Guest Post: Amanda Huggins on Killer Short Stories

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.

Blog: https://troutiemcfishtales.blogspot.com/

Twitter: @troutiemcfish

Amanda Huggins
Scratched Enamel Heart is available from Amazon: https://www.amazon.co.uk/Scratched-Enamel-Heart-Amanda-Huggins/dp/191606938X/ref=sr_1_1?dchild=1&keywords=scratched+enamel&qid=1589632869&s=books&sr=1-1


Guest Post: Ali Thurm on A Room of My Own

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.

A Christmas 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

Ali Thurm
One Scheme of Happiness can be ordered at your local independent bookshop or from: Amazon  http://amazon.co.uk/dp/1916069320/ and 
Waterstones https://www.waterstones.com/book/one-scheme-of-happiness/ali-thurm/9781916069329