54 Writing competitions for 2019

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2018 has been lots of things to lots of people. For the Prime Minister of the UK, Theresa May, for example, it was an opportunity to see just how terrible a job one could do and still remain employed – even going to the extent of deporting her own citizens for no reason other than the colour of their skin. And, while May’s corpse-like grip on power continues to hold – amid a world increasingly descending into chaos and catastrophic environmental breakdown – many writers have been feverishly attempting to finish their masterpieces before the world officially ends.

As things currently stand, however, we are still alive (we think), and so that means we’re rapidly hurtling toward another year and another suite of opportunities to get your writing out there and published.

For our part here at Nothing in the Rulebook, we’ll endeavour to ensure 2019 is filled with a multitude of writerly insights and discussion, and (just for you) we’ve compiled a list of upcoming writing competitions scheduled for the year ahead.

So, in addition to our list of places that are always open for submissions, as well as places to submit flash fiction, we are thoroughly chuffed to bring you this valuable writing resource you can use to get your writing into the right places.

Included below are details about word counts, deadlines and direct links to each event.

If you’d like to add a writing competition to our list then please feel free to contact us!

1. The James Knudsen prize for fiction

US$1,000 in prize money awaits for writers of short stories no longer than 7,500 words in length. There’s a US$20 entry fee.

2. The Fresher Writing Prize

This year’s Fresher Writing Prize invites you to send in poems and short stories inspired by their theme of Peace.

There is an entry fee of £7 and a maximum word limit of 3000. Winners receive a £200 cash prize and feedback on their work.

3. Bath Novella in Flash award

Your novella-in-flash submission must be in between 6,000 and 18,000 words long. Individual flashes (or chapters) within the novella should not be more than 1000 words long.

£300 prize for the winner, two runner-up prizes of £100 plus publication in a one-volume three-novella collection. Each published author receives five copies.

Deadline for entries is January 14th 2019.

4. The Cambridge Short Story Prize

International short story competition with a £1750 prize fund. Submit short stories between 2000 – 3000 words. It costs £8 to enter and is free to residents of Bangladesh. Deadline is January 15th 2019.

5. Fiction Factory short story competition 

All types of writing are welcome for this writing contest with prizes up to £150 for the winners. 3000 words max and a fee of £6 to enter.

6. The Caine Prize for African Writing

For published African authors of fiction. Must be over 3000 words in length and written for adults. Advisable length for the stories is between 3000 and 10,000 words. There is a cash prize of £10,000 and works must be written in or translated into English.

Deadline for submissions is January 31st.

7. Masters Review Winter Short Story Award

The Masters Review Winter Short Story Award is prize that recognises the best fiction from today’s emerging writers. The winning story will be awarded US$3000 and publication online. Second and third place stories will be awarded publication and US$300 and US$200 respectively.

There is an entry fee of US$20 and a maximum word count of 7000. Deadline for entries is January 31st 2019.

8. The Screw Turn Flash Fiction Contest

This contest seeks the finest work that incorporates the uncanny. Ghost stories are welcome, of course—but your submission may involve any paranormal or supernatural theme, as well as magic realism. What they’re looking for is superb writing, fresh perspectives, and maybe a few surprises.

The maximum word count is 1000 and there is a US$10 fee to enter for your chance to win US$500.

9. The Fantastica Prize

Fantastica invites Australian and New Zealand writers to submit science fiction manuscripts for consideration.

Manuscripts must be at least 30,000 words in length and a publishing contract will be offered to the winners along with $2000 in prize money. Deadline for entries is January 31st.

10. New Welsh Writing Awards 2019

The New Welsh Writing Awards 2018, run by New Welsh Review in association with Aberystwyth University and AmeriCymru is open for entries.

Now in its fifth year, the Awards were set up to champion the best short-form writing in English

Each category winner will receive £1,000 cash, e-publication by New Welsh Review on their New Welsh Rarebyte imprint and a positive critique by leading literary agent Cathryn Summerhayes at Curtis Brown. Subsequent prizes include residential courses and weekend breaks.

Entries close at midnight on 4th February 2018.

11. Newcastle Short Story Award 2019

One for Australian writers. First prize is AU$2000. The deadline for submissions is  4th February 2018 and the entry fee is AU$15. The maximum word limit is 2000 words, which includes both titles and any subheadings.

12. Writers’ & Artists’ Yearbook 2019 Short Story Competition

First prize receives £500 and a place on an Arvon residential writing course of your choice, as well as publication of your story on the W&A website. Closing date for writing submissions is Tuesday February 13th 2017 and all submissions must be unpublished prose of 2000 words or fewer.

13. Desperate Literature

The aim of the Desperate Literature Short Fiction Prize is both to celebrate the best of new short fiction and to give winners the most visibility possible for their writing.

Max word count is 2000 and there is an entry fee of €20 to enter. Winners will receive €1000.

14. Spotlight Books Competition

Inventive. Hidden. Compelling. Unrecognised. Challenging. Unheard. Beautiful. Ambitious.

Creative Future, Myriad Editions and New Writing South seek the best poets and fiction writers from under-represented backgrounds—those who face barriers due to mental health, disability, identity or social circumstance.

Six writers will be selected and given one-to-one editorial support to shape their manuscript. The six writers will be published in individual small books with international distribution.

There is no fee to enter; winner received publication. Deadline for entries is 24th February 2019.

15. The Margery Allingham Short Story Competition

The Margery Allingham Short Story Competition is open until February 28, 2019.

Submit stories up to 3,500 words. Your story should fit into crime writer Margery’s definition of what makes a great story: “The Mystery remains box-shaped, at once a prison and a refuge. Its four walls are, roughly, a Crime, a Mystery, an Enquiry and a Conclusion with an Element of Satisfaction in it.”

Prize: £500 plus two weekend passes to Crimefest 2019 and a selection of Margery Allingham books.

Entry Fee: £12

16. 1000 word writing challenge

1000 words on a set theme. £5 to enter for a chance to win £100. Deadline for entries is February 28th 2019.

17. Scottish Arts Club Short Story Prize

First things first; you DO NOT have to be Scottish to enter this writing contest. Stories should be 2,000 words or less and may be on any topic.

There’s an entry fee of £10 and a maximum word limit of 2000. Winners receive £1000.

Deadline 28th February 2019.

18. An Axe to Grind Flash Fiction contest

Write a story in fewer than 1000 words for a chance to win US$200.

US$5 to enter. Deadline is 28th February 2019.

19. The Stella Kupferberg Memorial Short Story Prize

The Stella Kupferberg Memorial Short Story Prize is a writing competition sponsored by the stage and radio series Selected Shorts.

Submissions must be no more than 750 words long and there is a US$25 fee to enter.

The deadline for entries is March 1st 2019.

20. Ginosko Literary Journal 2019 Flash Fiction contest

You can submit two pieces of flash fiction of no more than 800 words each to the  Ginosko Flash Fiction Contest, which closes on the 1st March 2019.

Prizes include US$ 500 and publication on the Ginosko Literary Journal website.

The entry fee is US$ 5.

21. Bridgend Writing contest 2019

Stories on a theme of your own choice, between 1500 to 1800 words.

Winner receives £200.

The deadline for entries is March 1st 2019 and there is a £5 entry fee.

22. Eyelands 2nd International Flash Fiction Contest

The theme for this year’s Eyelands flash fiction prize is: Spring

 The contest runs from January 10th through March 20th, 2019

First prize: A week holiday at Three Rock Writers resort οn the island of Crete

Other prize winners and shortlisted entries receive publication. There is an entry fee of €10.

23. Nelligan Prize

International writing prize for writers of all stripes and nationalities. Deadline is March 14th, 2019 for submissions of 12,500 words or less. Entry fee is US$15 and first prize is US$2000.

24. The Killer Nashville Claymore Award

Every year, the Killer Nashville Claymore Award assists new and rebranding English-language fiction authors get published, including possible agent representation, book advances, editor deals, and movie and television sales.

The contest is limited to only the first 50 double-spaced pages of unpublished English-language manuscripts containing elements of thriller, mystery, crime, or suspense NOT currently under contract.

The entry fee is US$40 and the deadline for submissions is April 1st 2019.

25. New Deal Writing Competition 2019

The New Deal Writing Competition is a short story competition where the writer is asked to use a painting chosen by the staff of GVCA as inspiration for their short story.

This year’s painting is “Fountain, Central Park” by Jacques Zucker.

There is an entry fee of US$5 to enter and a maximum word limit of 10,000. Top prize receives US$200.

26. The Bath Short Story Award

An award for local, national and international writers. Closing date for submissions is April 15th, 2019. Short stories of up to 2200 words in all genres and styles are welcome – there is no minimum word limit. First prize receives £1000 and there is also a local prize for Bath residents, as well as The Acorn Award of £50 for unpublished writers of fiction. Entry fee is £8.

27. Momaya short story competition

Any subject and style is welcome for the annual Momaya Short Story Competition.  While entries for the Momaya Competition.

Submit your short story (3,000 word limit) and entry fee of £12 /US$15 by 30 April 2019 in order to compete for prize money and publication in the Momaya Annual Review 2019.

28. Adventure Writers Short Story Competition 2019

This is an international competition and there is just one category: Adventure. The organisers accept traditionally published, e-published and manuscript novels. There is a US$1000 cash prize. A $25 entry fee is charged, and all proceeds go to promoting the contest, the finalists and the winner.  The deadline for entries is 30th April 2019.

Adventure is out there!

29. Adventure Writers Writing Competition 2019

Adventure Writers are an international writing competition now in their ninth year, and have just one category: Adventure.

They accept traditionally published, epublished and manuscript novels. There is a US$ 1000 cash prize for the winners.

A US$25 entry fee is charged, and all proceeds go to promoting the contest, the finalists and the winner.

Deadline for entries is 30th April 2019.

30. The Bristol Short Story Prize

Entries are welcomed for unpublished stories written in English. The deadline for submissions is 1st May 2019 and stories can be on any theme or subject. Maximum length of 4000 words. An £8 entry fee and first prize is £1000. There are also 17 further prizes of £100 for all shortlisted writers.

31. Writer’s Digest Competition

The winner of this annual award will receive US$5000 and an interview in Writer’s Digest. There are a variety of different award categories so it’s best to check the website for details. Deadline is May 6th 2019.

32. Raymond Carver Contest

The Raymond Carver Short Story Contest is one of the most renowned fiction contests in the world. Featuring prominent guest judges and offering US$1500 across five prizes, the contest delivers exciting new fiction from writers all over the world. The contest opens each year April 1 – May 15 and prizewinners are published in their annual fall issue in October. Usual entry fee of US$17.

33. Lorian Hemingway Short Story Prize

Writers of short fiction may now enter the 2019 Lorian Hemingway Short Story Competition. The competition has a thirty-nine year history of literary excellence, and Lorian Hemingway and her small judging panel are dedicated to enthusiastically supporting the efforts and talent of writers of short fiction whose voices have yet to be heard.

Deadline is 15th May 2019. Max word count is 3500, entry fee is US$15 and a prize of US$2500 is available.

34. Bridport Prize

International open competition founded in 1973. Four categories in poetry (max 42 lines); short story (max 5,000 words); flash fiction (max 250 words) and the Peggy Chapman-Andrews Award for a First Novel (max 8,000 words from opening chapters plus 300 word synopsis).

Deadline usually looms towards the end of May each year.

Entry fees and prizes vary depending on category. Full information about this world-renowned competition can be found online.

35. Bath Novel Award

The Bath Novel Award 2018 is an international prize for unpublished and self-published novelists. The winner will receive £2,500, with manuscript feedback and literary agent introductions for those shortlisted. In addition, the writer of the most promising longlisted novel will receive a free place on an online editing course with Cornerstones Literary Consultancy.

Submit your first 5000 words along with a one page synopsis by 2nd June 2019.

There is an entry fee of £25.

36. Narrative Prize

The Narrative Prize is awarded annually for the best short story, novel excerpt, poem, one-act play, graphic story, or work of literary nonfiction published by a new or emerging writer in Narrative.

Deadline is mid June 2019 and there is no entry fee. Maximum word counts of 2000 and prizes of up to US$4000 available.

37. Impress Books prize for new writing

This is a manuscript contest for unpublished writers. Winners receive a print and eBook publishing contact with Impress, as well as a £500 advance.

The deadline for entries is usually around the end of June each year.

You need to submit 6000 words of your manuscript, along with a synopsis and publishing proposal, as well as an author bio.

38. William Van Wert Award for Fiction

US$1,000 and publication in Hidden River Review of Arts & Letters is offered to the best unpublished short story or novel excerpt.

Competition opens in February 2019 and deadline for entries is 30th June 2019.

Any previously unpublished short story or novel excerpt of 25 pages or less is eligible to enter.

There is an entry fee os US$17 and winners receive full manuscript publication and US$1000.

39. The Brighton Prize

The Brighton Prize offers cash prizes for new short and flash fiction. If you’re a writer with a brilliant short story that will both challenge and excite the judges; this is for you.

Submissions are currently open for flash fiction up to 350 words, and short stories of 1-2000 words.

The winner of the short story prize will receive £500, and the winner of the flash fiction prize will receive £100.

There is an entry fee of £8 for short stories and £6 for flash fiction.

The deadline for submissions is 30th June.

40. LuneSpark Young Writer’s Short Story contest

LuneSpark are looking for talented young writers to submit their work for their 2018 short story contest.

Stories must be below 1650 words (they recommend 1500 as a standard).

There is a US$ 15 registration fee (plus an additional US$ 1.82 processing fee) and first prize will receive US$ 500.

The deadline for entries is July 31st 2019, although you’ll need to register before then (check out the website for details).

41. The Sean O Faolain Short Story Prize

The competition is open to original, unpublished and unbroadcast short stories in the English language of 3,000 words or fewer. The story can be on any subject, in any style, by a writer of any nationality, living anywhere in the world. Translated work is not in the scope of this competition.

First Prize: €2,000, a week-long residency at Anam Cara Retreat and publication in the literary journal Southword.

There is a fee of €15 per entry and the deadline for submissions is 31st July.

42. To Hull and Back, writing competition 2019

To Hull And Back Short Story Competition is an annual short story contest with a humorous twist that celebrates the most imaginative and amazing short stories from writers all over the world.

First prize is £1000 and publication.

Max word count is 2500 and the deadline for entries is July 31st 2019.

The fee for entries is £11.

43. The Preservation Foundation’s 2019 contest for unpublished writers 

The Preservation Foundation are a non-profit organisation aiming to “preserve the extraordinary stories of ‘ordinary’ people.”

Stories must be non-fiction in one of four categories: General, Biographical, Travel, and Animals. Submissions must be between 1000 – 10,000 words in length.

There are no entry fees and prizes of US$ 200 for winners, US$ 100 for runners-up, and US$ 50 for finalists in each category.

Deadline for entries is August 31st 2019.

44. The Caterpillar Story Prize

The prize is for a story written by an adult for children (aged 7–11). The judges are looking for stories that will inspire, delight and move our young readers. The stories can be on any subject and in any style, as long as they are age appropriate, and the word limit is 1,500.

The 2019 competition will open from May 2019.

The winning story will receive €1,000 and appear in the winter issue of The Caterpillar.

Entry fee is €12 per story

The closing date is the end of September.

45. Bare Fiction Magazine Short Story Competitions

Any style/genre of writing in a variety of forms, including short stories, flash fiction and poetry. An annual competition with submission deadline of October.

Short story submissions must be below 3000 words and the associated entry fee is £8. Winners of each category receive £500.

46. Early Works Press

Annual writing competition accepts entries of any style or genre. Winners are published in anthology containing 10 to 20 stories (length dependent). There is a £5 entry fee for stories up to 4000 words in length and £10 fee for stories up to 8000 words long. Deadline is October each year, though the publishers also run other competitions throughout the year, so it’s worth keeping an eye on their site for details.

47. PEN/Faulkner Award for Fiction

For American citizens with books published in the calendar year (or scheduled to be published) – no self-published books will be accepted. No submission fees, with a deadline of October.

48. ServiceScape short story award

For this award, any genre or theme of short story is accepted. All applicants should submit their original unpublished work of short fiction or nonfiction, 5,000 words or fewer, to be considered. Along with receiving an award for $1,000.00 USD, the winner will have his or her short story featured within the ServiceScape blog, which reaches thousands of readers per month.

There is no entry fee and the deadline for entries is 30th November 2019.

49. Cinnamon Press Writing Competitions

Any style or genre of writing is eligible for their rolling competition deadlines, which fall throughout the year between September and July. Entry fees vary according to form of writing, such as poetry, novels, short stories and flash fiction.

50. Manchester Writing Competition 2018

There are two prizes – one for fiction and one for poetry. Both competitions offer a £10,000 first prize. Deadline for entries is September 2018 and the competition will open in February 2018. The fiction prize will be awarded to the best short story of up to 2500 words, and is open to international writers aged 16 or over. The poetry prize will be given to the best portfolio of three to five poems (maximum length: 120 lines). The entry fee for each competition is £17.50.

51. F(r)iction contest

Literary publisher and resource for writers Brink Literacy project (formerly Tethered By Letters) run this tri-annual publication, F(r)iction, – an art and literature imprint that is distributed around the world. It features short fiction, flash fiction, poetry, nonfiction, and even a selection of graphic stories. It also showcases amazing artwork.

First prize for the short story contest is US$1000 and there is an entry fee of US$18. The first prize for both the poetry and flash fiction contests is US$300 and there is a US$10 entry fee.

Visit the website for information about upcoming deadlines

52. The Short Story ‘Monthly 500’ Flash Fiction competition 

The Short Story was established in 2015 and has quickly developed into an influential platform for short fiction. They champion short stories, flash fiction, and micro-fiction.

Every month, they invite submissions for their flash fiction competition, the winner of which receives publication on their website and £50.

The deadline for each month’s contest is midnight on the last day of each month.

There is an entry fee of £2.28 and entries must be no longer than 500 words (including title).

53. Reedsy Short Story Contest(s)

Every Friday, Reedsy kicks off a weekly short story contest by sending out a newsletter that includes five themed writing prompts. Subscribers have one week (until the following Friday) to submit a short story based on one of the prompts. The winner receives US$ 50 and publication on Reedsy’s Medium blog.

There is no entry fee.

54. Austin Film Festival competitions

Austin Film Festival 2018 is offering a number of different writing contests for you to sink your teeth into. In their 25th year, the Austin Film Festival (AFF) have helped many writers break into the industry of film and television.

AFF currently offer writing competition categories for screenplays, teleplays, short screenplays, digital series scripts, stage plays, and fiction podcast scripts.

Deadlines for the competitions vary, with some differences in entry fees depending on whether you enter before, early, regular, or late/final deadlines.

Prizes include cash awards and the opportunity to meet famous figures from the industry. Check out their website for information

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A novelist’s guide to waiting

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The type of intensive, cloistered work of writers can lend itself to solitude. Sometimes, this can be accompanied by activity – such as running  – but it can also be just as much about stillness. In this article, author Tim Leach reflects upon the art of waiting; of embracing these moments of stillness to help aid your writing.

The art of the novelist is the art of waiting. Patience. Stillness. Not the lightning flash of inspiration, but in the waiting for the lightning.

Most of my writing time is spent waiting. Waiting before the half empty page, staring at one of the endless problems to be solved. A minute passes, another and another. Half an hour, perhaps even an hour since last a word was typed. A frightening boredom sets in and seeks to drive me from the chair, to do anything but keep still, hold on. Then a sudden flurry of fingers on the keys, the words springing to the page, the problem solved. And then the next problem, and once more, the waiting.

There is passion in this still, quiet patience. “Am I in love? –yes, since I am waiting,” says Roland Barthes. “The lover’s fatal identity is precisely this: I am the one who waits.” It can have the quality of trance or prayer. And there is courage in waiting too, for learn it well enough and you may outlast anything.

Outlast loneliness, for if one has mastered time what is there to fear from the absence of love? Wait out sadness, for the black waters always recede if you can be patient enough for the turning of the tide. And those other more murderous thoughts that circle the mind like jackals – they too must sleep, if you can stare them down for long enough. The hand that quests for the razor grows old and idle, the rattle of the pill bottle fades to silence, the eye that looks hungrily to high places and the third rail droops and grows heavy.

If writing has taught me anything, it is how to wait. It has been a year of hard waiting. I’ve waited with people and for people, waited out a draft of a book, waited out a madness too. Everything is begun and nothing is finished, much more is broken than is fixed.

But that does not matter. “In this there is no measuring with time, a year doesn’t matter, and ten years are nothing,” says Rilke, because poets know how to wait, too.

I hear the tick of the clock and the sound of the sea, and that particular silence in the concert hall before the pianist first lays their hands upon the keys. I am waiting.

About the author

Tim Leach

Tim Leach is a historical fiction author and creative writing teacher. His first novel, The Last King of Lydia, was published by Atlantic Books in Spring 2013, and has been longlisted for the Dylan Thomas Prize. A sequel, The King and the Slave‘, was published in 2014. His most recent novel, Smile of the Wolf  was published in 2018. He teaches creative writing at the University of Warwick, and he lives in Sheffield.

Open for submissions – where to submit your writing

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You there, writers! Wordsmiths and expression explorers! We can see you, hunched over your laptops, feverishly searching the annals of the internet for places to submit your work. You’ve done the hard part; you’ve spilled your soul on the page, edited and re-edited, torn apart, rejigged, stitched back together, you’ve gone round the houses entreating on friends and relatives and bemused bystanders to please have a quick look at the story you’ve written and – finally! – it’s finished. All you need now is a home for your writing that isn’t your cluttered desktop.

First, the good news: there are literally thousands upon thousands of places where you can submit your work.

Now, the not so good news: there are literally thousands upon thousands of places where you can submit your work. How do you know which one’s for you? And how can you possibly have time to go through them all?

Back to some good news: We have gone through the myriad of different writing websites and magazines and collated together a not-exhaustive-but-still-actually-pretty-extensive list of places that are open for submissions (and the even better news is that these places don’t have deadlines for you to worry about missing).

So, in addition to our writing competitions lists, and our list of places to submit flash fiction, we are thoroughly chuffed to bring you this valuable writing resource you can use to get your writing into the right places.

The list*

After the pause: A small independent press and experimental journal of poetry, flash fiction, and art; always accepting submissions. Max 1000 words.

Blanket Sea: Take poetry, art, and creative fiction and fiction up to 2000 words from writers and artists living with chronic illness and disability, and also take previously published pieces.

Brixton Review of Books: Fantastic literary magazine based in South London, styled after other great titles including the Paris Review and London Review of Books. Email direct to find out more information about contributing.

Cabinet of Heed: The Cabinet is hungry for submissions of fiction no longer than 4000 words. You can prevent a terrifying furniture-based rampage by feeding it quirky, off-centre fiction or poetry that might astound and inspire! Please note: All well-crafted work will be considered, quirky or not.

Cotton Xenomorph: Flash fiction up to 1500 words and 2 pages of poetry. Into inspiring language. No creeps allowed.

Ellipsis zine: Flash fiction up to 1000 words. Want to publish stories that make us forget where we are, stories that introduce us to people, places and things we’ve never seen before and stories that stick with us long after we leave them.

For Books Sake: Accept stories between 2000-6000 from self-identifying women for their weekend read.

Jellyfish Review: Take flash and creative non fiction up to 1000 words, and essays up to 2000. Team behind this awesome project also get back to you very quickly (and their non-acceptances are extremely helpful, too).

Laurel Magazine: Take poetry, flash fiction, art, photos and short stories up to 6000 words.

Ghost parachute: Submissions of flash fiction up to 1000 words. Seeks to publish writing that is unapologetically bold.

Mojave Heart: Online literary/arts journal based in the Mojave Desert: poetry, fiction, creative nonfiction, memoir, art, photography. Up to 3000 words.

Monkey Bicycle: Submissions up to 2000 words. They are open to all genres, as long as there is a strong story and a great narrative. If you have experimental work you’d like to send, they’ll consider that as well.

Moonchild Magazine: Various word limits depending on genre and style. MM is an experiential online journal that publishes dreamy visual art, poetry, translations of poetry, flash fiction, mixtapes, collaborations between writers and artists, and more.

Moonpark Review: Quarterly journal of short prose (750 words max).

Long long journal: Submission guidelines vary. Generally publish poetry and fiction.

The Nasiona: Nonfiction literary magazine, publishing narrative-led work that explores the human condition. Max length 6000 words.

Nothing in the Rulebook: We couldn’t very well not include ourselves here now, could we? We strive to support and publish all new and creative ideas across genres and forms. We’d publish a 10,000 word treatise on the artistic merit of ankle socks if it’s written well and with passion and truth and wit. Also publish non-fiction, short stories, poetry, photography, illustration, cartoons, interviews, book reviews. Get involved!

Open Pen: London magazine seeking fiction between 50-4000 words. After short fiction with something to say.

Pendora Mag: Cool magazine. Takes flash up to 500 words, poetry, short fiction, essays and non-fiction.

Pigeonholes: Seeks your literary, speculative, experimental, or absurdly unclassifiable, just make it bold and beautiful. Word limit for fiction is 1000 words.

Porridge: Max word limit is 4000. Keen interest in academic essays, alongside photography, poetry, flash fiction, short stories, excerpts from novels, original artwork, and other visual media.

Platypus Press: An indie publisher of poetry, fiction and non-fiction. Short stories between 5000 – 25,000 words.

Rabid Oak: Online journal of poetry and flash fiction & nonfiction, max 1000 words.

Riggwelter Press: Riggwelter is open to submissions of poetry, short fiction, visual art (of any kind – photography, collage, traditional art etc.) experimental/mixed media, essays and reviews.

The Selkie: These fine folk aim to support and nurture voices from marginalised backgrounds by welcoming submissions and promoting the work of underrepresented writers and artists. Flash fiction and short stories. Up to 4000 words.

StorgyOnline Arts & Entertainment Magazine for those who love short stories, books and movies. Looking for literary short fiction, particularly short stories which challenge literary conventions and experiment with genre, style, form and content. Also looking for essays, reviews and articles. Max words – 5000.

 

*Want to see your magazine, journal or website here? Get in touch and let us know!

Creatives in profile – interview with Laura Potts

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Follow Laura Potts on Twitter @thelauratheory_ 

Laura Potts is twenty-two years old and lives in West Yorkshire. Twice-recipient of The Foyle Young Poets Award, her work has been published by Agenda, Aesthetica and The Poetry Business. Having worked at The Dylan Thomas Birthplace in Swansea, she was nominated for The Pushcart Prize and became one of the BBC’s New Voices last year. Laura’s first BBC radio drama aired at Christmas, and she received a commendation from The Poetry Society in 2018.

In the following interview, we talk with Laura about creativity and inspiration, writing style and poetry, West Yorkshire, Donald Trump, Joan Crawford and hats.

INTERVIEWER

Tell me about yourself, where you live and your background/lifestyle

POTTS

Laura, 22. Writes much; reads more. Lives in a city that has been largely lost ever since last century coughed and dropped a war (or two). Born in Yorkshire. Bred on books which always took me further. Fond of rain and winter, the solitary nights and the comfort of the dark. Alone but never lonely and content to be that way. Poet and writer of radio plays. Terminal wearer of hats.

INTERVIEWER

Is poetry your first love, or do you have another passion?

POTTS

I have always looked at living like this: life is one great passion, too vast to reduce to the four short lines I just wrote above. My life is many loves. I have never set out to chase just one of them. That would be to exist and not to live. The darkest days and the longest nights; the quiet of a sleeping house; the kindness of another; the seasons, always leaving; anger and its blackness; fire and its warmth; the world unfurling in the hands of ministers and mobs, and all before me. These are just a few of my loves and poetry is their legacy. It has never been art for art’s sake; never poetry for poetry. It is always in the service of my own private chaos that a poem, as the very best medium, comes to be.

INTERVIEWER

Who inspires you?

POTTS

Assuming we’re talking poetry, then quite a few haunt me. There’s Dylan Thomas, whose music is truer to ancient verse than winds are to winter; Leonard Cohen, with all the darkness of his heart; John Foggin for landscapes amorphous and Saxon; Clare Pollard for the humour of youth; Peter Riley for Hushings; Ian Parks for desire; Jade Cuttle for what she gives us back; the grace of Phoebe Stuckes; and Sasha Dugdale to the last, whose Joy has stayed with me.

And if we’re not talking poetry, then Joan Crawford. I like her class and taste in hats.

INTERVIEWER

As a Yorkshire-born poet, do you feel that there’s an element of your place of birth and home town in the poems you write? Or do you seek to separate your personal writing from your personal geography? (Is that even possible?)

POTTS

It was Matthew Arnold back in the nineteenth century who famously wrote that the best work comes from the disinterested mind – that is, from those who actively separate themselves from the bright world around them – and I’ve always believed that that ethos should stay firmly in the Victorian era. I disagree with the social ignorance it promotes, nor do I think it is even possible. Such a person would surely be devoid of language and its histories; of human contact and sexual impulse; of feeling altogether? Each poem, whether consciously or not, is the code of my history; each word is the product of past and present. I’ve never thought art can exist in a vacuum. Only a cypher could make that.

INTERVIEWER

Your poetry series Sweet the Mourning Dew for BBC Radio 3 focuses on the experiences of those individuals who have lost loved ones to war. What drew you to this topic?

POTTS

My grandfather, mainly. He was an old war veteran and fiercely proud of the fact. He mimed the memory of war each day in a rigid routine; in a noble walk; even in his Brylcreem slicks and the same old comb from 1940 before the morning mirror. Most of all, he wanted to write his memoirs before the cancer came. In that alone he knew defeat. Sweet The Mourning Dew was my testament to a man who was proud of himself, and who wanted the lost to live on from the page past his own small place in time. It was never a passive claim on the tales that others have to tell. It was simply fulfilling a promise.

INTERVIEWER

How do you view the connection between poetry as performance and poetry as a solitary, personal act of reading poems upon a page?

POTTS

I have always believed that a poem can have many lives. Its life on the page is different to its life on the stage, but both are integral to its existence. It is true to the ancient roots of verse that it should be read and shared aloud; that its metre and music should be known to the ear as well as the eye. I am, however, distrustful of poetry as performativity: is emotion so scripted, so fabricated, so brief? And I am nervous of those who shout too loudly: in the most literal sense, in the beginning is the word and no end of spitting or swearing on stage will ever beat that. That is just a sad failure of the imagination.

INTERVIEWER

As a young ‘Gen Z’ poet who has come of age during years marked by the Iraq war; the global financial crisis and recently years of Brexit and Donald Trump, what is your take on the world around you? How can you use poetry to connect with the world as is?

POTTS

Quite frankly, I think the world is creeping dangerously close to repeating those centuries of war and hatred it said it would leave behind. It makes a mockery of those who died for the sake of democracy; for gender and racial equality; for decency; for rights. It laughs in the face of all those who tried and believed in peace. And all for a headline in the New York Times come morning or, better, a few more followers online. I’ve always thought poets are the quiet scribes of history. Like confessional voices to the past, they can speak with a passion which the history page never will.

INTERVIEWER

What has your personal experience been of trying to break onto the ‘poetry scene’?

POTTS

Well, I never tried to ‘break onto’ it as such. I read and wrote and wrote and read, and found the joy in that alone. I never had a formal plan to stand on stage and tell the world that I, self-titled, am ‘a poet’. It was never as scripted as that. But talent alone will always out, or that is what I’m content to think. And it is mainly due to the kindness of friends – of fellow writers, fellow thinkers – who listened and spoke well of me that others hear my voice today.

INTERVIEWER

In terms of writing poetry, what do you think is most important to keep in mind when writing your initial drafts?

POTTS

Most of all, I’d say that time should be forgotten. Little will come from a hurried mind, and what does is often stillborn. It’s a gift to hold a finished verse but only when it’s right: more joy comes from a well-worked line than a whole verse with no life. Or that’s my belief at least. I can easily spend a week or more just looking at one line. It’s really a very kind process for the mind to let time alone be the catalyst: the thoughts may be intense, yes; but I give them all the open space to grow and romp and play for months, if they need it. It’s a crucial part of my writing style to let the words live with me for hours, or days, or even weeks. If they haven’t settled in by then, I know they’re not to be.

INTERVIEWER

Do you have a specific ‘reader’ or audience in mind when you write?

POTTS

Yes. Excepting the times when I write for commission and must fulfil criteria, I am the audience I write for. The joy has always been in seeing myself reflected back from the page, and never for the approval of anyone else. If there is a time when that should change, I will put down my pen for good.

INTERVIEWER

How would you define creativity?

POTTS

An expressive quality by which the mind can translate imagination into reality.

INTERVIEWER

What does the term ‘poet’ mean to you?

POTTS

That’s a much-contended one! I’ve always tried to reserve that title for a rather select group: that is, for those to whom writing is the defining constant of their lives. Perhaps it is their living; perhaps they’ve been well-published; perhaps they did a whole lot more than stand behind a microphone that one time in the pub. Otherwise, I’ll just go chop myself some wood and call myself a craftsman. No, that will never be enough. I think of it like this alone: if you want to align yourself with those who could, with confidence, call themselves ‘the poets’ in the epic annals of Literature, you have to do much more than that. You must be worthy of the name before you make the claim.

INTERVIEWER

Since Percy Bysshe Shelley penned the Masque of Anarchy, poetry has been used by writers and artists as a means of revolt against the status quo and to champion causes, giving voices to those who perhaps would not otherwise be heard. What are your thoughts on poetry as protest?

POTTS

I have always believed there is something intrinsically restless to poetry: in its formlessness, its shapelessness and its lack of formal laws, there is a freedom unfound in prose. Unlike most other areas of our lives, rules do not exist. And so the union between poetry and politics is a natural one in which the chaos of the latter can find its freedom. And, of course, it always helps that rhyme makes particularly memorable music.

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

POTTS

Really, I’m happy enough just to write when I wish and read to widen my mind. But the next natural step is the first collection for which I have a manuscript; for which the time must be right and I must be ready. Other than that, I’m in the early stage of a full-length play for BBC Radio 4 and I’d like to write for the stage someday. But the plan is to be how I’ve always been and just write for the love alone. So we’ll see. When not writing I am reading, and that will be enough.

INTERVIEWER

Could you give your top 5 tips for writers?

POTTS

  • Always have an accessible medium. Notebook, diary, tablet, phone. The back of your hand will do. Just make sure your mind never meets a barricade.
  • The best writers are the best readers. You’ll find your voice by listening to others and gauging your own place in the annals of literature.
  • Read your work aloud. At its ancient roots, poetry was an oral art form often set to music. By reading aloud you’ll remember its heritage and notice its flaws. A poem has a different life on the page to its life in the mouth, and it’s easy to know when a writer does not read aloud: their rhythm could be markedly better.
  • Be kind to yourself. Writer’s block is a terrible friend but one we must endure. Take your time. Sometimes the mind works best when at rest.
  • The only regrets you’ll have are for the times you didn’t try. So why not send that submission today?

Found in the Crowd – the case for crowdfunding anthologies

Authors, publishers and literary journals are all finding new ways of connecting directly to their readers – and their wallets – on online platforms such as Kickstarter. In this article, Dan Coxon examines how the social financing can bring new book ideas to life. 

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Image by tai11/iStock

Recently there has been a lot of chatter about the future of the short story. Some feel that we’re seeing a resurgence of the short form, citing as proof the phenomenal success of George Saunders, or the unlikely appearance of Tom Hanks’s debut collection. Others feel that the popularity of stories has steadily declined in recent years. In his generally positive introduction to The Penguin Book of the British Short Story, even Philip Hensher was forced to admit that ‘reading short stories rewarded by competitions, I was struck by present-tense solitary reflections, often with characters lying on their beds affectlessly pondering… There was nothing there at all, apart from a fervent desire to win £30,000.’

What everyone appears to agree on is that publishers don’t know what to do with short fiction. Occasionally, the larger publishers will humour an established author – Hilary Mantel, Lionel Shriver – by allowing them a collection between the novels, but you’re unlikely to see many debuts. (Hanks is the obvious exception – but there’s no need to explain the marketing decision behind that book.) New authors are finding that only the smaller, independent presses are willing to take a punt on their genius.

The same is also true of anthologies. I’ve now crowdfunded two anthologies on Kickstarter: Being Dad: Short Stories About Fatherhood (Tangent Books), and most recently This Dreaming Isle (Unsung Stories), a collection of stories inspired by British folklore and local history. Increasingly, independent publishers are turning to crowdfunding as a viable option, and in particular it’s something that seems to be working for the humble anthology. Might there be a future for the short story after all?

In many ways, my experience with Being Dad was typical. Several medium-to-large publishers expressed an interest, but said that anthologies ‘didn’t sell’ (how they would know this when they didn’t actually publish any is one of life’s great mysteries). Eventually, I secured the interest of Bristol-based Tangent Books, who had the foresight to see that this was a book which had both a market and some great stories. There was one proviso: we had to raise the initial costs via crowdfunding.

I’ll admit, at first I was reluctant. There is still an element of resistance to the crowdfunding route, especially among older writers and readers. It’s sometimes seen as being worryingly close to vanity publishing – you go cap-in-hand to your friends and family, beg them for money, and then pay a publisher to print the book. At one end of the scale, this is certainly the case. As in any industry, there are unscrupulous businesses that are only too willing to take your money.

But in all the cases cited here, it wasn’t a matter of funding a book outright via ‘donations’, but rather a means of generating publicity and interest ahead of publication to ensure its success. I find it useful to think of the new crowdfunding model as a kind of inverse marketing: whereas the publicity campaign usually kicks in upon publication, here we did all our marketing in advance. I like to think that most of these people would have bought the book anyway – but by doing it ahead of publication, they helped reduce the risk to both publisher and authors, and therefore made the book possible.

I won’t go into the details here, but suffice it to say that crowdfunding a book is a long and arduous process. What has struck me most forcibly, however, is the interest we have received – and not just from people we knew. Yes, many of my friends backed the books I’ve crowdfunded, for which I’m hugely grateful. But we’ve received pledges from complete strangers from all corners of the globe – some of them extremely generous – and in the final accounting these constituted the vast majority of pledges. With both the books I’ve been involved in, we were able to pre-sell much of the first print run and the projects very quickly went into profit.

My experience is by no means unique. Last year Unsung Stories crowdfunded 2084, an anthology of short stories inspired by George Orwell’s Nineteen Eighty-Four, and they had a resounding success. Their funding goal was reached within eleven hours of the campaign launching, and the final total was almost ten times the original target.

I asked George Sandison at Unsung Stories why they’d decided to crowdfund the book, and this is what he had to say:

‘One of the things an anthology gives you, that a single-author book doesn’t, is a chance to reach the fans of every author involved. Between support from contributors with promoting the launch, and a larger group of people who may be interested in the project, you’ve got a healthy customer base to call on. And one of the things crowdfunding does really well, is get people involved in a project – they get their name in the book, collectible editions, artwork, special stuff they’ll want to keep. So combine those two things and you have a lot of people, who are empowered and made part of the process. Quite literally, they help make the book.’

This is what I’ve found too, and it suggests that there’s a very real business model that’s starting to emerge. Anthologies benefit from having several authors involved, and with their combined fan bases they are able to spread their appeal more widely. Having one or two well-established authors on board can also make it more appealing, especially to an audience that might not have taken a chance on the lesser-known writers.

Of course, it’s not just anthologies that are reaping the benefits of crowdfunding. Independent presses in general are gradually coming to realise its advantages, and many now have a success story to tell. Influx Press crowdfunded their own anthology, The Unreliable Guide to London, which has gone on to receive critical acclaim and was shortlisted for a number of awards. Following that, they also ran a crowdfunding campaign to fund the next year’s publications, which met its target with ease. Dead Ink and Dodo Ink have also turned to crowdfunding to get projects off the ground in recent years, and all are going from strength to strength.

Interestingly, Unbound enjoyed a huge crowdfunded success with Nikesh Shukla’s The Good Immigrant. While this was non-fiction, rather than fiction, it once again suggested that crowdfunding works for multi-author projects. I’ve since been told that Unbound will no longer consider anthologies, a decision that seems to undermine the idea of crowdfunding anthologies as a strong business model. It starts to make sense, however, when you bear in mind that Unbound are now part of the Penguin Random House behemoth. Clearly the mainstream publishing mantra that ‘anthologies don’t sell’ has already seeped through to the Unbounders.

Within the independent field, though, the anthology may actually be thriving, and crowdfunding is looking more and more like the way forward. Yes, short stories are a niche market – but they’re a market nonetheless. By targeting and actively involving readers who have an interest in short fiction, projects like Unsung’s 2084 and This Dreaming Isle are looking remarkably prescient, a glimpse into what the future might hold for anthologists everywhere. Publishers would do well to look to crowdfunding when they’re considering turning an anthology down. The market is still out there – you just have to search for it in the crowd.

About the author of this post

Dan Coxon author picDan Coxon edited the anthologies Being Dad (Tangent Books, 2016) and This Dreaming Isle (Unsung Stories, 2018), and is a contributing editor at The Lonely Crowd. He also edits and publishes a bi-annual journal of weird and eerie fiction, The Shadow Booth. His writing has appeared in SalonPopshotThe Lonely CrowdOpen PenWales Arts ReviewGutterThe Portland Review and Unthology 9 amongst others, and he was long-listed for the Bath Flash Fiction Award 2017. He runs an editing and proofreading business at www.momuseditorial.co.uk, and can be found on Twitter at @dancoxonauthor.

 

The duty of writers

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Our world faces catastrophic climate breakdown. True facts are now described as ‘fake news’, and biased media reported hailed by pseudo-Nazis as gospel truth. Political turmoil is growing as inequalities deepen across so many dividing lines in society. In such times, a challenge facing us all as artists, creatives and writers – but also simply as human beings – is to examine what role we ourselves have to play.

We have previously written about the need for writers to tackle the subject of climate change in their poetry and novels and non-fiction accounts – while we have also paid tribute to Ursula Le Guin’s rallying cry for all writers to imagine new alternatives to our capitalist system.

But what exactly is our duty, in these times, as writers and creatives? What stories do we need to tell?

What is the story of the world?

Fortunately for us, guidance on this question can be found from the minds of great writers – living and dead – who have pondered this precise topic. In East of Eden, for instance, Steinbeck opens the book’s 34th chapter with a mediation on the most fundamental foundation that sits beneath this essential question: if we have a duty to describe the stories of the world that matter, what exactly is the story of the world? Steinbeck writes:

“A child may ask, “What is the world’s story about?” And a grown man or woman may wonder, “What way will the world go? How does it end and, while we’re at it, what’s the story about?”

I believe that there is one story in the world, and only one, that has frightened and inspired us, so that we live in a Pearl White serial of continuing thought and wonder. Humans are caught — in their lives, in their thoughts, in their hungers and ambitions, in their avarice and cruelty, and in their kindness and generosity too — in a net of good and evil. I think this is the only story we have and that it occurs on all levels of feeling and intelligence. Virtue and vice were warp and woof of our first consciousness, and they will be the fabric of our last, and this despite any changes we may impose on field and river and mountain, on economy and manners. There is no other story. A man, after he has brushed off the dust and chips of his life, will have left only the hard, clean questions: Was it good or was it evil? Have I done well — or ill?”

Understanding human beings

In an earlier journal entry, Steinbeck even suggests that tackling the injustices in the world is not even possible if the writer first doesn’t understand the human beings who exist within it. He opines:

“In every bit of honest writing in the world… there is a base theme. Try to understand men, if you understand each other you will be kind to each other. Knowing a man well never leads to hate and nearly always leads to love. There are shorter means, many of them. There is writing promoting social change, writing punishing injustice, writing in celebration of heroism, but always that base theme. Try to understand each other.”

In a similar vein, the novelist Zadie Smith argues that to believe anything can bring about fundamental change is in fact naïve – and to honestly understand what drives the world forward (and how to subtly shift perceptions) you have to first appreciate the motivations of humankind. In a speech given in Germany in 2016 after receiving a literary award, she says:

“People who believe in fundamental and irreversible changes in human nature are themselves ahistorical and naive. If novelists know anything it’s that individual citizens are internally plural: they have within them the full range of behavioral possibilities. They are like complex musical scores from which certain melodies can be teased out and others ignored or suppressed, depending, at least in part, on who is doing the conducting. At this moment, all over the world — and most recently in America — the conductors standing in front of this human orchestra have only the meanest and most banal melodies in mind. Here in Germany you will remember these martial songs; they are not a very distant memory. But there is no place on earth where they have not been played at one time or another. Those of us who remember, too, a finer music must try now to play it, and encourage others, if we can, to sing along.”

Yet within this, Smith sees no reason not to use art – and writing in particular – to reshape narratives, to influence others, and ultimately keep striving for that which we are all searching for, especially in these sometimes dark times: human progress, and illuminating the path ahead on which we can strive to make a better world. She says:

“History is not erased by change, and the examples of the past still hold out new possibilities for all of us, opportunities to remake, for a new generation, the conditions from which we ourselves have benefited… Progress is never permanent, will always be threatened, must be redoubled, restated and reimagined if it is to survive.”

On the protection of democracy

Smith’s line of argument calls upon all of us to continually work to reimagine and challenge existing political and social structures. This calls to mind the thoroughly excellent arguments of that legendary titan of literature, Walt Whitman, who, in his collection Specimen Days, calls on all free-thinking people to continually challenge and probe the status quo. Whitman writes:

“I can conceive of no better service in the United States, henceforth, by democrats of thorough and heart-felt faith, than boldly exposing the weakness, liabilities and infinite corruptions of democracy.”

What it interesting here is how Whitman lived through times that do not sound dissimilar to our own. He saved lives through the Civil War, witnessed the “miserably-waged populations”, the corrosion of idealism and collapse of democratic values into corruption and complacency. Yet the great American poet faces this dispiriting landscape with a defiant optimism, arguing that this is in a way the most countercultural act of courage available to us:

“Though I think I fully comprehend the absence of moral tone in our current politics and business, and the almost entire futility of absolute and simple honor as a counterpoise against the enormous greed for worldly wealth, with the trickeries of gaining it, all through society in our day, I still do not share the depression and despair on the subject which I find possessing many good people.”

Ultimately, Whitman notes that the only way to preserve democracy in America is also to preserve nature (to hark back to our call to tackle the catastrophic breakdown of our climate for a moment here). And, as current US President Trump and his collection of lunatic criminals in the Republican party continue to show flagrant disregard for the planet and its natural environments, this is a thought that is well worth revisiting. Whitman writes:

“American Democracy, in its myriad personalities, in factories, work-shops, stores, offices — through the dense streets and houses of cities, and all their manifold sophisticated life — must either be fibred, vitalized, by regular contact with out-door light and air and growths, farm-scenes, animals, fields, trees, birds, sun-warmth and free skies, or it will morbidly dwindle and pale. We cannot have grand races of mechanics, work people, and commonalty, (the only specific purpose of America,) on any less terms. I conceive of no flourishing and heroic elements of Democracy in the United States, or of Democracy maintaining itself at all, without the Nature-element forming a main part — to be its health-element and beauty-element — to really underlie the whole politics, sanity, religion and art of the New World.”

Truth above all

Of course, it is easy to present arguments in favour of protecting the world and become downhearted when these are dismissed by the despots around the world – from Trump in the US through May in the UK, Putin in Russia to the incompetent National Liberal coalition in Australia – and ignored as being part of some fabrication or over-exaggeration of ‘progressives’ (as though we would feel foolish if we were to accidentally be fooled into creating a better world for nothing). ‘Fake News’ is everywhere, as we are all told. Here, it feels fitting to draw upon inspiration from legendary journalist Rebecca Solnit, who presses upon us our need to continue to stick to accuracy and truth when writing stories. In her collection of essays, Call them by their names, she writes:

“Precision, accuracy, and clarity matter, as gestures of respect toward those to whom you speak; toward the subject, whether it’s an individual or the earth itself; and toward the historical record.”

In an era of ‘alternative facts’, where language is increasingly used for malicious purposes, Solnit strives to persuade us of the importance of calling things as they are:

“To name something truly is to lay bare what may be brutal or corrupt — or important or possible — and key to the work of changing the world is changing the story.”

More than a century after Nietzsche contemplated truth, lies, and the power of language to both conceal and reveal reality, Solnit writes:

“There are so many ways to tell a lie. You can lie by ignoring whole regions of impact, omitting crucial information, or unhitching cause and effect; by falsifying information by distortion and disproportion, or by using names that are euphemisms for violence or slander for legitimate activities, so that the white kids are “hanging out” but the Black kids are “loitering” or “lurking.” Language can erase, distort, point in the wrong direction, throw out decoys and distractions. It can bury the bodies or uncover them.”

Breaking the narrative

Ultimately, Solnit calls on writers to continue to strive towards that goal of truth – for exposing the truth, using language that is accurate, that lays bare the reality of situations. Through truth, she argues, we can break and reshape narratives and stories that have been spun by the powerful against the powerless – and hopefully move toward a world where the only thing that is fake is Trump’s hair. She writes:

“The writer’s job is not to look through the window someone else built, but to step outside, to question the framework, or to dismantle the house and free what’s inside, all in service of making visible what was locked out of the view. News journalism focuses on what changed yesterday rather than asking what are the underlying forces and who are the unseen beneficiaries of this moment’s status quo… This is why you need to know your history, even if you’re a journalist rather than a historian. You need to know the patterns to see how people are fitting the jumble of facts into what they already have: selecting, misreading, distorting, excluding, embroidering, distributing empathy here but not there, remembering this echo or forgetting that precedent.

Some of the stories we need to break are not exceptional events, they’re the ugly wallpaper of our everyday lives. For example, there’s a widespread belief that women lie about being raped, not a few women, not an anomalous woman, but women in general. This framework comes from the assumption that reliability and credibility are as natural to men as mendacity and vindictiveness are to women. In other words, feminists just made it all up, because otherwise we’d have to question a really big story whose nickname is patriarchy. But the data confirms that people who come forward about being raped are, overall, telling the truth (and that rapists tend to lie, a lot). Many people have gotten on board with the data, many have not, and so behind every report on a sexual assault is a battle over the terms in which we tell, in what we believe about gender and violence.

[…]

Future generations are going to curse most of us for distracting ourselves with trivialities as the planet burned. Journalists are in a pivotal place when it comes to the possibilities and the responsibilities in this crisis. We, the makers and breakers of stories, are tremendously powerful.

So please, break the story.”

You heard it here first, comrades. So, what are you waiting for? Get breaking!

If youd like to contribute to our site – and show off how good you are at breaking narratives – please contact us.

 

 

 

 

 

 

Originality and self-discovery through reading

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Writers are always told they ought to read more: to learn the rules, to understand the language better, to figure out which stories work and which don’t. As Stephen King notes, you need to “read widely, and constantly work to refine and redefine your own work as you do so.”

Yet is there a greater power literature has that can help improve a writer’s skills? Something that goes beyond a simple ‘monkey see; monkey do’ instruction tool?

German born poet, novelist, and painter Herman Hesse touched upon this power in a 1920 essay simply titled ‘on reading books’. Arguing that reading books helps spark something within our minds that other form of media fail to do, he suggests that the act of reading helps improve our associative thinking that turns the reading material into a springboard for indiscriminate curiosity from which to leap far beyond the particular substance of the particular book. He writes:

At the hour when our imagination and our ability to associate are at their height, we really no longer read what is printed on the paper but swim in a stream of impulses and inspirations that reach us from what we are reading.”

Reading, then, can spark a person’s imagination in such a way that genuinely new and unique ideas can flourish. Just as solitary exercise can stimulate the creative energy required to produce original pieces of work (as we’ve detailed here), reading is important to writing, because it opens channels. It expands our potential and helps us grow – to better understand the world. Our minds are free to linger on thoughts they otherwise would not; in a kind of simulated – but nonetheless stimulating – solitude that helps us better understand who we are, at our very deepest levels, as human beings.

As US President Theodore Roosevelt opined when asked whether he saw there to be any ‘rules’ for the act of reading himself:

“[We] all need more than anything else to know human nature, to know the needs of the human soul; and they will find this nature and these needs set forth as nowhere else by the great imaginative writers, whether of prose or of poetry.”

Intriguingly, though reading is a solitary act, it can make a person feel less alone. As Rebecca Solnit writes in her essay ‘Flight’:

“Like many others who turned into writers, I disappeared into books when I was very young, disappeared into them like someone running into the woods. What surprised and still surprises me is that there was another side to the forest of stories and the solitude, that I came out that other side and met people there. Writers are solitaries by vocation and necessity. I sometimes think the test is not so much talent, which is not as rare as people think, but purpose or vocation, which manifests in part as the ability to endure a lot of solitude and keep working. Before writers are writers they are readers, living in books, through books, in the lives of others that are also the heads of others.”

If it is true that the most important qualities to be a writer are imaginative ability, intelligence, and focus, reading avidly helps curate and foster these skills. Yet in the process of reading so much, we can step beyond simply doing what we ought to be doing, and discover more about the world; and also ourselves.

 

 

Ernest Hemingway’s letter of advice to F. Scott Fitzgerald

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Even the greatest writers need a little help and advice from time to time.

In 1934, shortly before noting his famed list of books every aspiring writer should read, Ernest Hemingway received a request for feedback and writerly advice from his long-time friend and fellow literary great, F. Scott Fitzgerald.

Following a nine-year period in the literary wilderness, after struggling with severe addiction problems, Fitzgerald had just written Tender is the night, and turned to his old friend for feedback. Upon reading the work, Hemingway responded with detail, vigour, and no shortage of tough love.

Just as new writers can often need a little bit of timely counselling from their peers and mentors, so too, as Hemingway’s letter shows, can some of the finest and most established authors.

Full of sage and sobering advice, Hemingway’s letter offers fine writing tips and advice to writers of all ages and stages of their literary careers. You can read it here below.*

Key West
28 May 1934

Dear Scott:

I liked it and I didn’t. It started off with that marvelous description of Sara and Gerald (goddamn it Dos took it with him so I can’t refer to it. So if I make any mistakes—). Then you started fooling with them, making them come from things they didn’t come from, changing them into other people and you can’t do that, Scott. If you take real people and write about them you cannot give them other parents than they have (they are made by their parents and what happens to them) you cannot make them do anything they would not do. You can take you or me or Zelda or Pauline or Hadley or Sara or Gerald but you have to keep them the same and you can only make them do what they would do. You can’t make one be another. Invention is the finest thing but you cannot invent anything that would not actually happen.

That is what we are supposed to do when we are at our best—make it all up—but make it up so truly that later it will happen that way.

Goddamn it you took liberties with peoples’ pasts and futures that produced not people but damned marvellously faked case histories. You, who can write better than anybody can, who are so lousy with talent that you have to—the hell with it. Scott for gods sake write and write truly no matter who or what it hurts but do not make these silly compromises. You could write a fine book about Gerald and Sara for instance if you knew enough about them and they would not have any feeling, except passing, if it were true.

There were wonderful places and nobody else nor none of the boys can write a good one half as good reading as one that doesn’t come out by you, but you cheated too damned much in this one. And you don’t need to.

In the first place I’ve always claimed that you can’t think. All right, we’ll admit you can think. But say you couldn’t think; then you ought to write, invent, out of what you know and keep the people’s antecedants straight. Second place, a long time ago you stopped listening except to the answers to your own questions. You had good stuff in too that it didn’t need. That’s what dries a writer up (we all dry up. That’s no insult to you in person) not listening. That is where it all comes from. Seeing, listening. You see well enough. But you stop listening.

It’s a lot better than I say. But it’s not as good as you can do.

You can study Clausewitz in the field and economics and psychology and nothing else will do you any bloody good once you are writing. We are like lousy damned acrobats but we make some mighty fine jumps, bo, and they have all these other acrobats that won’t jump.

For Christ sake write and don’t worry about what the boys will say nor whether it will be a masterpiece nor what. I write one page of masterpiece to ninety one pages of shit. I try to put the shit in the wastebasket. You feel you have to publish crap to make money to live and let live. All write but if you write enough and as well as you can there will be the same amount of masterpiece material (as we say at Yale). You can’t think well enough to sit down and write a deliberate masterpiece and if you could get rid of Seldes and those guys that nearly ruined you and turn them out as well as you can and let the spectators yell when it is good and hoot when it is not you would be all right.

Forget your personal tragedy. We are all bitched from the start and you especially have to hurt like hell before you can write seriously. But when you get the damned hurt use it—don’t cheat with it. Be as faithful to it as a scientist—but don’t think anything is of any importance because it happens to you or anyone belonging to you.

About this time I wouldn’t blame you if you gave me a burst. Jesus it’s marvellous to tell other people how to write, live, die etc.

I’d like to see you and talk about things with you sober. You were so damned stinking in N.Y. we didn’t get anywhere. You see, Bo, you’re not a tragic character. Neither am I. All we are is writers and what we should do is write. Of all people on earth you needed discipline in your work and instead you marry someone who is jealous of your work, wants to compete with you and ruins you. It’s not as simple as that and I thought Zelda was crazy the first time I met her and you complicated it even more by being in love with her and, of course you’re a rummy. But you’re no more of a rummy than Joyce is and most good writers are. But Scott, good writers always come back. Always. You are twice as good now as you were at the time you think you were so marvellous. You know I never thought so much of Gatsby at the time. You can write twice as well now as you ever could. All you need to do is write truly and not care about what the fate of it is.

Go on and write.

Anyway I’m damned fond of you and I’d like to have a chance to talk sometimes. We had good times talking. Remember that guy we went out to see dying in Neuilly? He was down here this winter. Damned nice guy Canby Chambers. Saw a lot of Dos. He’s in good shape now and he was plenty sick this time last year. How is Scotty and Zelda? Pauline sends her love. We’re all fine. She’s going up to Piggott for a couple of weeks with Patrick. Then bring Bumby back. We have a fine boat. Am going good on a very long story. Hard one to write.

Always your friend

Ernest

  • Please note: Hemingway’s spelling is shown accurately. For example, he twice wrote “write” where, presumably, he meant “right.”

Creatives in profile: interview with Anna Saunders

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Are there any sights more cheering than crowds of readers tramping across a field carrying books, or sitting under canopies discussing the minutiae of a single line of poetry, or a page of fiction? Increasingly, we live in such a fast-paced world that leaves precious little room for these acts of literary activity (for ‘activity’, may we read instead, ‘rebellion’?). Instead of thinking about Tennyson, or Eliot or Woolf or Plath, we must spend our days flicking through the endless annals of social media; while corporations pipe endless Muzak into our ears and other orifices, and we slave away for 80 hours a week for stagnating wages, just so we can afford the shiny and colourful things advertising billboards and signs on every public surface insist we must purchase immediately.

In such a world, events that enable literary conversations and communion to flourish are, therefore, to be cherished. It is an honour, therefore, to bring you the following interview with Anna Saunders – founder of the Cheltenham Poetry Festival.

Anna is the author of Communion, (Wild Conversations Press), Struck, (Pindrop Press) Kissing the She Bear, (Wild Conversations Press), Burne Jones and the Fox ( Indigo Dreams) and the Ghosting for Beginners ( Indigo Dreams, Spring 2018 ) described as ‘ a beautifully evocative read’ by Fiona Sampson.

She  has had poems published in journals and anthologies, which include Ambit, The North, New Walk Magazine, Amaryllis, Iota, Caduceus, Envoi, The Wenlock Anthology, Eyeflash,  and The Museum of Light.

Described as ‘a poet who surely can do anything’ by The North, ‘a modern myth maker’ by Paul Stephenson and as  ‘a poet of quite remarkable gifts’ by Bernard O’Donoghue, Anna founded the Cheltenham Poetry Festival in 2010 as an all-singing, all-dancing festival – one that fuses poetry and music, film, drama and visual art. Most importantly of all – it helps brings creatives together (which is where they belong, if you ask us).

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle

SAUNDERS

I live in Cheltenham in Gloucestershire though originally come from Hoylake – a coastal town not far from Liverpool. I am lucky to be able to go ‘home’ often and enjoy the vibrant cultural life of Liverpool, and walks along the shore, as well as having a home in the heart of the Cotswolds.

I come from a family of journalists and writers – one boss said I had ‘ink in my blood’. Most of my life has revolved around the literary arts; consuming or producing them. I am a poet, author of 5 collections of poetry and the Founding Director of Cheltenham Poetry Festival, I also teach creative writing.

INTERVIEWER

Is writing your first love, or do you have another passion?

SAUNDERS

I love any immersive experience – walking by the sea, watching live music, reading, going to the theatre, spending time with people who inspire me.

Running a poetry festival is a great joy too – it’s exhilarating to have a creative vision and see it come to fruition. I really enjoy ‘poet shopping’ when I am building the programme. It’s always a thrill to bring your literary idols to town. Last year for example I booked Matthew Sweeney, whose work I’ve always greatly admired;I programmed Kathy Towers, Sasha Dugdale, Fiona Sampson and Wayne Holloway Smith, too. It was a thrill to meet them all and I felt a little star struck.

INTERVIEWER

When you write – be it poetry or fiction – how much of the finished manuscript is in your mind when you start out?

SAUNDERS

When I started writing my last two collections, I had some idea of the shape of the books, or at least their driving themes.

Burne Jones and the Fox (Indigo Dreams) was inspired by a love affair between Maria Zambaco and the pre-Raphaelite artist Edward Burne Jones, I tell the story of their intensive and destructive love affair through a series of poems, the collection also explores what I see as the duality within us – between the feral and the civilized, the artist and the fox.  Ghosting for Beginners also has a consistent theme – i.e. what ‘haunts’ us for good or bad.  I guess both these books are like concept albums!

INTERVIEWER

Joyce Carol Oates once said that when writers ask each other what time they start working and when they finish and how much time they take for lunch, they’re actually trying to find out “are they as crazy as I am?” Do you have any particularly crazy writing habits?

SAUNDERS

I usually have to write first drafts on rough scrappy paper – ideally without lines! I do a lot of walking around, muttering to myself – is that crazy enough?

INTERVIEWER

For all writing, the importance of finding the right ‘voice’ is of course crucial. What voice does Anna Saunders, poet, speak with?

SAUNDERS

I have been told I ‘write like an American’ –perhaps that’s because of my direct, ostensibly conversational voice. Rory Waterman said my work was ‘superbly imagistic’ which was a huge compliment – I aim to empower my work with the use of potent images, and of course I use legend, and classic narratives.Paul Stephenson called me a ‘modern myth maker’.

INTERVIEWER

Does your reading affect what you write?

SAUNDERS

Yes – absolutely. I read a lot of poetry and while I am writing I keep dipping into books. It’s impossible for me to write well without reading, it’s like needing to hear the music before you start to dance.

INTERVIEWER

Looking around at current trends in poetry, what are your thoughts and feelings on the ‘poetry industry’. If we can define it thus. And how would you advise aspiring poets to break out onto the ‘poetry scene’?

SAUNDERS

I think the poetry scene is thriving.  We’ve seen a huge increase in audiences at Cheltenham Poetry Festival and poetry book buying has surged too. There seem to be some incredibly talented spoken word artists and poets emerging daily and I am completely in awe of the work being published by Nine Arches, Indigo Dreams, Bloodaxe, V Press, Seren and other publishers. It is, however, a really competitive industry – and the route to publication can be a convoluted one! I’d advise aspiring poets to read copious amounts, study craft, write every day and keep their eye on journals and on line publications, keep submitting and build up that CV so they can meet the requirements of the publishing houses.

Though having said all that – it should be all about the creative act really, rather than public success. As Virginia Woolf said ‘writing is the most profound pleasure, being read the superficial!’

INTERVIEWER

Can you talk to us about the ethos behind the Cheltenham Poetry Festival – is it important, do you feel, to bring writers and creatives together?

SAUNDERS

I think the Guardian put it perfectly when they described the Festival as ‘a poetry party with a healthy dose of anarchy’ – we try to have a punk spirit; and be questioning, free thinking and speak out against the system from time to time.

We are serious about poetry, but like to have a good time too.  There is a great buzz when the festival runs – with audiences getting the chance to hang with some of our greatest living writers. Since the festival kicked off in 2011 we’ve been lucky enough to enjoy performances by some stellar names– they include John Cooper Clarke, Fiona Sampson, Owen Sheers, John Hegley, Hollie McNish, Don Patterson, Clare Pollard, Matthew Sweeney, Murray Lachlan Young, Jacob Polley– to name just a few. And yes, it’s incredibly inspiring for creatives to meet the writers they admire.

INTERVIEWER

James Joyce argued poetry was “always a revolt against artifice, a revolt, in a sense, against actuality.” In the modern world, ‘actuality’ is increasingly hard to define – with reality often seeming more fictitious than fiction and beyond the imagination of mainstream culture. How does poetry revolt against actuality in a reality increasingly ‘false’? And what role can poetry play in protest and activism – specifically protest and revolt against current dictats of ‘reality’?

SAUNDERS

My recent work has been inspired by events on the world stage, politics and the crisis of austerity – but I try use dark humour and some aesthetic beauty to address these subjects.

I have found it increasingly difficult to turn away from some of the horrors we are experiencing due to governmental decisions.

I am working on a new book which uses figures from Greek and Roman myth to explore contemporary issues – in one of the poems Persephone goes on Question Time to interrogate Hades, who has abducted her and taken her into the underworld to starve – a great metaphor for the punitive measures of austerity.

INTERVIEWER

Could you give us your top ten writing tips for writers?

SAUNDERS

  1. Read widely and copiously – not just the poets you admire but the ones you find challenging, even dislike. Study the craft. We can learn so much from the writers we love or even loathe.
  2. Ignore the Inner Critic – give yourself time to free write – set a timer and just let your ink flow for 10, 15 minutes – let your imagination have free reign, don’t stop to correct spelling or punctuation. Write wild.  Your most exciting ideas can emerge this way.
  3. Write regularly. Keep your appointment with the page and the muse will know when to show up.
  4. Keep a journal, or a writers notebook – open your eyes and ears to what is around you. Get in the habit of being a word magpie and steal conversations, quotes, scenes from around you and get them on the page.
  5. Use a mixture of Latinate and Anglo Saxon language. Too much of the first and your work may seem overwritten and too much of the latter, and it may not sing.
  6. Edit. As Hemingway said ‘first drafts are shit’. Revise, redraft again and again.
  7. Avoid clichés and tired expressions. Avoid abstract nouns and excessive use of adjectives.
  8. Listen to feedback and accept intelligent critiques of your work if they help your hone your craft.  Embrace any opportunities to learn ( I studied for a Masters in Creative Writing).
  9. Take risks, believe in your vision, keep going.
  10.  Ignore all advice. Except this advice.

 

Dr Chuck Tingle’s writing tips for writers

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Good writing advice is hard to find. We’ve previously compiled various collections of writing tips from some of literature’s greatest minds; but we’re always looking to go one step further. As writers and creatives, our learning is built on the mentoring and advice of our peers and our mentors. The imparted knowledge they can share with us part of a long-standing tradition within the arts of helping one another to express ourselves.

Of course, the best type of writing advice is that which transcends the topic and becomes advice not just to inspire our best creative work; but also becomes advice by which we can live by, day-to-day.

Where can one find such advice, we hear you ask? Well, right here in this article, friendos!

In April 2018, we were honoured to interview Dr Chuck Tingle as part of our ‘Creatives in Profile’ series. The Hugo Award-shortlisted author of Space Raptor Butt Invasion and My Billionaire Triceratops Craves Gay Ass, and self-proclaimed as the “greatest author in the world” during one of the most incredible Reddit AMAs to date,  Dr Chuck Tingle provided some tip-top advice to keep in mind when writing a book (and it doesn’t have anything to do with word counts). He explained:

“most important thing to keep in mind when making all things as ARTISTIC BUCKAROO is to prove love that is only thing that matters really everything else is just decoration. there are so many ways to prove love so there are lots of options, but it is very important to REMEMBER that only rule for all layers of the tingleverse is that love is real this is consistant across all timelines.”

On the subject of creativity, and what it means to be creative, Tingle opines:

“being creative is just being yourself and trotting with YOUR OWN unique way. just waking up in the morning and stetching your bones is creative because every moment is making infinate timelines. you are so powerful in your way because for every decision there are so many new worlds spinning off and if that isnt dang creative i dont know what is thanks”

 

10 writing tips from Dr Chuck Tingle

Alongside his other timeless advice for writers, creatives, and just all-round human beings – Tingle also provided us with a short list of more prescriptive pieces of advice for writers. Read them below:

  1. drink chocolate milk buddy not that sick water throw that out
  2. you are important and so is your way. this is already a story that can be told
  3. the void is not worth your curiostiy
  4. listen to your buds
  5. there is something to learn from traditional horseplay and there is something to be learned from modern trots. respect both
  6. dont try to tell people what art is you will always be wrong
  7. there is not very much that separates you from a big timers sometimes it is hard work and sometimes it is luck but its almost never talent
  8. spend time with your family
  9. have gratitude if you dont youll look like a goofball and youll feel like one too
  10. prove love always