What Flash Fiction Contests Offer The Biggest Cash Prizes?

2025-08-27 12:14:14 346

4 Answers

Peyton
Peyton
2025-08-29 09:18:47
If you want the short take: the biggest cash for flash tends to come from bigger, established prizes that sometimes include a flash category rather than from tiny indie contests. Keep an eye on much-honored competitions like 'Bridport' and festival-linked prizes, and on national awards that occasionally accept very short entries. Smaller flash-only contests usually pay a few hundred to a couple thousand, while the largest literary awards (not strictly flash) can reach five figures.

My go-to move is to subscribe to a couple of good contest trackers, follow the prize pages directly, and prioritize contests that pay cash and offer publication—those two together matter most to me. Try one big-ticket entry a season and fill the rest with mid-tier contests; it keeps the dream alive without draining the bank.
Reese
Reese
2025-08-31 17:07:00
I’ve entered dozens of micro contests, and honestly the giant paydays are rarer in pure flash competitions. The biggest money for very short work often shows up in larger short-story awards that include ultra-short categories. For pure flash, keep an eye on contests run by established literary festivals and prizes like 'Bridport', 'Bath', and regional prizes attached to big journals—those tend to offer the highest cash compared with zines or small presses.

Two practical tips: always check the rights clause (some big prizes ask for first North American/UK serial rights, others want more), and compare entry fees against the prize pool—pay-to-enter contests with tiny top prizes are traps. If you want numbers, top short-story prizes (not strictly flash) sometimes hit five figures; flash-specific winners commonly see anywhere from a few hundred to a few thousand dollars or pounds. I usually prioritize prestige + decent payout over tiny fees and obscure trophies.
Weston
Weston
2025-08-31 17:10:19
I get a little giddy thinking about the contests I’ve stalked over the years—there are a few competitions that consistently promise the biggest cash pots for very short fiction, and they tend to sit in two camps: contests dedicated to micro/flash stories, and larger short-story prizes that accept ultra-short entries as a category.

From the flash-focused side, look up the 'Bath Flash Fiction' events (they rotate prize sizes by year and partner), and long-running competitions like the 'Bridport Prize' which often runs a flash or short-short category alongside its main prizes. On the larger-short-story end, the 'BBC National Short Story Award' and some national literary prizes sometimes have five-figure payouts, though they’re not strictly flash-only. Then there are well-regarded magazines and prizes—'Narrative', 'The Missouri Review', and 'Griffin' style competitions—that can pay generous sums for standout short pieces.

If you’re hunting for the biggest cash, I’d watch two things: (1) prize ceiling (some are five-figure, most flash-only prizes tend to be in the hundreds-to-low-thousands range), and (2) entry fee versus odds. Also bookmark each contest’s official page during their open-call season—amounts and rules shift, and the biggest opportunities sometimes come from new sponsors or one-off special awards. Good luck—entering is half the fun, and the other half is seeing how wild your story can get in 300 words.
Ulysses
Ulysses
2025-09-01 21:39:20
Lately I’ve been sorting contests into tiers when advising friends: top-tier (national or international prizes with real cash and publicity), mid-tier (respected journals and festivals that pay solid sums), and micro-tier (small mags or community contests that pay modestly). The top-tier competitions—those that occasionally pay five-figure sums—aren’t always flash-only, but they sometimes accept ultra-short pieces in a category. Examples to watch are national awards or longstanding international competitions which periodically add flash categories or special micro awards.

For flash-specific contests, the payouts are typically smaller but still meaningful: many offer winner prizes in the low thousands or hundreds, and runner-up spots with publication. Mid-tier literary journals and festival-run competitions often provide the best balance of exposure and money. My submission strategy is to rotate entries between contests that pay well and ones that boost visibility—publication in a respected venue can be worth far more than a tiny cash prize, especially if it leads to anthology inclusion or agent interest. Always verify dates, word limits, and rights on the official contest page before sending; it saves heartache and money.
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