In this video I am flashing. (Fictionally). And trying to pull as many daft faces while reading heartfelt things as possible. But really, attempting to think a bit more about form and fiction.
Two posts in one day – It’s getting a bit Crowded House.
I felt so proud to be part of The End, and I’ve just seen this post about it, and wanted to share. It looks like those very kind people at Sabotage felt good things for it too, despite missing out on a prize for their Saboteur Awards. The End by Unthank Books explores responses to Nicholas Ruston’s paintings and varying notions of the end. Such thoughtful and skilled writing sits between the dark cover and spools on beyond it. What felt so unusual about working on it, was the idea that we were all collaborating in a very different way to other collections I’ve written for. And that was an experience. Read together, forward, backwards, dipped in and returned to, I’m still provoked by this collection. Easy for me to say, I suppose, but if you’re intrigued, you can buy it here. Please do. See Zoe Lambert’s piece of musical fiction on grief, which was one of my many favourites.
I meant to put this up much earlier, but this is a lovely and detailed review of Unthology 9 which, I think :), has some excellent pieces in. It also contains my story, As Linda Was Buying Tulips.
Just a few snippets here, please see the link for the full review: https://www.theshortstory.co.uk/the-short-story-review-unthology-9-ed-ashley-stokes-and-robin-jones/
Unthology 9 demonstrates the importance of independent publishers like Unthank who provide a platform for some of the most exciting contemporary literature. Here’s to the next one. …
‘My mother twitches with sex’ – so commences a hard-edged short story (‘As Linda Was Buying Tulips’) by Sarah Dobbs. Here we have an artist son who is uncomfortably obsessed by his twitching mother and her breasts. Throw in a successful father and we’d be screaming Oedipus Complex like every modern-day English lit. student. But there’s no father here. Instead, we’re given the infinitely interesting Linda, and as the narrator notes, ‘neither of us expected Linda.’ She’s fast and fun and frolics and fucks (the language isn’t shy either) with fair abandon. Although the plot twist seems one turn too far, this is a small quibble for a cracking read that injects a strong shot of punchy prose into the book as a whole and remains one of my favourite in the anthology…
We’ve come across John D. Rutter before at TSS (read his story here) and it was a pleasure to see him appear with the piece ‘My Knee’. The title is mundane, but brilliantly so, providing much in terms of tone and style; the reader is given an immediate impression of the narrator: middle class, married, a little dull, and suffering marital problems. The couple have lunch at ‘The French’. The husband drinks wine and his suspicions and aggravations surface. Everything comes to a climax, a crash – metaphorically speaking, and literally. There are some lines which really capture the bitterness of relationships gone wrong, highlighting Rutter’s ability to pinpoint emotional truths succinctly: ‘”It’s not just a fling.” That’s what Pippa said last night, as if somehow a fling would be alright.
Look at the all the shiny things on offer here – also, am giving a workshop on image-based fiction.
A little more information:
We will beg steal and borrow for our image workshop. I work in a variety of media and think that each brightens the other. In the workshop, we’ll borrow a little from script and poetry, but ultimately produce a short piece of work for a target market, should you want to. You could even practice your piece straightaway in the Flash Fiction Slam after the workshop. All levels are welcome, and always happy to tailor my initial plan to the needs of the group.
Here’s an indicative structure – lots to get through!
1 minute silent short
Soundscapes and musical fiction
No translations! How to convey meaning with image
Crafting: Heart/head – emotional plot, vs event-based plot
Target market: Segora vignette competition
Here’s a quick script-based example from the stage directions of a play I’m working on. What does this tell you about the characters? How might you write this in prose? One of the fascinating things about script is that it forces you to rethink (somewhat) our approach to prose. I’m forever filling in the blank spaces, and then trying to create more, to keep a reader guessing. Sharp editing in prose creates jumping points for a reader to imagine, be active, and to interpret for themselves. Who doesn’t like that? Resist translation!
Q/ So – what could this say about the twins’ relationship as demonstrated in these stage directions? Who has the upper-hand? Are you trying to interpret? Is that better than saying, ‘They laugh because they’re no longer angry with each other’. Why do they laugh? Why does Joanie run off-stage? Is If we wrote this in prose, would we actually need to write the internal thoughts (as we often do)? Does a blank space always need filling in? (We’re not completing forms!) Could we even write it like this in a prose piece? (Would it be too bland? What would you add? Why?) Etc…
THE TWINS UNFOLD THEIR ARMS. THEY EACH POINT TO THE OTHER, SHRUG, LAUGH. THEY MOVE CLOSE, CLOSER, SLOWLY START TO PERFORM A CHILD’S HAND-CLAPPING GAME. IT GETS FASTER AND FASTER UNTIL JOANIE CAN’T KEEP UP AND RUNS OFF STAGE. EM RE-FOLDS HER ARMS.
You all know I’m a massive fan of flash and I’m happy to be judging this competition below for The Word. Look forward to your entries – any questions, just ask!
Stories should be no longer than 100 words but there are no restrictions on the subject of your story. Let your imagination run wild.
All submissions will be read by a panel of judges. The top five in each category will be invited to The Word on the 25 June to read (or to have read for them) their stories and the final winner in each category will be announced.
Age groups 16 and under and 17 and over.
Entries must be sent to email@example.com by May 3 2017 and it’s FREE to enter.
I’m happy to be running a flash fiction workshop at The Word this year. There’s an excellent line up of writers and events, so do have a look. There will also be a flash fiction competition run in conjunction with the festival, so do keep your eyes peeled for that. Getting to the workshop will be good practice for the competition (just saying…)
You can book tickets and find out more information here!
Find out more about the The Word and what’s on here : http://theworduk.org/
From poetry on Instagram to Twitter short stories, moving graphic novels on Vine and seeing who reads your guerilla stories…social media offers new opportunities to get your prose, poetry and other work in front of new readers. This workshop will explore the possibilities and get you creating.
Free event but please email firstname.lastname@example.org to register interest.
Iain Rowan is the author of One of Us and the director of the creative writing strand of the Sunderland Literature and Creative Writing Festival.
When: February 10th, 2017, 12pm-1pm
Where: Priestman Building, 115
I’m developing a new project called Life Support, which has a very Waltonsesque pay-it-forward notion of empowering us all to impact change, feel useful, understand our own power to invest in our own and others’ lives, in a myriad of ways. It’s always struck me that narratives can create conrete actions, but in quite a dislocated and disenchanted world, this can feel impossible.
But I’ve noticed lots of people wanting to do good, such as writers like AJ Ashworth, Vanessa Gebbie, Paul McVeigh. And yesterday I watched A Streetcat Named Bob and again was struck by people’s fundamental generosity and kindness and desire to better themselves in the face of extremely difficult situations. I suppose this is where Blake’s Auguries of Innocence and Experience actually start to make sense. We can see the best of people and ourselves in the darkest of situations. Last time I checked, 2016 is a pretty dark situation.
So how can we make actually just make stuff a bit better with words?
My suggestion is we share a link to a story / pic / poem, or record your words as I’ve done, about something or someone that’s dear to you, use the hashtag #LifeSupport, tag a charity / interest of your choice & what you’ve done e.g. I donated. I retweeted. I favourited. All of it matters.
Here’s mine: Steven https://youtu.be/MI5DkVItUoE @mariecurieuk I donated #LifeSupport
Yours could simply be: #LifeSupport – I retweeted
Or: My friend’s art site @evwellsart #LifeSupport – I shared
It’s not particularly about the money, but a gathering sense of force. You can do something incredible with a simple retweet – you never know who’s paying attention. Buy someone a hot drink, or just simply be a bit nicer to people. Give your time. Collectively, who knows…
I sort of hope in the long run the project will enable people to share stories about loved ones or the things in life we’d like to change. It would be nice if we could all feel, even fleetingly, more connected to people and the idea that we can make life better for each other (whatever your skill might be) as well as raising awareness of the inspirational people who already do this everyday. So why not be one of those people?
And here are our winners…
Thanks again to all entrants and attendees and everyone who supported our first University of Sunderland in Association with Waterstones Award. We will be in touch with all winners and highly commended entrants shortly to transfer prizes and vouchers. There will also be lots of pictures from our wonderful photographer David K Newton. If you have any from the event yourself, please feel free to share! (And PS we open for submissions again in January…)
Adults – Winners
in the University of Sunderland in Association with Waterstones Short Story Award, 2016 with Lust for Life.
in the University of Sunderland in Association with Waterstones Short Story Award, 2016 with The Hills of Ffostrasol.
in the University of Sunderland in Association with Waterstones Short Story Award, 2016 with Paul Newman Eyes.
Adults – Highly Commended shortlisted (regional)
in the University of Sunderland in Association with Waterstones Short Story Award, 2016 with Clem.
Kristien Potgieter – Highly Commended shortlisted
in the University of Sunderland in Association with Waterstones Short Story Award, 2016 with Dead Man Walking.
Under 17’s – Winners
in the under 17’s category of the University of Sunderland in Association with Waterstones Short Story Award, 2016 with One Last Time.
in the under 17’s category of the University of Sunderland in Association with Waterstones Short Story Award, 2016 with Two Lives as One.
3rd prize (joint)
in the under 17’s category of the University of Sunderland in Association with Waterstones Short Story Award, 2016 with A glimpse through Blue Glass.
3rd prize (joint)
in the under 17’s category of the University of Sunderland in Association with Waterstones Short Story Award, 2016 with The Beauties of War.
Highly Commended shortlisted
Rowan Mathilda Todd
in the under 17’s category of the University of Sunderland in Association with Waterstones Short Story Award, 2016 with The Unusual Princess Story.
Harry Anderson Highly Commended shortlisted (regional)
in the under 17’s category of the University of Sunderland in Association with Waterstones Short Story Award, 2016 with The Witherhorn.
Last Thursday I was privileged to be able to take part in the Sunderland launch of The End collection, published by Unthank Books and inspired by artwork rom Nicolas Ruston. Launches are funny things, I think. And I’ve somewhat noticed that not many people are that enthused by them unless there is the opportunity to have their own small moment of glory, which makes sense and is all fair and fine.
I read from Burning the Ants, Andrea Ashworth from Harbour Lights and Ailsa Cox from Coup d’etat. There was a time when reading terrified me, but now it is mostly a pleasure and the best part can be that discussion and thought about the literature afterwards. They’re places where you get to explore your process’s and sometimes this will resonate with other people, sometimes it will be completely different.
We were asked essentially how much truth is in the writing and I’ve been exploring thoughts about the stories before and after the event. It was interesting to read Ailsa’s interview on the publishers website about how that moment where you take the leap from fact to fiction, the story then becomes something else. While it might have started closely to you, it becomes about the family in the fiction you create,the loss if their dog, whilst retaining the notions and explorations of love and mortality that Ailsa indicated she had wanted to explore. Equally, Andrea talks about the moment she encountered a very poetic, Gallic man in a fish and chip shop and the questions as to how and why he was there triggered a emotional story of life and love, a relationship that contained so much yet was cut brutally short.
I cant now imagine not having written Burning the Ants. I wonder if other writers feel that the stories they have written contribute to how they recognise themselves, that without this particular piece, I would not now feel quite so whole. Something would be missing. Because I would not have thought about my reasons for writing the story and it would still be swirling within me, untethered and unprocessed. I am stronger with it.
Burning the Ants is Joanie and Emma’s story, twin sisters, 17, one of their lives is stopped by a horrible motorbike accident that leaves Emma, the bolder twin, with locked in syndrome. Joanie is left to try and finally live her own life, but is also faced with that awful question, who are you without your other? This story started from an obvious point, my own brothers cancer and the question he asked, because he did not want to die in the pain he did, and our guilt for not being able to carry out that wish. The thing is, the way my brother wanted his life to end changed throughout his illness and this is why the debate of assisted suicide I think will continue to rage, and it was interesting to watch Me before You, as it explored similar issues in an emotional but perhaps fairly sanitised way. I don’t know the answer, I never expected to be faced with the question but it is a question we need to continue to have as a society.
In the story, the suggestion is that Joanie does end Emmas life and this piece is their story, but it also allowed me to consider mine. Very interesting that the launch provoked such questions and I feel resolved, from the process of writing this fiction, to get involved in that debate more.
So thanks to everyone who made this collection happen.