencers to silence the noise from their pistols – if they had to use it. After investigations, it was concluded that Jack Leonard was shot with a sniper rifle from across the road as he fled from the bank – possibly from the hotel’s second floor, The Ambassador. Findings were inconclusive about who had shot Leonard. Could Jack Leonard be silenced? He had been killed as he ran out of the bank. He died on the pavement in front of the bank – three shots to his chest – he lost his share of the heist to his friend John.

Who shot Leonard? Was it greed? No eyewitness or surveillance footage captured that specific moment of the events.

Could he be the assassin of Jack Leonard?

Vanessa – on graduation day – ended her short speech:

“We all struggle from time to time. I did. Sometimes, taking more baggage on board – could make you stronger. It could make you more resilient. Carry your friend’s baggage; they could be down and out. My father carried his friend’s baggage. He got through; I got through. I am grateful for my education.”

Jack Leonard’s tombstone was unusual. For the past five years, people visiting the cemetery would stop, look at the large black pistol silencer mounted above the flat stone, and read these unusual words etched on the grey marble:

‘Double-crossed, double-cheated, double-redemption is required.

Someone will pay.

Rest in peace – I will avenge your death.’

Your loving son.

Jonathan.

THE END

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Table of Contents

My shortest story of fiction to date – ‘a one-pager.’

Only 395 words were used. Slightly more than 300 words. The whole story is on one page. My inspiration – the world’s shortest stories – is flash fiction.

A short story is a work of prose fiction that can be read in one sitting—usually between 20 minutes to an hour. A piece of fiction shorter than 1,000 words is considered a “short story” or “flash fiction,” and anything less than 300 words is rightfully called “microfiction.”

Writing microfiction (stories under 300 words) can be a rewarding challenge.

Here are nine easy steps to help you craft compelling microfiction:

Make use of strong imagery. Let every single word count.
- In microfiction, every word must serve a purpose. Use vivid imagery to paint a picture in the reader’s mind. For example, instead of “the tree,” say “the gnarled oak with twisted branches.”
Focus on one moment in time.
- Microfiction thrives on brevity. Zero in on a single, impactful moment. This could be a pivotal decision, a fleeting emotion, or a significant event. Narrowing your focus allows you to create a powerful narrative without needing extensive backstory.
Work with just one or two characters. Don’t spread your story too thin.
- Too many characters can dilute the impact of your story. Stick to one or two characters to keep your narrative tight and focused. This allows for deeper character development within the limited word count.
Try the first-person point of view first. Third-person and omniscient will also do.
- First-person POV can create an intimate connection with the reader, making the story feel personal and immediate. However, third-person and omniscient perspectives can also be effective, depending on the story you want to tell.
Surprise your reader with short bursts of action, concepts, and ideas.
- Keep your reader engaged by introducing unexpected twists or bursts of action. This can be a sudden revelation, a dramatic event, or a thought-provoking idea.
Move quickly through your story.
- With limited words, pacing is crucial. Start in the middle of the action and keep the momentum going. Avoid lengthy descriptions or unnecessary details.
Show, don’t tell. Leave lots of ‘golden nuggets’ throughout the story.
- Use actions, dialogue, and sensory details to convey emotions and themes. Instead of telling the reader that a character is sad, show them crying or staring blankly at a wall.
Include a lesson or wisdom embedded in your story.
- Microfiction often leaves a lasting impression by imparting a lesson or insight. This could be a moral, a piece of wisdom, or a thought-provoking question.
Make good use of your title.
- A strong title can set the tone and hint at the story’s theme or twist. It should be intriguing and relevant to the narrative.