“Come with me and I’ll teach you how to forage for tender roots and juicy berries” said great bear.
“Not now” said little bear as he scampered off through pea green meadow to chase the butterflies that teased his nose.
“Come with me” called great bear to little bear as he lumbered beside the rushing river, “to dip our paws into nests of liquid gold. We will climb the great redwood, scoop out the tender larvae and lick-slurp the sticky honey. Then we’ll tickle the sparkle shimmer of great leaping fish and feast on them till our bellies are full for winter”.
“I’m too busy” replied little bear as he roly-polyed in the pink tipped grass.
“Come with me” said great bear to little bear “and I’ll guide you through the forests of dark slumber. We‘ll build a den together under tall trees and rest our heads on pillows of rich red leaves through the cold dank winter.”
“Can we do it later?” asked little bear balancing on a rolling log, “there’s plenty of time.”
The cold dank came and turned to ice. Little bear no longer scampered in sun dipped meadow or rolled in the green. His belly rumbled and his nose froze. The expansive smiling land became a long thin frown and big bear gentle was big bear mean. There was no shelter; no belly full of berries and fish; no store of roots. Little bear turned his face to great bear. They walked the expanse of frozen waste till the memory of lazy days were little more than sparkles in the ice prints left behind them.
As they trudged, the ground seemed to fall away from beneath their weary paws. Compelled by the shine of a beaming moon they lifted their gaze and their feet over hedges, treetops and no-way-back-clouds. Finally, bathed in silver, they stepped by lumbering, climbing step right up to the very roof of the world. Little bear turned to look down at the learners, the lazers and the daydream gazers in the glorious Conservatory of Knowledge below. He saw the infinite richness of that blue and green world, and he knew then how much he’d left behind. He curled in towards great bear and they rested. No urgency, no distractions; just ursa forever, shining in the twinkle sparkling of night-sky-always.
Isobel is a writing newbie. She’s had words fizzing around inside her head for a long time but never found the courage to given them page space, until now. Currently on an MA Creative Writing, she’s storming up the steepest learning curve, sometimes falling off, sometimes clinging on with gritted teeth, but always enjoying the challenge.
It’s not easy being a masterpiece you know. It’s quite lonely in fact. I haven’t had a friend for centuries. I get lots of visitors, but no one actually talks to me. They talk about me; they take photos of me; sometimes they even sketch me. But no one asks how I am; no one asks if I’m tired of standing; no one asks if I’m cold. You try spending five hundred years with not a shred of clothing on and tell me your feet haven’t turned to ice. The other extremities get a lot of attention but no one cares about my toes.
When I was outside, I was even colder, but at least I had the stars for company. The heavens soothed me through the nights. For almost a hundred and fifty years now I’ve been in solitary confinement. The glass dome above teases me with sunlight during the day until it sneaks away, leaving me in the dark halls, surrounded by only fragments of life. I’m a prisoner in the galleria of loneliness. Encased in the conservatory of control. Spending my days underneath a microscope from the skies. Look as they might, the stars will see no life here. Once we could exist together but now they just look on as I age under the fluorescent glow of preservation.
They think they’re doing the best for me by keeping me from harm. But they don’t realise that harm gets you wherever you are. Wherever I am.
I can feel them. All the eyes looking at me. All the vibrations of the feet as they walk past. Their mere presence is breaking me. I was destined to fight giants, yet here in my cage I’m being eroded by a million footsteps of those who adore me.
I’m the one they’ve come to see. I stand above them in all my glory. I never have to fish for compliments; they spill out of the mouths as they gaze upon my beauty. I’ve been called a masterpiece more than I can recall. But all I really want to be is free.
Lonely is the life locked away from the world.
The time has come for action. I’ll show them all I’m not just a hunk of marble. It’s dark; only the stars above sprinkle soft light into my prison. The last footsteps shuffled past hours ago. Now is my time.
My marble groans as I flex. Muscles tense. Bones ache. Knees bend in anticipation. The desire for escape takes over. In a giant leap I spring towards the heavens. I pull myself up through the opening onto the roof. The city slumbers below and the constellations chatter above. My old friends the stars dare me to think bigger.
Sitting atop the galleria that held me captive for so long, I ponder my next steps. I may have been carved by a man but that doesn’t bind me in servitude. Despite my history and my labels, I belong to no man.
Katie Isham is a writer, teacher, drummer and mild adventurer who believes kindness is a superpower. She writes a travel blog that is currently somewhat static. You will mostly find her hanging out with dogs or eating cake. Sometimes simultaneously. .www.vintagegnome.blogspot.co.uk @k_isham
I met him at Kemi’s tiny airport. I could tell straight away that he hadn’t wanted to come. His mom might even have bribed him to get on the plane.
When he was young I’d got him an Orvis junior rod and we’d gone fishing in the creek. He got a bite and dropped the rod in panic, and it had taken both of us to rescue it. He had that same desperate look now.
On the road he stared blankly out of the window. Lapland’s relentless snow fields and frozen trees didn’t impress him. He glanced at me and shifted away fast when I caught his eye. Not just the landscape that was iced over. I turned the truck’s heater up and he unclenched half an inch. I hoped it was just shyness, I too had been gawky at thirteen. And we’d not seen each other for almost nine months.
At the cabin I showed him where to stow his gear, before talking him through the stove and gas boiler. I joked that as long as he didn’t blow us to kingdom come or burn us down, it’d all be fine. He shrugged, finishing the hot chocolate his mom had reminded me was his favourite. I’d have remembered on my own, but it was nice she’d told me.
He’d kept fiddling with his Nintendo console and seemed surprised when I showed him the DS I used when the internet glitched. It wasn’t a total Jack London existence. While the cabin’s furnishings were sparse, there were crammed bookshelves and an old fishing rod on a couple of hooks above the door. He took the book I offered him and relaxed a little further.
That night I heard sighing, but when I whispered a question he didn’t answer, feigning sleep. Fair enough. Some things have to be re-earned. He’d seen my moving as a personal betrayal, even if his mom was the one who’d originally left me. Even though I wasn’t actually his biological father. I was the most consistent thing he’d known. Until I wasn’t. He hadn’t been able to reconcile himself to my going somewhere so far away.
In the morning, when he looked outside, there were icicles twice his size hanging off the conservatory roof. I asked if he wanted to help at the reserve for the day. He shrugged. Not reluctant, exactly, but desperate to be persuaded. I remembered obscuring my own adolescent need to be wanted with feigned indifference.
I told him we could go fishing after I’d finished my rounds. Cut holes in the ice. Hang out. Maybe bring back some fish for supper. I could see him considering, still wanting more from me. Needing it. I nodded towards the front door, it was his Orvis hanging above it. He followed my eyes and recognised his old rod. He frowned at the otherwise spartan interior.
His pinched look cleared, and, smiling like the sun on ice, he crossed the room and hugged me.
E E Rhodes is an archaeologist who lives in part of a small castle in Worcestershire. She writes flash, short stories and prose poetry to make sense of it all. She’s currently finishing a flash novella set in South Wales.
The silence between us bites harder than the local white wine on my tastebuds. I’m drinking far too quickly, not knowing what else to do with my hands. Joe shifts in his chair for the third time in less than a minute and looks out at the serenity of Lake Bled, a stunning vista that is, frankly, wasted on us tonight. The powdered sugar dusting on the mountains can’t sweeten the unpalatable truth: we have absolutely nothing to say to one another.
Joe pats his pocket; we’d promised to go without phones tonight. He retracts his hand quickly when he sees me looking, reaching for the bottle instead. The rattle from the ice bucket earns him some sharp side-eye from the hovering waitress for topping me up before she’d had chance to.
Before, we’d have shared a conspiratorial smile at that, back when we were a team; us against the world. Now, strangers within our own marriage, we’ve become the cliched sitting silently in restaurant types that we used to laugh at and vow to never become.
“What are you having?” Joe asks eventually.
“The fish platter.” I point at it on the menu.
“That’s for two people.”
Joe pauses. “I don’t mind sharing the platter.”
“Do you even want fish?” I look at him, thinking don’t do me any favours. He half nods, half shrugs and we revert to silence.
We’d vowed to try and reconnect after the incident, using the conservatory savings to take a break somewhere peaceful. So far, Slovenia has been even more picturesque than I expected but the wonder of our surroundings only magnifies the distance between us.
“The hotel is charming,” I offer, seeing Joe fidget yet again.
He nods. “It really is.”
He opens his mouth to say something, then shuts it again.
When we’d checked into our cosy room in the eaves of the hotel, I’d felt the urge to jump up onto the bed and see the view from our tiny window in the sloping roof but I’d felt silly; I’m not myself with him anymore. It’s as if we have forgotten how to show any joy or spontaneity in front of one another. We’re on our best behaviour, polite and distant.
I see Joe pat his pocket again and I sigh. “Just get your phone out, for God’s sake.”
His forehead creases. “What do you mean by that?”
“You clearly want to check your phone and you might as well.” I take another stinging swig of chilled wine. “It’s not like anything fun is happening here.”
He hesitates. “This isn’t… it’s not about her,” he says, avoiding my eyes. “I told you I wouldn’t contact her again.”
I freeze, inhaling sharply. “Don’t. Mention. Her.”
The waitress approaches and we order the fish platter for two. “Good choice,” she smiles, making a show of topping up the wine again.
Silence returns as she departs. Joe takes out his phone and I reach for my glass.
Emma Robertson is an inclusive dance tutor and writer from London, UK. Her first fiction pieces were published in late 2020 in the Pure Slush anthology Wrong Way Go Back and in Eastern Iowa Review’s Water issue. She has previously written articles connected with her teaching work for dance industry publications. She can be found on Twitter as @emmadancetrain
Many congratulations to the winners and the other shortlisted writers, Emma Robertson and EE Rhodes. Isobel and Katie will each receive a book and all four writers will have their stories published here, starting tomorrow with Comfortable Discomfort by Emma Robertson and continuing daily until Sunday.
What made the winners stand out from the crowd were their original takes on the brief: they used the words I gave – ice, conservatory, roof and fish – in unobstrusive ways. Their stories were also those that have stayed most strongly in my mind.
I’ve offered to send short constructive feedback to any of the other entrants who request it. Most have, and I’ll be getting that feedback to them shortly. Here are a few general points. None of them are original and obviously these are just my opinions; a different judge in a different competition may see things differently.
In a competition that gives you a prompt, or words to include, it’s always good to put aside your first idea, as many other people are likely to come up with something similar. Even put aside your second idea and see what’s waiting in the wings – it may surprise you.
A short piece of 500 words or fewer does not give you space for many characters. I’d recommend using a maximum of 3. Of course if you’re Dickens… But you’re not. Stick to a few.
Use the fact that your title is additional to your 500 words to make it work for you and enhance your story.
Start late and finish early. In other words, plunge straight into your story, no preamble. And finish in such a way that your readers can see the scene continuing to spool in their minds. Life is continuing, in one way or another, at the end of every story.
Come back tomorrow and on the following days to read the stories I selected.
It took me a bit of fumbling to get the locker door open; I never can see well without my specs. But I seemed to have got the wrong locker. No clothes, and something else in there. Something yellow. Something squeaking.
More squeaking. High-pitched. ‘I’m your fairy duckling.’
I stepped back, rubbed my eyes. ‘Okay, so I suppose I get three wishes.’
‘Correct. Three wishes for the New Year. How did you guess?’
‘Cut the wisecracks. Where are my bloody clothes?’
‘Your wish is granted. Look on the bench.’
I whirled round, holding onto my towel as a girl walked past me. ‘Nice duckling,’ she said. I scowled at her. On the bench was a pile of clothes, covered in dried blood.
The duckling had jumped down from the locker and waddled across the changing room.
‘Okay, Mr Cute,’ I said. ‘I don’t know how you’re doing this, or who’s behind it, but it’s not funny. I need decent, dry clothes.’
‘Your wish is my command,’ squeaked the creature. It waved a little wand with one of its wings.
Now there was another pile of clothes on the bench.
‘These are women’s clothes,’ I said, picking up a pink skirt.
‘Yes, and they’re mine,’ said the girl who’d walked past before. ‘Get your hands off them. Why are you talking to yourself, anyway?’
‘I, I–’ I stuttered. ‘I’m not talking to myself,’ I said, firmly now. ‘I’m talking to the duckling. Where’s it gone? You saw it.’
‘Why don’t you sit down,’ she said, patting my hand. ‘I could fetch you a glass of water.’
‘Now you get off. And I don’t want to sit down.’ I was beginning to feel hysterical. ‘I want to get out of here.’
Which was how I found myself out on the street on an icy December day with only a towel round me, explaining to a police constable that no, this was not a New Year’s Eve prank and no, I did not need to be escorted anywhere, thank you and yes, I would go quietly.
I could have done better with my wishes. Much better. We’re in lockdown now. Gyms and swimming pools are closed. Pubs too. Just as well, my wife says, after the incident with the so-say duckling last New Year’s Eve.
I’ve just looked out of the window. There’s a yellow duckling on the path. Waving a magic wand. I’m drawing the curtains before it sees me. Time to pour a drink.
Indie publishing is a vital part of the book world. It enables unagented writers like me to get our books out in the world. But indie publishers not only operate on a shoestring, with tiny profit margins; they also swim in a sea where the big fish – the Big 5 publishers – get most of the publicity, reviews in the national press and book awards. Why? Because those big publishers have the financial clout.
So it is down to us, the readers (I’m a reader as well as a writer) to do help redress the balance. Here are 8 ways we can all do our bit to help independent publishing survive and thrive:
1 Buy direct from indie publishers. That way their income is (unless they choose to offer promotional discounts) the full cover price of the book.
2 Use social media to spread the word about a book you enjoy: Twitter, Facebook, Instagram, Tik Tok (if you know how that works!) and any others I don’t even know about!
3 Review books you like – on your own blog if you have one, and also on Goodreads and Amazon (if it will let you). Even a couple of lines about a book is valuable.
4 Tell a friend, or two. Word of mouth is hugely powerful.
5 Ask your local bookshop to stock a book you’ve enjoyed. Having books on display, available for potential purchasers to browse, really boosts them.
6 Ask your local library to buy a book you’ve enjoyed. You might be surprised how amenable libraries are to this.
And, particularly now, in the run-up to Christmas:
7 Buy books you’ve enjoyed as Christmas presents for your family and friends. Some indie publishers offer Christmas boxes with other goodies alongside their books. Louise Walters Books for example, supplies local Banbury cakes with her books.
8 Submit your favourite books of year to the end-of-year readers’ listings such as that published by The Guardian.
In this time promotional tours for books cannot happen. But fortunately technology gives us alternatives, and I’m taking every opportunity that comes my way to help put the word out about my new book.
For book bloggers this is #NovellaNovember, which is serendipitous rather than planned for my novella In the Sweep of the Bay. It was a pleasure to talk about novellas with writer and blogger Kathryn Eastman for Nut Press. Kath is also doing a generous giveaway of copies of both my books – leave a comment on her blog to be in with a chance.
Then there’s the world of podcasts. I talked with Wayne Kelly recently for The Joined-Up Writing Podcast. Or rather I talked, a lot, and he got a word in edgeways from time to time.
It’s wonderful to have support from other writers. In the run-up to publication of my new novella, I had the great pleasure of talking with the brilliant writer Charmaine Wilkerson, who I have got to know through the international flash fiction community.
CW: Cath, it was a pleasure to read through your lovely novella, In the Sweep of the Bay. Your story spans decades and generations within the life of the family at the centre of this story with such finely textured language and profound insights. How would you describe this novella in one line?
CB: It’s the story of a long marriage and the persistence of happiness, in spite of all obstacles.
CW: Where did the idea of the couple at the centre of the story, Ted and Rene, come from?
CB: I don’t know! Did I see a couple like them, in that café on the seafront in Morecambe that they visited on a day out? I wonder. Certainly I went to that café, and the scene was the first section of the book that I wrote, a snapshot of Ted and Rene in later life. It was a stand-alone flash originally and I called it Keeping the Magic Alive. Thinking about it, that could have been the title of the book – it’s what’s at the core of it.
CW: One of the things I appreciate about all of your writing, not only in this novella, is your use of small, telling details in a story. Often, those details evoke a sense of place, not the least of which is the English bay, Morecambe, which is referred to in the title of the story. Which element tends to come first in terms of inspiration for your story ideas- location, character, or event?
CB: Character, I think, always. Or rather, characters moving through their lives. I see the action scrolling out like a film. You know how in a film you can ‘read’ the characters’ emotions on their faces? That’s what I hope I can conjure up for reader in prose.
CW: In this novella, the sense of place includes the interior settings evoked through your storytelling. The buzz of comradeship at the ceramics factory, the coat shop, a hotel lobby, a marital bed. Do these details just come to you in the writing or do you find you take notes in your daily life which then lend themselves to story scenes?
CB: I do wish I was good at keeping notes, because we are surrounded by characters for stories as we walk down the street, any street, on any day. But I don’t carry a notebook. I do take photographs, though; I think I have a strong visual sense, and (I hope) good intuition.
CW: The end of the story is intriguing. I don’t want to give it away here but I do want to mention that it leaves the reader thinking, is this based on a true story?
CB: No, this is pure fiction.
CW: You frequently publish short stories, in particular, flash fiction? What about your longer projects? What can readers expect to see from you next?
CB: I like the shorter forms, novella, short story, flash fiction. I used to say I’d never write a novel. But I have a couple of longer projects. One is a novel I started in NaNoWriMo in 2018, set in Nepal in the aftermath of an earthquake. The other is what think will end up as a novel based on the life of my Auntie Phyllis, who was a famous circus artiste. I feel a responsibility to write her story. Though, unhelpfully, she left few words, only pictures, so what I write has to be fiction.
However, I may just write another novella – or even two! – first. I do seem to have an affinity with the novella form. I’ve tried writing novellas-in-flash without success, but I’m thinking of having a go at a novelette-in-flash, in which each separate story is under 500 words. I’m taking advantage of Nancy Stohlman’s prompts for FlashNano this month to help me with that.
Charmaine Wilkerson is an American writer who lives in Italy. Her award-winning flash fiction can be found in Best Microfiction 2020 and numerous anthologies and magazines. Her story How to Make a Window Snake won the Bath Novella-in-Flash Award in 2017 and the Saboteur Award for Best Novella in 2018. Her debut novel Black Cake is due to be published in 2022.
The excitement is mounting! Yesterday I signed some books for our local Waterstones – it’s good to hear of copies of In the Sweep of the Bay being available now in bookshops in other places too.
And, for today only as it is her birthday, my lovely publisher, Louise Walters, is generously offering 10% off all her books at her website bookshop – https://louisewaltersbooks.co.uk/shop-1. Just enter the code birthday.
Meanwhile, to cheer us all up in these challenging times, here is a beautiful collage made by a friend of mine – she has used photographs taken over five years in a garden she created.
Just two weeks to publication day for my second novella, In the Sweep of the Bay. Published by Louise Walters Books on 23rd November, it’s the story of a long marriage, with all the attendant hopes, joys and sadnesses.
The main setting for my book Morecambe in Lancashire and I’ll be writing about the location when I guest on Isabel Costello’s Literary Sofa next month. Isabel has given my book this lovely endorsement:
“This poignant novella has the feel of Revolutionary Road in a northern town and the outsize power of Mothering Sunday.”
We have a whole month of blogs to come, starting with a guest spot with Amanda Huggins tomorrow, 9th November, where I talk about the changing roles and expectations of women over the course of the second half of the twentieth century, as portrayed in my book.
Louise Walters is hosting a launch party on Zoom at 6pm on Sunday 22nd November, the eve of publication day. Hannah Persaud, whose brilliant debut novel The Codes of Love was published earlier this year, will be interviewing me, and there will be (short!) speeches, a reading from the book and a Q&A. All welcome. Contact me or Louise if you’d like to join us.
Meanwhile, you can pre-order In the Sweep of the Bay direct from the publisher, from the new bookshop.org that supports indpendent bookshops, or from Amazon.
In the last of my current series of guest posts from authors with new books out, a big welcome to Drew Gummerson with his thoughts on that most crucial aspect of writing – the editing process.
Certain books, written quickly, are infamous; Jack Kerouac’s On The Road, dashed off while on the bog, written in a cramped hand along the length of a single roll of toilet paper(*), Charles Bukowski’s Post Office, 2 weeks in the making, squashed between Bukowski’s bar brawls and unsuccessful attempts at picking up Women(*), (his next book, 3 days later(*)).
(Sequestered once in hotel room Bukowski refused to appear on same bill as one and only Burroughs, William (now he was editor; cut text with scissors, scatter text across floor, shoot heroin, piece text back together. For many years Burroughs carried pages of Naked Lunch (deconstructed / constructed) gripped with single elastic-band in suitcase across Paris / Tangier / Interzone.(*))
But for most of us, as Morrissey sang, These Things Take Time.
(And I know that I’m the most inept that ever stepped…)
The best advice I ever got about editing came backwards through a crude joke on The Inbetweeners. This crude joke was about having a numb hand and masturbation.
It’s better all round if you no longer feel it’s yours. (**)
When I finished the first draft of Seven Nights at the Flamingo Hotel I put it away for six months.
It was only then I had the right perspective to be brutal, see what worked / what didn’t. So I could slash and burn. And, I honestly couldn’t remember where it was going.
It was fresh.
And that’s where the real work started.
In this excellent New York Times article, Jenny Offill talks of how she put extracts of her new novel Weather onto poster-boards and it was only, through time, by looking at them, she could ascertain which ones sparkled, which ones weren’t merely clever.
In that first draft it’s all too easy, like Alice falling down her well, to be pleased with yourself. Time gives clear head to tidy up (delete) these sections which don’t sparkle, aren’t clever (I mean, who wrote this shit?).
On twitter Ronan Hession (writer of the wonderful Leonard and the Hungry Paul(**)) gave the Sound Advice of, when editing, to read the chapters in reverse order. This,
“1. Stops you getting distracted by the story.
2. Reveals a lot about flow… if a book reads well backwards it’s a good indication that it reads well forwards.”
Same as putting text away in drawer it is about finding a different way of looking / disrupting gaze.
It’s been such a pleasure to welcome other authors onto my blog over the past few months to share their thoughts on aspects of writing. Coming up we have the final post in the current series, from Drew Gummerson, on the topic of editing. So call back tomorrow for that.
Then I’ll be onto my own new novella, In the Sweep of the Bay, published on 23rd November by Louise Walters Books. News about the launch event coming very soon, but in the meantime you can pre-order here.
I pleased to welcome children’s author Emma Rea as my guest this month, with her thoughts on writing rules and breaking them, in particular that vexed issue of showing versus telling.
When I was at school, I had a wonderful English teacher (who herself was taught by CS Lewis) and she said several things that stayed with me. One of them was her explanation of the trellis and the rose.
She was teaching us Shakespearean sonnets, and she showed us the form: the three quatrains rhyming abab, cdcd, efef, followed by a couplet, rhyming gg. She explained the iambic pentameter. We all knew the rules.
Then she started telling us how Shakespeare broke the rules. Using half-rhymes, caesura, enjambement. We grew confused.
And she explained that in all writing, there is both form – the trellis to which the writing must cling – and the author’s insight and imagination – the rose. Without a trellis, the rose will flop. But if it follows the trellis rigidly, left, right, left, right, there will be no life in the writing at all.
I write children’s fiction, not sonnets, but her words still ring usefully in my head. I’m always trying to work out what form, or ‘rules’, work in writing and which rules can be bent.
And one rule I’m wary of is ‘show don’t tell’. We’re always told this, and of course it’s important, but a confident writer will know when to break it, and simply tell the reader certain things. This confidence is enormously appealing. Dickens’ first sentence of Bleak House is ‘London.’ A later paragraph starts ‘Fog everywhere.’ He goes on to show us, but he hasn’t been afraid of telling us, too. And we immediately get that delicious feeling that we’re in the safe hands of a writer who knows exactly what they’re doing.
I think this tension between telling and showing is pleasurable for the reader. They want to know some things – just as you want to know the rules before you start playing a board game – but they also want intrigue and nuance, so their curiosity is aroused and they can start trying to work things out for themselves. You have to have on the one hand, absolute clarity, and on the other, obfuscation, and the two hands have to be clasped, fingers intertwined, so that the text is both strongly rooted and yet open to interpretation.
Over ten years of writing and writing groups, I’m getting better at spotting in my own work which bits need clarity, or telling, and which don’t. I love checking out first chapters to see how authors find a balance between the two, and I like experimenting with telling to see what works.
I’ll leave you with an opening line which makes me feel grounded and safe, and yet curious. We’re given the location, the season and the time of day – and a springboard into the story.
‘It was an ordinary spring day in Istanbul, a long and leaden afternoon like so many others, when she discovered, with a hollowness in her stomach, that she was capable of killing someone.’ Elif Shafak, Three Daughters of Eve
Emma Rea is an author, reviewer and proof reader. She is the author of MG novels Top Dog (Gomer 2014) which was shortlisted for the North Somerset Teachers’ Book Award and My Name is River, published this June by Firefly Press, and listed as Sunday Times Children’s Book of the Week in July.
A couple of days ago I realised that I had over 2,500 followers on Twitter and decided to do a giveaway of a copy of my forthcoming novella, In the Sweep of the Bay, due to be published on 23 November by Louise Walters Books.
I invited people to share something positive about the world – it’s so easy for us all to be grumpy these days!
So many lovely comments came in. Here are just a few of my favourites:
I read a piece of poetry yesterday. And then thought about it the rest of the day. Words still have the audacity and sheer exuberance to move us, in every time.
We can all still say ‘I love you ,’ send letters, walk on the beach, listen to music and most importantly … read a great book!
Adversity brings humour, sensitivity and creativity. The next generation are going to do wonderful things.
People also shared photos of people dear to them, of the beauty of the natural world and of animals – dogs, cats and a quokka.
It was a thread which brought me smiles, so thank you to everyone who contributed.
And the winner of the giveaway is….. Tilly – @TillyLovesBooks – who gave as her something positive:
The glorious autumn leaves – no matter what’s going on in the world, Mother Nature still manages to captivate.
If you didn’t win, you can buy an advance copy of the book from louisewaltersbooks.co.uk
In the latest in my series of guest posts by authors of new books, Anna Vaught tells how returning to short story writing in a lull between working on novels proved to be a rejuvenation.
‘I believe in complicity and its special heat. See what I have. Eat.’
Where, I was asked, do short stories fit into your writing? This is how.
I had written short stories for a blog I kept, entered a couple of competitions, and had had two stories published in anthologies; I also read many short stories of varied provenance, but that was it. Now, in the early spring of 2019, I found myself feeling jaded between projects and unsure what to do, though I thought I needed to do something. My third novel Saving Lucia was placed but still a year away from publication and I was yet to work with my editor; my first two books, autobiographical fiction and novella, had lacked exposure and, partly because of this, I lacked faith in myself to make a new novel do well. I write quickly, so I had already written a follow-up novel to Saving Lucia, but understood that this would not be read for some time, and I had had a couple of meetings with agents who had asked to meet for a chat about what I was up to. One of them, incidentally, is the greatly supportive woman I now refer to as my ‘not-agent’ and the other, the goddess who was soon to sign me on the back of a short story collection I had not written – or even thought of – yet. Possibilities hung in the air, but also a lot of self-doubt. I wanted to keep busy to assuage it.
I decided I would try some short stories again. I had written a good deal about memory, trauma and testimony in fiction and creative non-fiction; I had also written food journalism, was interested in culinary history and, owing to a rather colourful past and many strange familial events in childhood and teenage years which revolved around food, its preparation, purveying and sharing (or not), an idea coalesced: how about a collection of stories involving adventures at table, feasts, consuming and being consumed; about food and trauma. Funny, peculiar, entertaining and with language you could get your teeth into; I would draw on my reading and experience and the rest would be new literary horror and weird to which I naturally incline.
Up bubbled a book, and it came out very quickly. I feel embarrassed to say this: I wrote it in two weeks, in a wonderful fury, sometimes getting up at four to make the stories on top of my other responsibilities. I do not recommend this practice, but it was what I wanted here. I wrote about being held back, being terrified (I know this is weird) by trifle, tripe, and tapas; I drew on old stories, food journals and apocrypha. I wrote on food as metaphor, but also about food as something plainly and brutally literal. I did not know I could do any of this; I only knew that once I had started I did not want to stop and particularly enjoyed the concept of an overarching theme and some overlapping details in terms of characters and psychological or erotic tryst. I felt rejuvenated. Then, when a submissions window came up at Influx Press – exciting: I had loved Attrib. by Eley Williams and How the Light Gets In by Clare Fisher – I sent it to them (and to the second of the wonderful literary agents I had met at the same time) and, within three weeks, I had both an offer of publication and an offer of representation. I did not know I was capable of that, either.
There might be a moral here: when you feel jaded, lacking in confidence or that sense that you are drifting and want to crack on with something, then try writing in a different genre, as I did. As I said, doing so rejuvenated me. So, try something new (or newish) and you never know. If you lack confidence, do it anyway. I found, having written a collection of short stories, I could move on to another one then another novel – the one I have just finished for my agency. What is more, my follow-up to Saving Lucia has not been taken up for publication, but I am pleased to say that I was able to take a section of that and make it into a long short story about trauma, memory and recovery for an Unsung Stories anthology out next year. I felt more confident in my craft now, so this was something I could do. I also took up disappointment and, from it, I made a new thing, and that is a good thing to learn, because not everything will work and not every book ought to be published. As to where short story writing fits in going forward, I hope I will always be able to write short story collections and novels, though I know that stories are a harder sell for my agent. We shall see. It will be an adventure, won’t it?
Famished: seventeen stories to whet your appetite and ruin your dinner. I hope you like them.
‘I believe in complicity and its special heat. See what I have. Eat.’
Anna is a novelist, poet, essayist, short fiction writer, editor and a secondary English teacher, tutor and mentor, mental health advocate and mum of 3. 2020 sees the publication of Anna’s third novel Saving Lucia (Bluemoose) and a first short story collection, Famished (Influx). Anglo-Welsh, she splits her time between Wiltshire, Wales, and the Southern US, where her husband is from. She is currently finishing a new novel and waiting on exciting decisions. Anna is represented by Kate Johnson of Mackenzie Wolf, NYC.
In the latest in my series of guest posts from authors of new books, Dominc Brownlow discusses how, in his writing, he uses location as more than simply a setting.
Location, surprisingly, is often underused in writing. All books and stories possess one or more of them; characters can’t simply float through space, levitating from one scene to the next. They must be placed somewhere, like actors, in order to play out the intended narrative, but once that stage has been decided upon, the backdrop painted, the curtains raised, the role of that setting should not then be over. Location should be treated as a character and accorded the same luxuries. And, most importantly I think, used as one of the senses.
When I wrote The Naseby Horses I had a post-it-note above my desk reminding me not to ignore these essential faculties: touch, smell, colour, sound. It is still there now as I write my second novel, the ink a little faded from the sun. Isolation is a fundamental aspect of my writing – I’m only on novel two but they are both centred around this theme.
For me, it is the Fens; huge open swathes of flat agricultural land stretched beneath wide infinite skies. That, in itself, is fairly self-explanatory. It is an obvious stage for remoteness. However, it is the perceptions evoked beyond remoteness that can, if you invite them in, assist the story so. It is the way both the landscape and its inhabitants behave; the attitude of locals, the manner in which nature and wildlife react, and how this effects, or is used by, the characters in the novel.
The same method could be employed with a major city, or beach or mountain or alien spacecraft. All these locations are in possession of sound, smell, colour, touch, as, similarly, is a kitchen, bedroom, school, garden, sports field or courtroom. By introducing the sensual nuances of a location a writer is, by default, connecting the character to that place, and, in the same metaphorical vein as how pathetic fallacy works, eases these perceptions into the subconscious of the character and, hence, reader.
“Show not tell” is the axiom waved about like Colours in the How To Write books, and one, as a literary waffler, I struggle with the most. However, by describing the mood and essence of a setting, wherever that may be, as long as an initial connection has been made between place and person, the writer is, in part, showing not telling. He, or she, is using location as the shadow of the character. One of my favourite lines in The Naseby Horses is ‘somewhere in the distance sunlight glares off a moving car.’ I like to think this issues a latent sense of escape from a desolate backdrop, without actually saying it.
John McGregor’s Reservoir 13 uses this brilliantly and, of course, the ultimate example of how to use location as a character is Hemingway’s The Old Man and The Sea. Ray Robinson is also a modern day master of this in The Mating Habits of Stags, and for the claustrophobic seedy panicky senses of the city Martin Amis’s London Fields excels beyond all.
Dominic Brownlow lives near Peterborough with his two children. He lived in London and worked in the music industry as a manager before setting up his own independent label. He now enjoys life in the Fens and has an office that looks out over water. The Naseby Horses is his first novel. It was long listed for the Bath Novel Award 2016. The paperback edition is published on 24 August 2020. He tweets @Dominic Brownlow.
In the latest of my six-month series of guest posts from authors of new books, Amanda Huggins gives some tips for fledging short story writers.
If you want to write killer short stories, then one of the most important things to do is to read killer short stories. Lots of them. It sounds obvious, yet I often meet blank looks when I ask writers who are new to short fiction to name their favourite short story writers. Short stories aren’t novels-in-miniature, any more than novels are extended short stories. They are two different skill sets, and the best way to get started is to read the masters.
A great short story needs to plunge straight in with no preamble. It should have conflict, a strong ending, a limited cast of characters, and every word should count. (If only I stuck to those rules myself!)
I have countless favourite short story writers and the collections on my shelves include books by William Trevor, Tessa Hadley, Helen Simpson, Helen Dunmore, A L Kennedy, Wells Tower, Stuart Evers, Miranda July, Yoko Ogawa, K J Orr, Ernest Hemingway, Taeko Kono, Haruki Murakami, Richard Ford, Alice Munro, Flannery O’Connor, Anton Chekhov, Annie Proulx, Isaac Babel, Angela Readman, and A M Homes.
A recent delight was Helen Dunmore’s posthumous collection, Girl Balancing, and I particularly loved the first section of the book, ‘The Nina Stories’. These stories are almost notes for a novel-in-waiting; a sequence of vignettes centred around a girl called Nina, set in the 60s/70s. They are painstakingly intense; attention is paid to Nina’s every moment and action, and there are some lovely period details that evoke a strong sense of place. The writing turns the mundane into something beautiful, and the final story soars. Seventeen-year-old Nina is left alone on Christmas Day in a house at the seaside. She goes roller skating along the seafront with her friend, Mal, and when the mood turns, she must outwit him. I’ll leave you to find out for yourself if she succeeds.
I’d also recommend having several pieces of work out there at any given time. If you only submit one story and then wait patiently for it to be rejected/accepted, when that rejection comes it will hit hard. If you have ten or twenty pieces out at any given time then the rejections won’t feel as bad.
Never forget that the opinions of editors and judges are subjective. So be persistent! My story ‘Red’ was a runner-up in the 2018 Costa Short Story Award, but had already been rejected by a couple of magazines and failed to reach the longlist of three smaller competitions.
Sadly, despite an encouraging rise in sales of short story collections, it’s still difficult to get work published anywhere for hard cash. That’s why prizes and awards are so important to emerging short story writers, and why I still enter most of my stories into competitions first.
Lastly, really take note of feedback. It’s all too easy to reject criticism, yet in my experience the advice of a good editor is nearly always sound.
Amanda Huggins is the author of four collections of short fiction and poetry. She was a runner-up in the Costa Short Story Award 2018, and her prize-winning story, ‘Red’, features in her latest collection, Scratched Enamel Heart. Her poetry chapbook, The Collective Nouns for Birds won the Saboteur Award for poetry in 2020. Amanda grew up on the North Yorkshire coast, moved to London in the 1990s, and now lives in West Yorkshire.
In the second of a six-month series of guest posts from authors of new books, Ali Thurm introduces us to her writing life:
Where I write
Six months ago I moved from a large family house where I had my own ‘writing room’ to a flat. Apart from when my daughter comes home from university, I now have a whole flat to write in. I can write wherever I want.
I need to see real people, especially working on characters, so my pc is set up in the bay window overlooking the street. I sometimes use my laptop at the back of the flat, where I can see the garden. It’s completely secluded but as I’m also passionate about gardening the temptation to go out and do something/anything in the garden can get too much. Like a restless child desperate to go out and play.
What’s on my desk
Sharp HB pencils and biros (Paper-mate Inkjoy). A visual reminder of the tools of being a writer, and a remnant from my days as a primary teacher. I love sharpening pencils – a preparing (some might say delaying) strategy – the smell takes me right back to a summer working in the Cumberland Pencil Factory in Keswick.
AChristmas cactus with Barbara Cartland shocking pink blooms once a year.
An almost spherical glass paperweight full of bubbles.
My prize possession – a Howard Hodgkin postcard Bombay Sunset with stripes of gorgeous orange, red and green signed by Julian Barnes. A reminder that all writers are human; and how good it is to connect with writers you admire and future readers who’ll enjoy your own writing.
How I write
When I’m at the first draft stage, generating new writing, I write long hand in an ordinary notebook with a biro or pencil. I write the scene I’m most interested in at the time. For me there’s something about cursive writing – the fact that letters are joined together – that makes new writing flow more easily than the staccato tap-tapping on a keyboard. This kind of writing can take place anywhere – train, café, park (pre-lockdown). At home I sit on an old 1920’s sofa with a drop-down arm so I can recline like Elizabeth Barrett Browning.
Editing is all on screen – I’m on the third draft of what is actually novel number three, so at the moment I’m mostly at the pc.
When I write
A typical day starts by a walk around the garden (it’s a small London garden so that doesn’t take long!) looking at the natural world and breathing in fresh air. If I’m on a roll with my writing I might head for my desk at 8.30 but usually I work 10 – 1 then 4 – 6. The afternoon is for exercise (yoga, walking, swimming and gardening). The evening for friends/family and reading or films. But there’s also volunteering – a writing club for children and community gardening – and Twitter of course. There isn’t really a typical day!
And in this strange time
During lockdown I struggled at first to do any writing apart from a few writing exercises of 10 minutes a day and spent a lot of time out in the garden or on the phone to friends/family. For the last few weeks I’ve started editing my novel The River Brings the Sea, a dystopian story of a group of people surviving in West Cumbria after a catastrophic flood. You can see why it’s been difficult to pick up where I left off, and I’m not sure how many people will want to read it after surviving Covid 19. But it’s a hopeful narrative where kindness and community spirit win in the end.
Ali Thurm is a novelist, poet and teacher. After balancing a career in primary teaching with writing part time, she was taken on by the literary agency Emily Sweet Associates in 2016. Her debut novel, One Scheme of Happiness was published in February 2020 by Retreat West Books. You can follow Ali on Twitter @alithurm and her website is https://alithurm.com
Covid-19 has changed all our lives. Book launches have not been possible in the traditional way. This is the writer Laura Besley’s experience:
We thought we’d timed it to perfection; my debut flash fiction collection, The Almost Mothers, would launch on Saturday 21st March at the States of Independence festival in Leicester, conveniently one day before Mother’s Day in the UK. Best laid plans, however, were not to be. The festival was cancelled, along with all other scheduled events due to UK lockdown which was enforced from 23rd March. Now what?
When I first heard that the festival was cancelled I was disappointed, obviously, but it was overshadowed somewhat by the excitement of holding an actual copy of my book in my hands. In lots of ways, I’ve been lucky. Getting The Almost Mothers published has been quick in “book years”. About half of the pieces were written in 2018 during #FlashNaNo (write a piece of flash fiction every day for the month of November). I realised early on that the pieces were all relating to the theme of motherhood. In December I polished them and put them, along with some older pieces, into a collection, which I submitted to a competition and was overjoyed when it long listed.
In April 2019 I saw a call for submissions from Dahlia Books (run by editor/publisher Farhana Shaikh). I sent a DM and I got a full manuscript request. Over the moon, I sent it in. By July I was losing hope, so checked the website and read that Farhana doesn’t read new manuscripts over the summer, so decided to leave it another couple of months. In September she sent an email asking to meet and after chatting about it, she offered me a contract. We decided early on that we wanted to launch in March to tie in with the festival and Mother’s Day, which would be quite tight, but we both thought it was the right thing to do.
Fast forward to March 2020 and after a lot of hard work, my book was ready. I met Farhana to pick up my copies and sign the pre-ordered copies, my hand trembling a little as I triple-checked how to spell people’s names. (Aside: I had conveniently heard in the Honest Authors podcast that week not to sign books with the same signature as on your bank card. Good point.) I have to admit I was a little relieved at not having to do a public reading and answer questions on a panel. As with all silver linings, though, there was a big black cloud: how would we get my book to sell now?
I don’t think anyone knew in March just how hard lockdown would be (in fact, continues to be) and how hard book sales, especially those of independent booksellers and publishers, would be hit. Again, I feel very lucky. People have bought my books. To be honest, I sometimes wonder whether more people have bought my book because of lockdown. Generally people are reading more, but above that there seems to be a genuine shift to support small(er) businesses and therefore indie presses. Amongst authors, especially the ones I’m friends with on Twitter, there is a huge amount of support for which I’m extremely grateful. I’ve also made a lot of new connections recently and again that could be because of the current situation. It’s hard to say. What I can say is that when someone contacts you to tell you they’ve bought your book, or read it, or even loved it, that totally makes my day.
Laura Besley writes short fiction in the precious moments that her children are asleep. Her fiction has appeared online, as well as in print and in various anthologies. Her flash fiction collection, The Almost Mothers, was published in March 2020. She tweets @laurabesley
I was delighted to be invited to put forward a photo prompt for the Retreat West Micro Fiction competition in April, and even more delighted that it inspired 139 people to enter, the largest number since the monthly competition has been running!
It was fascinating to read the shortlisted entries, and I loved both the winning entries, which you can read here.
I thought people might be interested to know where I took the photograph. It is at Borobudur in Central Java, Indonesia.
This famous Buddhist site is often referred to as a temple, but it’s actually a place for walking meditation on the stone friezes, which are on seven levels.
When I visited, back in 2013, we got there very early in the morning because by soon after 9am it is too hot to be up there. We were not alone – there were, as you can see in the photograph above, masses of school children too! Here’s what I wrote in my travel journal at the time:
Children kept asking if they could take my photograph and I kept saying ‘no thank you’. My friend said – ‘You should photograph the monument, this is your heritage, we are just human beings’. They didn’t get it, of course, how would they? To them, West is best. Wrongly of course.
The photograph I offered as the story prompt was taken with my back to the monument, looking out towards Mount Merapi. It looks peaceful in this scene, but is Indonesia’s most active volcano!
When writer Louise Tondeur and I arranged to swap blog posts a couple of months ago we had no idea of the way the world was changing.
Louise has added a preamble to the top tips she originally sent me and a caveat to one of her ‘don’ts’, to take account of the times in which we now find ourselves. I’m grateful to her for sharing this.
How to write
You don’t need me to tell you that these are crazy times. Some people have more time to devote to writing right now, others have much less time or a much higher mental load and therefore less thinking space. My writing time has been cut in half, for instance, and I haven’t been able to think about it at all over the last week, but I’m extremely fortunate that my family are currently well and I do get some writing time as my wife and I can share the home-schooling. We’re all thinking about key workers at the moment and people are worried about loved ones, of course. So is now a good time to be writing at all? There are at least three answers to that. Firstly people need books, stories, poetry and screenplays more than ever right now. Secondly, writing can be a great way to express how you’re feeling about what’s going on. For example, by doing Julia Cameron’s morning pages. https://juliacameronlive.com/basic-tools/morning-pages/ Thirdly, if you don’t have time to write during the current crisis, be kind to yourself. You don’t need to add ‘worry about not writing’ to your metal load.
10 top tips
Turn up regularly – make a commitment and schedule it. Why? Because the only real way you learn to write is by doing it. To me, ‘turning up’ includes making lists, simply noticing things, reading, morning pages, and scribbling down ideas or snatches of dialogue.
Read, watch, listen – make time for it, especially in the genre you want to write in. Why? Nobody would try to design a chair without ever sitting down. It’s the same with writing. It’s possible you have more time for this at the moment, possibly not. My wife and I have been trying to watch silly funny programmes to take our mind off the crisis for half an hour or so. This is perfect for me as I would love to write for TV. I am absolutely considering this as ‘research’!
Notice the world around you – use mindfulness to help you write. Why? Because that way you ‘make things new’ for your readers. I think this is one technique we can all practise while the world is going topsy-turvy. I have rediscovered Tara Brach’s meditations over the last few days, which has been incredibly helpful, but even without meditations, you could try to pause for five minutes to notice a plant outside or the things in the room around you. This is a powerful life skill anyway and when you write you can use these observations to make your work more authentic.
Use all of the senses available to you – don’t always default to the visual. Why? Because you’re much more likely to go deeper – and therefore write something more touching or unusual. Again, even if you are unable to find time to write at the moment, use all of your senses when you’re observing the world around you, because that’s going to help you when you sit down to write.
Get in touch with the small detail – don’t simply look at a tree, look at the veins on a leaf. Why? Because, to borrow Susan Sontag’s words, writers are ‘observers of the world’. This is probably my favourite tip of all and you don’t have to be able to go out into the world to do it.
Put yourself in the way of inspiration – theatre, poetry readings, art galleries, and museums. Julia Cameron calls this technique ‘filling the well.’ You can’t do this in person at the moment of course but there are many ways to do it virtually. One good thing about this crisis is the way in which people have pooled resources so these virtual worlds are more accessible than ever. (Plus, one thing that has helped me a lot over the last few weeks is imagining the things I’ll do and the places I’ll go when the danger is over!) Why? Because there are no lightning bolts of inspiration – you’ve got to find it. Waiting around for inspiration is a big mistake.
A combination of 1 – 6: be open to life. Get in the way of the universe. Say ‘yes’. Try new things. Why? See the answers to ‘why?’ under 1 – 6!
Move. Dance, walk, swim, do yoga. Whatever it is, get outside your own head. Why? Because it gives the creative mind a chance to mull over whatever you’re writing and because moving gives us a new (and usually better) perspective on the world. As before, most of these things aren’t possible at the moment outside of the home but you can find dance and yoga classes (for example) on YouTube.
Get to know other writers – join a writers’ group or start one, and check out your local writing centre’s website. Why? For motivation and accountability and for tacit knowledge about your local writing scene. My writing group is using Zoom to stay in touch. It’s easy to use once it’s up and running and a good way to chat to several people virtually.
Try submitting something – or get hold of an opportunity from a writing magazine or online and work to the word count and deadline even if you don’t ultimately send it in. Why? Understanding the process of submission makes it a whole lot less scary and having a practice go makes it easier when you come to do it ‘for real’.
5 things NOT to do:
Don’t compare yourself to other writers. We tend only to hear about successes, which warps the picture. Behind every success story you’ll find multiple ‘failures’ that were simply stepping stones.
Don’t read / talk / think about writing without actually doing it. See tip number one above!
Don’t give up after facing hurdles (for some people this means ‘the middle’ of whatever they are writing!). See these as opportunities to look for a solution. Believe me, this is where the fun starts.
Don’t write only one draft. Real writing is redrafting – multiple times.
Don’t write one thing. It’s easy to get fixated on ‘the Novel’ – I know that from experience. Have a go at writing a short story or a monologue or a poem. Give yourself a break from your main project.
I’m doing Sophie Hannah’s Dream Author coaching programme at the moment and she says that we should definitely compare ourselves to other writers – in detail not simply on social media – because then we will see how their writing lives have progressed, and understand the successes and challenges that got them to where they are. I’m adding that as a caveat to ‘don’t’ number 1, because if you do some detailed research it can be fascinating to compare yourself to other writers!
Louise Tondeur is a novelist and short story writer. She originally trained as a drama teacher, and currently tutors on the OU’s Creative Writing MA. She blogs at: http://www.louisetondeur.co.uk/blog and http://www.smallstepsguide.co.uk You can find her on Twitter here: @louisetondeur and on Facebook at: facebook.com/louisetondeurwriter
I invited author Sally Jenkins to share some of her tips on public speaking. Here’s her advice for anyone planning that nerve-wracking first author event:
All writers, whether traditionally, self or unpublished, need to learn the skill of self-marketing. If the world doesn’t know you exist, it isn’t going to read your work. Social media is a great publicity tool but is impersonal and the posts are soon forgotten. Nothing beats getting away from the computer and talking to readers. Personal contact lives in the mind far longer than a tweet or a gif.
Author events are a great way of generating this personal contact and libraries are a good venue for authors new to addressing an audience. Most libraries are keen to increase their footfall and become community hubs rather than just book depositories, therefore they welcome author events.
Preparation is key to a successful author event and below are some points to help you in the construction of an attention-holding author talk:
Plan to speak for around 40 to 45 minutes, to be followed by questions from the audience. The whole event should last about an hour.
Divide the talk into ten minute chunks. Each chunk should focus on a different topic, such as the inspiration behind your book, the research needed along the way or your typical writing day. This regular change of subject will re-ignite the attention of the audience and give you, the speaker, a burst of energy.
Have a memorable opening. My current author talk is about writing a psychological thriller. I start by teaching the audience ‘how to make money out of murder’ and produce a selection of murder weapons as visual aids. Having grabbed their attention, I switch to writing-related topics.
Don’t read the talk from a script. Make bullet point notes and talk freely around each bullet point. This will enable you to make eye contact with the audience and build a good rapport.
Accept that a little bit of stage-fright is good. Adrenaline sharpens your performance. But don’t let it overwhelm you – focus on sharing your enthusiasm for books and writing with the audience.
Include a maximum of three readings from the book and make them short, two to three minutes is sufficient. Unless you are a trained actor, it’s difficult to hold audience attention when reading aloud. If you need glasses for small print, reproduce the extract on A4 paper in a large font. This will enable you to read without glasses and maintain better eye contact with the audience.
A few months before the event, join a Speakers’ or Toastmasters’ Club to practise speaking in front of an audience. Both organisations will provide constructive feedback on how you’re doing and enable you to gain experience.
Take some books to sell! Also useful are a cash float for giving change and some business cards in case anyone wants to book you to speak at their WI or other organisation.
Well done on holding your first author event! It’s OK to feel exhausted! Now, take some time to analyse how it went and then start planning the next one. Good luck and enjoy!
Sally Jenkins is an author and speaker. In 2018 she represented the Midlands in the National Speech Competition held by the Association of Speakers Clubs. Her book, Public Speaking for Absolute Beginners, is designed to hold the hand of the novice speaker. It contains information on constructing a talk, managing speaking engagements and creating speeches for special occasions.
I’ve got a new author photograph. You can see it on my About page. I had photos taken by a professional photographer.
Is that vanity? What, indeed, is vanity? ‘Inflated or excessive pride in one’s appearance’ – or indeed qualities, abilities or achievements – is the dictionary definition.
I think that as a writer it is no bad thing to have a pride in all those things. Nay, as a human having pride in oneself is not in itself a bad thing. I don’t think we should decry it . False modesty is, to my way of thinking, a way of actually calling attention to yourself.
So the key words are ‘excessive’ and ‘inflated’. I don’t think there anything excessive about having photographs taken by a professional, for professional purposes. And, let’s face it, as part of becoming a published writer – an author – is promotion, and for all that we are promoting our words, images help hugely with that.
A professional photographer’s job in taking portraits is to bring out the best of a person. I wanted an author pic which makes me look professional, but also approachable and friendly. I’m very happy with this one. All credit to Artist Photographer Toril Brancher.
Coming next: A guest post on public speaking tips for writers
Thanks to all who took part in my second little competition. I enjoyed reading all the entries – the winner, for her original take on the prompt and a well-crafted story, is Cathy Lennon.
Here’s Cathy’s winning story:
He watched her scratching. The blood, rising like a seam on her nape. She’d had most of her hair cut off, a pixie cut that really didn’t suit her but she’d gone past caring. She just wanted the itch to stop. ‘Can you see it?’ she’d cry, thrusting a scabby forearm underneath his nose. At first he’d put on his glasses and examine the skin closely, searching for the tiny creatures, like kinetic fibres, she swore were there. All he could ever see were the weals drawn by her fingernails. He’d gone online and sent for cutting- edge, scientifically-proven new creams from transatlantic pharmacies, potions from China, even phials of supercharged water from sites of pilgrimage. Nothing worked. He’d soothed her and assured her he believed her even when the doctors had not. She’d caught the meaningful glance the consultant had shared with him at their last appointment and now she was pitiful in her desperation.
Last night, for the hundredth night in a row, she had sobbed and scratched herself to sleep beside him. In the morning, before she woke up, he went to the spare room and rummaged for an old box he’d remembered. He cut lengths of thread from the cotton reel in her long-discarded sewing basket and took tweezers from the bathroom cabinet. She looked at him bleary-eyed as he stood by the bed. He opened the lid. ‘I got some of them,’ he said. She blinked and smiled up at him. ‘Tonight, while you’re sleeping, I’ll get some more.’ She took one look at the threads and flung her scabby arms around his neck. He pressed her shaking body to him with unspeakable relief. ‘I knew you believed me,’ she said.
Cathy writes mostly flash fiction and short stories. She loves a visual prompt! Her work has regularly featured in print and online. Last year, after a three year hiatus, she began writing and submitting again and her stories were longlisted, shortlisted and/or published by Arachne Press, Bath Short Story, Flash 500, Funny Pearls, National Flash Fiction Day, Reflex Fiction, Retreat West, Show You Mine,TSS 400, Virtual Zine and Visual Verse. She’ll be the first writer up on Flashback Fiction in 2020 and will be keeping on keeping on this year.
Look out for another competition from me in April. I will also be publishing some guest posts over the next few months, so do get in touch if you’re interested, especially if you have your own website and would like to swap posts.
New year, new writing, and a new competition from me.
You are invited to write up to 300 words (not including title) inspired by the photograph below. Send your entry in the body of an e-mail (no attachments please) by midnight (UK time) next Wednesday, 15th January, to firstname.lastname@example.org. No bios, but include your Twitter handle/link to your Facebook page. Subject line of your e-mail should be: Friday story submission + story title.
I will post the story I like best here as next week’s Friday story, with a big shout out to you and your writing.
Tip: Discard your first idea. Discard your second idea. Go with your third idea.
There are so many writing websites out there. I’m listing three of my favourites – not just because they’ve published my work, but also because they have a lot of excellent stories by other writers too, and the people who run and edit them are responsive and generous.
The Lonely Crowd invited me to contribute to their Books of the Year feature. Here’s what I wrote:
I’ve very much enjoyed some of this year’s Big books: Lucy Ellmann’s Ducks, Newburyport demonstrates how the full stop might actually be getting in the way of the energy of many a story, Ali Smith’s Spring examines frankly the awfulness of our times and conjures heart-rending tenderness in spite of it, while Bernardine Evaristo’s Girl, Woman, Othercelebrates Black British women with a vitality and rhythm that is all her own.
But the book which stands out for me in what I’ve read in 2019, over and above these giants of the literary world, is Adèle by the French-Moroccan author Leïla Slimani, the 2019 English translation of her first novel, originally published in French in 2014 as Dans le jardin de l’ogre. I devoured this one afternoon back in March and it locked onto something in me. As an exploration of a woman’s search for meaning in her life this is – in my opinion – peerless. If once or twice Sam Taylor’s translation juddered, for the most part it was crystalline. Do not think this novel is about a sex addiction; it is about a quest for authentic feeling. Adèle is a 21st century Emma Bovary, and Leïla Slimani’s book deserves to be read as widely and remembered as long as Gustave Flaubert’s.
My top TV in 2019 (bear in mind there was lots and lots I didn’t see!) is:
Fleabag, Season 2 – Phobe Waller-Bridge is unique, Andrew Scott was wonderful as the priest, and everyone else was fab. Great story, even better acting. I loved it.
Years and Years – pitch-perfect writing about the (very) near future by Russell T Davies. Very bleak. very important.
Seven Worlds, One Planet – extraordinary filming. By turns poignant, awe-inspiring and heart-rending. And with a wonderfully humorous look at the grave-robbing hamsters of Vienna. And the one and only David Attenborough.
The grave-robbing, candlewax snaffling hamsters of Vienna
Coming next: My top musical performances of the year
This is a little story which I started in Italy in May, in the wonderful flash fiction course with Kathy Fish, Nancy Stohlman and a bunch of other talented writers. Here’s the beautiful soundtrack which inspired it and from which it takes its title:
Underneath the Stars
He still looks for her at the tail end of the day, our old grey cat, Merlin. Sitting at the top of the steps, outside our front door. Watching the bend in the road. Watching and waiting for her battered old Ford Fiesta to appear round the bend, her tooting and waving to tell us she’s home and calling out to me to put the kettle on because:
‘I’m dying for a cup of tea!’
That was Marie-Louise. She was greedy for life.
She brought cakes, always a little sweet something. But now the days of our feasting are done and it’s quiet day and night in Silverdale, in the quicksilver light of the moon and the rarely-now-golden light of the sun.
For they closed the road off.
Marie-Louise would not have wanted that, would have insisted that the va-et-vient should continue. For she loved the rush and fall of things.
Merlin’s still sitting looking, still hopeful, as the silvery sheen of his coat merges into the dusk. I call him and we go together into the back garden. We sit by side, noses twitching to catch the sinuous waft of night scents as, above us, the map of the heavens unrolls. There’s the whoosh of a train down in the cutting but Merlin doesn’t stir.
I point. ‘She’s up there,’ I whisper in his ear.
It’s a blind hope. I can’t read the night sky any more than I could read her mind or understand her crazy impulses.
Merlin’s ears prick now and he darts after some little creature invisible to me in the fading light. Something snuffles near the railway tracks. A fox maybe, or a badger. I call Merlin back from danger. He comes and he sits, quietly, close by me. And I nuzzle his soft back.
NEWS! I’m going to include this story in a collection of short fiction and photographs which I’m putting together with my husband and fellow writer, Oliver Barton. It’s called Candyfloss III. Yes, it’s the third in a series, though there’s been a bit of a gap since the last one. You can still buy Candyfloss II here.
We hope to have Candyfloss III out in January. All profits will go to local charities where we live in Abergavenny. And it will be available to buy directly from us. You’ll hear about it here first.
This year there was a book by a Tasmanian author on the Not the Booker Prize shortlist. I thought it was about time I found out a bit more about Australian fiction writing, and invited the author Lindsay Bamfield to write a guest post for me.
Lindsay relocated from London to Melbourne six months ago. She writes short stories and flash fiction and has two stalled novels needing attention.
Here are Lindsay’s recommendations. Do add your own in comments.
Mining for Australian Literature
Moving in to my new home in Australia, I set up a couple of Australian literature shelves in my bookcases. To accompany my battered copy of A Gold Digger’s Diaries by Ned Peters (my great-great-great-great-uncle!) were novels by writers I’ve read before, including Tim Winton, Jane Harper and Kate Grenville. Following Ned’s example of gold mining I mined for new literature. I browsed bookshops and, most importantly, joined my local library and found books encompassing Australia’s many cultures from a number of Australian authors writing a huge variety of characters and settings in an equally wide range of literary styles and genre.
I’ve read hard-hitting short stories by Tony Birch (Common People and The Promise), found the fictionalized story of Louisa Collins, The Killing of Louisa by Janet Lee fascinating and, to be honest, read several others that I didn’t rate very highly. The following, all from writers I hadn’t come across before, stood out for me as good reads.
Peter Polites’ The Pillars is a contemporary urban story of a gay man of Greek heritage. Vibrant, urgent and often dark, it is a story of the outsider. Covering racism, homophobia, greed and the ever-changing face of cities, it focuses on fitting in as the pillars of society crumble for new ones to emerge.
In contrast, Milk Fever by Lisa Reece-Lane is set in a small country town named Lovely. For newcomer Julia it’s anything but lovely. Overshadowed by her controlling husband she is drawn to Tom, a young farmer who experiences life and the surrounding countryside through nature’s colours and vibrations. I loved this gentle story of people at odds with their family members but ultimately at one with their environment.
Kate Richard’s Fusion is set in the remote wilderness where conjoined twins Sea and Serene live in self-imposed seclusion with their cousin, Wren. Self-educated, their life is richer than their circumstances might suggest. When Wren finds an injured woman on a lonely road, he brings her home to tend to her injuries and all three find their relationships are tested. An unusual and lyrical read.
Shepherd by Catherine Jinks, perhaps better known for her children’s and middle-grade literature, is the story of a young convict transported to Australia for poaching. Working as a shepherd for a settler he becomes the target for another convict, a vicious murderer. Can he outwit his pursuer? I found this fast-paced story fascinating.
Extinctions by Josephine Wilson tells of widowed Frederick Lothian, a retired engineer coming to terms with his future in the detention centre for the elderly as he calls his retirement village in Western Australia. Touching on the big issues of identity and the Stolen Generation, Fred meets Jan a fellow member of the retirement village whose blunt approach makes him confront his mistakes from the past and how they have affected his son and adopted daughter. Often witty and sometimes light it is also a serious thought-provoking read that I was sorry to have to return to the library.
Coming next: Friday story and preview of Candyfloss III
I’ve been pondering on flash fiction. This month I’m writing some every day. Here are a few thoughts about the process:
– It’s a useful exercise to use a prompt just to get the creative brain firing. Simply setting words down.
– A strict word limit can produce unexpected juxapositions. As in this micro I wrote this morning using Meg Sefton‘s prompt crisp for 50 word fiction:
First frost and the white ground is calling to me to imprint it. I run alongside tracks of mice and vole, earlier risers. Breath of dogs fogs the air, the shouts of their people boom and retreat. The colours of this time of day are muted, waiting for sun stroking.
I don’t think I would have come up with ‘sun stroking’ if it hadn’t been for the constraint of the work limit.
– Collaging the fragments which float out from my brain in response to different prompts may show up connections.
-At this stage this is all raw material, which I will return to later, to cut, shape and stitch into finished stories.
And here’s a picture, which could also be a writing prompt…..
Last year I took part in NaNoWriMo. That was fun and gave me lots of material to work on.
This year I’m back to FlashNano. Nancy Stohlman gives great prompts every day during November. You can use these as you like – for me they are so useful to get my writing brain going, and the little stories I start here may bear fruit later – who knows?!
I’m also using prompts from Meg Sefton to write a 50-word micro each day in November, posted on Twitter with the hashtoag #50FlashNov19. Another little brain workout.
Here are a couple of the micros I’ve written so far:
Day 1 – prompt #ripe
I scan the room. Grey suits, haggard faces, the smell of age. I should never have trusted the photograph. The line is so fine between fullness and the slide into the decay. There, he’s waving. I recognise the eyes. But the flesh is weak. Mine that is. I turn away.
Day 5 – prompt #cat
They said they had to keep us in for three weeks. My sister and I had no say in the matter. They said we were feral. I have no idea what that means in human, but when they finally let us out we climbed over the house. To show them.
Huge thanks to Nancy and Meg for sharing the prompts.
Thanks to all who entered my story competition. The entries were anonymised before I judged them, so knowing me did not benefit or disbenefit anyone!
I enjoyed all the different ways you used the prompt. On another day, with a different judge, any of you might have won.
I chose Samuel Dodson’s story as the winner because of the way it goes beyond individuals. And it has a thought-provoking ending. Congratulations to Sam! Check him out on twitter at @instantidealism and find out what else he’s up to in the writing world.
I’ll run another competition before Christmas, so look out for that.
Here is the winning story:
There is a gap that runs through the town. A bisecting line that divides the residents. It is small – smaller than you’d think; and almost un-noticeable. Yet it is impossible to cross.
The two tribes on either side inhabit separate worlds, though they all pretend not to. It only really becomes apparent when people from each side start to approach it. You can watch them – go on. See how they pause, look around; turn away. To cross the gap would be to acknowledge it.
There are, however, cracks. They spread out on either side. They started to appear not too long ago, when the mayor of the town forgot such a gap existed, and tried to ask the town-folk what he thought was a simple question:
“Are you content with where you are?”
The mayor thought the answer to this question was obvious. After all, he himself was exceedingly content. He lived in a big house in one half of town. He had a big garden with a stylish wooden hut where he could sit and write ideas he had. His wife wore expensive dresses and he never needed to worry. People even brought things to his house! There were fancy dinner parties. He never even needed to go into town – so forgot all about the gap that neither he nor anybody he knew would cross.
He couldn’t figure out what to do when the people in the town said they were not content. He hid in his little hut and didn’t come out.
Monday: Draft my ‘homework’ for Writing Group tomorrow. Prompt is ‘intolerable’ or ‘workload’ or both! It’ll be a flash fiction, though there’s always the possibility it could be the start of something longer. I’ll gather a couple of random words to help me on the way.
Finish a first read of the Flash Fiction Festival anthology which I’m due to review for Sabotage Reviews.
This is the first in a occasional new series. You are invited to write up to 300 words (not including title) inspired by the photograph below. Send your entry in the body of an e-mail (no attachments please) by midnight (UK time) next Thursday, 31st October, to email@example.com. No bios, but include your Twitter handle/link to your Facebook page. Subject line of your e-mail should be: Friday story submission + story title.
I will post the story I like best here as next week’s Friday story, with a big shout out to you and your writing.
Tip: Discard your first idea. Discard your second idea. Go with your third idea.
We live in ‘interesting’ times. There are lots of things to cause us anxiety and fear. I find the very best thing to do when I feel anxious or afraid is to get out into the countryside and walk. Trees in particular are very calming. Did you know that they have a communication system between one another too?
If you’re writing this week, make sure you take breaks and get out.
Last year I was publishing one of my stories here every other Friday. Then other things took over. But now the Friday story is back! Here’s one that took second place in the Zeroflash competition in March 2016.
In a Barren World
After the woman had gone to prepare for the journey I sat alone in the old chapel, watching the fire flickering. Watching as the heat retreated and the coals glowed, red pinpoints in the enveloping darkness. Watching as they faded. Watching until all colour was extinguished from them and the cold and the dark were the victors once more.
I walked to the western wall and held my ear to the granite. It seemed to hold the crackle of a half-remembered song from the time before. I closed my eyes and remembered laughter and wine, glasses raised to firelight and hope dancing in our hearts. If I had held a glass in my hand now I would have smashed it to the ground. But our drinking days were over, things were already broken and all any of us could do was seek shelter from the storm of the barren world.
The woman and I had thrown our lot in with one another after our dear ones had been taken. Some said by wolves though I thought that fanciful, even in the strangeness of these times. And there was no evidence that wolves had survived. Yet the seas had advanced as had been foretold, there was no denying that.
The chapel stood on a headland, too high for the seas to sweep it away. We had found it, she and I. It was ours alone and each day we tumbled down the grassy cliffs and swam in a blue bay with dolphins, while all we needed was provided for us. Miraculous, yes, but in these times there is but a short space between apocalypse and miracle.
When the dolphins left we knew our idyll to be over. Tonight we will draw warmth from one another. Tomorrow we face the cold again.
So, this was a surprise – joint winners of The Booker Prizer 2019. The organisers might have been shocked, but I think a lot of people have welcomed the decision of the judges to flout the rules and award the prize jointly to Margaret Atwood for The Testaments and Bernadine Evaristo for Girl, Woman, Other. Seeing the way the two authors have responded to the decision is no less than inspiring: visibly supporting one another, plus Margaret Atwood is gifting her share of the prize money (£25,000) to the Canadian Indigenous charity, Indspire, which invests in the education of Indigenous people.
I’m rather shocked that the Booker organisers are apparently so angry about the judges’ decision that they are threatening to withhold their fees. That seems very small-minded.
Who could not be pleased to see the warmth between Atwood and Evaristo? I’m looking forward to reading both their books.
For the past two years I’ve taken a close interest in The Guardian’s Not the Booker Prize. In 2018 I decided to read all six books on the shortlist and was invited to be a member of the judging panel. There are five votes that decide the winner: two go to the book which wins the public vote and the three members of the judging panel have one each. So if just one member of the judging panel goes with the public’s choice, that book is the winner. (You can read more about the longlisting and shortlisting processes and the full rules on the link.)
Both last year and again this year (with a different judging panel) the prize has gone to a book which was not only not the public’s favourite but actually received few votes in that process. Both times that has provoked some people to cry ‘Foul!’ and curses upon the heads of the judges, who have been called an elite (and worse things which get deleted from The Guardian’s website).
I know from my personal experience that last year the final voting process was fair. There was no discussion between the judges prior to the judging meeting. I have no reason to think things were different this year.
Whether or not there are lobbies for particular books that influence the public voting, one thing is for sure: no-one taking part in the public vote has to have read any book on the shortlist other than the one they are voting for, or give more than a few lines of review about their chosen book. To be on the panel you must have read at least three of the six and commented on them in some detail during the weeks leading up to the vote. In practice panel members will have read most if not all of the six.
The debate has little to do with the value of the prize (a Guardian mug – though of course it is something for the winning writer’s CV). It is more about how people see their opinions being regarded or disregarded, and about how some will hold to the belief so brilliantly delineated in Orwell’s Animal Farm that ‘all animals are equal but some are more equal than others’, whether or not it is really so.
The 2019 Not the Booker prize was won by Lara Williams for her debut novel Supper Club.
Coming soon: Thoughts about The Booker Prize – and the return of the Friday story…