Creatives in profile: interview with Joana Ramiro

Joana Ramiro

Joana Ramiro is a journalist, writer and political commentator.

Born in Lisbon, in 2006 she moved to London, and in 2010 she became one of the founders of the National Campaign Against Fees and Cuts, as well as its Chief Press Officer. Since then, she has covered the occupation of Tahir Square in Cairo during the 2011 ‘Arab Spring’, as well as the 2015 Greek elections and the Calais refugee camp, among numerous other pieces of foreign correspondence.

Domestically, she was the first reporter to cover the fight of Focus E15, a group of London single mothers campaigning to be rehoused, after being evicted from a hostel by Newham Council in 2014. She has reported from a series of mass demonstrations, occupations, deportations and strikes, focusing on the effects of austerity policies in British society.

As a political commentator, Ramiro has been featured on Channel 4 News, BBC and LBC radio, as well as debates against fellow pundits Peter Oborne, Michael White and Peter Hitchens.

At a time when the truth is under attack – when journalists are attacked and maligned by those in power and those online, while Silicon Valley siphons off advertising revenue and amplifies untruths for profit – supporting, and hearing from, independent journalists is increasingly important. So Nothing in the Rulebook were incredibly pleased to catch up with Ramiro to bring you this following interview.

INTERVIEWER

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

Hi, my name is Joana Ramiro and I’m a freelance journalist and writer based in London. I carry a Portuguese passport and was educated in a German school. My dad’s Angolan. It was all a big melting pot back at home and I try to keep it so in my adult life too (not hard, given that I live in the capital of melting pots).

INTERVIEWER

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

It wasn’t my first love but it should have been. As a child I wanted to be an actor but when I hit puberty my ambitions got thwarted by the usual patriarchally-instilled insecurities about my looks, weight, and general lack of self-worth. I then went and studied advertising but it wasn’t very satisfying as I needed something a little more academic at that point. So, to compensate the lack of enthusiasm for my degree, I started doing a political blog and getting involved with campaigns I always felt an affinity for. Things like justice for Palestinians and an anti-cuts campaign at my university. That then grew into the student movement of 2010/11 where I was the founder and press officer for one of the main campaigns (National Campaign Against Fees and Cuts). I went back to uni in 2010, did a postgrad programme in politics and then a masters in Middle East politics, went to Palestine and Egypt (during the occupation of Tahrir Square) and a few years later got a full time job as a journalist at a small daily called the Morning Star. A week in I thought: “Goddamn! Why haven’t I been doing this all along?!”

INTERVIEWER
Who inspires you, and why? 
RAMIRO

Great journalism inspires me and I think of the greats of old and sometimes wonder if it’s still possible to do that kind of work. Journalists of past and present like Martha Gelhorn, Ryszard Kapuściński, Svetlana Alexievitch, Clare Hollingworth and Paul Mason inspire me every day to speak truth to power.

INTERVIEWER

What is the role of journalists today, in an era of ‘fake news’ and accusations of media bias? 

RAMIRO
 

The role of a journalist at any time is to speak truth to power. To me that means looking at the balance of forces and asking yourself “Who is being exploited, oppressed, or used in this situation?” and then write about it. Much is said about media bias vs unbiased journalism and in the end, you’ll find, the judgement is always in favour of whoever is in control of the narrative. There’s always a bias in journalism because there’s always a bias in our societies. A good journalist asks herself in who’s favour is that bias and writes about what the effects of such bias might be. Who benefits and who suffers under X state policies? Who benefits and who suffers under Y ideology? From there, a journalist’s role is to shine a light on what is in the dark. 

INTERVIEWER

When covering complex political issues and discourse, how do you navigate the challenge between communicating an issue or subject clearly and effectively, while also bringing the necessary balance and nuance and critical thought required to ensure the piece has real genuine value? 

RAMIRO

Good prose is written simply but at length. Unfortunately, it seems that while writing simply is still cherished in our media landscape, length is going increasingly out of style. A dangerous precedent if you ask me. You can’t explain the complexities of war in a 250 word article or in a 2.30min piece. You can’t explore the nuances of the Venezuelan political conundrum in a series of Tweets. We need to start investing in long-form journalism, not only in the case of what is usually called “long reads” but as a matter of journalistic norm. If people will deadscroll through 5min inspirational videos they will watch a 5min piece about Cape Town’s Day Zero. 

INTERVIEWER

Do you feel any personal responsibility as a journalist
RAMIRO
 

Of course. That’s why I refuse to work for xenophobic and migrant-bashing publications (we all know who they are). I wouldn’t go as far as condemning all that do – many colleagues work wherever work is available because they’ve got bills to pay – but given the choice I’d rather not write than enable or legitimise far-right opinions and rhetoric.

INTERVIEWER

To what extent has current political discourse and debate sidelined other important issues facing the world; such as catastrophic climate breakdown?

RAMIRO

I don’t think it has. Not least because the current political discourse might include disgusting people like Viktor Orban and Tommy Robinson, but also includes inspiring voices like Alexandria Ocasio-Cortez (who does speak aplenty about climate and a Green New Deal).

INTERVIEWER

In an age of increasingly low incomes for journalists, and with funding models of traditional media corporations often favouring the large, Murdoch-owned papers over other independent news outlets, how can aspiring journalists break onto the scene while maintaining their journalistic integrity and any moral standards they may need? 

RAMIRO

Alas, it often seems nearly impossible and all the more so for young journalists who aren’t white middle class men  living in London. It’s good that places like the Guardian have programmes targeting this but more needs to be done. I suspect media reform is the way to go in order to tackle all these problems. Not to be too on the nose, but the Labour Party’s proposals on media reform announced last year would be a pretty decent start. 

INTERVIEWER

What’s your analysis of the state of both politics and journalism today? Where are we heading?

RAMIRO
 

God, I’d be a millionaire if I had the answer to that question. Can you imagine what the City would pay me for that sort of consultancy?! 

INTERVIEWER

What’s next for you personally? Any exciting projects we should know about? 
RAMIRO
 

I’m doing a lot of exciting things this year, but one of those I’m having a lot of fun at is my show Red Hacks. It’s a series of conversations with renowned journalists about being a leftwing journalist in a neoliberal world and it’s hosted by the Politics Theory Other podcast. The latest episode is with New Statesman deputy editor George Eaton. Do give it a listen 🙂

Quick fire round! 

INTERVIEWER
Vehicle of choice: Brexit battle bus or Corbyn bicycle
RAMIRO
 
Bicycle always! I have my own and it’s called Belinda.
INTERVIEWER
Curl up with a book or head to the movies? 
RAMIRO
 

Going to the movies in London is extortionate (unless you go to Peckhamplex in Peckham – £4.99 any ticket any day), so I’m gonna say curl up with a book. That would probably be my default choice anyway.

INTERVIEWER

Critically acclaimed or cult classic? 
RAMIRO
 

Always the classics. Casablanca is a masterpiece in far more ways than it’s known for. Same could be said about To Have and Have Not (I’m not just stanning for Humphrey Bogart, I promise).

INTERVIEWER

Who is someone you think people should know more about? 
RAMIRO
 

Erika Lust. She’s a feminist porn film maker and a champion of talking about women’s desire openly and outside of the liberal-cisgendered axis. Plus her stuff is simply beautiful to look at. I’ll be interviewing her soon. 

INTERVIEWER

Do you have any hidden talents?
RAMIRO

I can sleep anywhere under any circumstances, which is very handy for a journalist. Also, in a better world I would have spent more time singing in a more professional way. My brother (who’s an actual musician) and I have a few amateurish projects but I never seem to have enough time to invest in it properly or as much as I’d like to.

INTERVIEWER

Could you write us a story in 6 words?
RAMIRO
 
Fuckbois. That’s why she was single.
INTERVIEWER
Could you give your top 10 tips for aspiring journalists?
RAMIRO
 
  1. Go to the place, talk to the people. Don’t just write a story from whatever you saw on Twitter or whatever an expert commented on.
  2. Always carry a recorder (most phones will have one nowadays) and don’t forget the batteries (or keeping your phone charged).
  3. When taking pictures in a controversial or dangerous situation always carry two memory cards for your camera. Fill one of them with faff/tourist pictures of the place. Carry the one with the journalistic pictures in your sock or bra. Don’t cross checkpoints or police lines with a camera full of “incriminating” material. 
  4. Always carry cigarettes. Even if you don’t smoke. They’re incredibly handy appeasers, bargaining chips, conversation starters, bonding props. Odd, I know. But it works. 
  5. Learn the art of conversation. Everyone will get the same quotes if they ask the obvious questions. Make it your business to be more than a question machine. Offer something back, even if just a shown interest in what your subject has to say. 
  6. Advice I was given (part I): Start writing your piece as if following the sentence: “Guys, guess what?…”
  7. Advice I was given (part II): Read what you wrote out loud at least once. It really helps you catch otherwise unnoticed typos, grammar errors, generally weird sentences and such.
  8. Invest in a transcription programme (I hate hate hate transcribing). 
  9. Read! Read fiction. Read old books. Read theory. Read as widely as you can. Follow it up by listening to music or watching movies on the same theme (in my family we call this “a festival”). Learn the joys of immersing yourself in something other than what is labelled journalism. Good journalism is done with knowledge wider than that. 
  10. Journalism is team work. George Orwell relied on many many people he never mentioned in his books (true story – not just using this as a metaphor for the case in point). Acknowledge that and use it. Help others and ask for help. Reject the idea that journalism is a rat race. Reject the idea that work is a rat race for that matter. Revel in cooperation. It will make you a better journalist, if not even a better person. 
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Mud, books, and Greek mythology: interview with David Henningham

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David Henningham 

When we first caught up with David and Ping Henningham, of Henningham Family Press, they had just been commissioned to make a major public arts contribution to the Central Hall of Artists in Moscow.

Fast forward a couple of years, and the duo behind this dynamic printing press are once again deep into an exciting new creative project – and getting knee deep in mud to do so.

‘Mud’ is the new book by Chris McCabe, which follows his debut novel, Dedalus, also published by Henningham Family Press (HFP).

The couple have been raising funds to support the publication of the book through a recently launched Kickstarter project. And yet, in typical HFP fashion, this is no ordinary printed book – but rather one that blurs the boundary between art and writing.

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‘Mud’ – the new book by Chris McCabe, published by Henningham Family Press

Described by the creative duo as ‘an Artists’ Book in exquisite handmade and paperback versions’, Nothing in the Rulebook caught up with David Henningham to find out more about the project.

INTERVIEWER

Tell us about Chris McCabe’s new book ‘Mud’ – and what you’re planning on doing with it.

HENNINGHAM

Mud is a story re-imagining Orpheus & Eurydice in contemporary London. Borak and Karissa must find a bubble buried in mud, somewhere. Along their way into the Underworld beneath Hampstead Heath, to scour the 24 types of mud, they are followed by their film crew and its odious Director. As they chance upon bones, bricks and talking Moles, they must restrain themselves from throttling each other. And falling in love all over again.

We have begun a quest with Chris McCabe parallel to that of his characters underground; an addition to the conventional editing process. We’ve been collecting different types of London mud to use as pigments and salvaging a half-brick, involved in a car crash, to use as our printing block (the perfect metaphor for Borak and Kar’s relationship). We used the faces of the brick to cast Orphic shapes resembling thresholds, mounds and tunnels of the Underworld.

This process will produce three versions of the book that use the same printed pages:

  • High-quality Paperback
  • Deluxe Hardback, representing a mud type with unique limited edition print
  • Deluxe Hardback, representing a mud type, in solander box with unique sculpture

INTERVIEWER

Why Mud?

HENNINGHAM

I can’t answer that, except to say that the notion there are 24 types of mud has totally changed the way I see the world. I keep spotting muds with extraordinary colour or texture and thinking ‘we missed that one!’ I suspect that somewhere in there, this sensation that language variegates experience of the world is “why Mud”.

INTERVIEWER

In an era of digital publishing, amid the rise of e-books and audiobooks; how important is it, do you think, that as readers we return to the physical value books have and invest in printed copies? Do you see your production of hand-made books to be a revolt against artifice or digitalisation?

HENNINGHAM

No, digital technology makes book production and selling cleaner, quicker, cheaper and easier at every stage, which is the most important aspect to us. Our handmade books are enabled by digital technology.

Ebooks are just a copyright thing, they prevent creative opportunity in my experience, but audiobooks are interesting to us. We love moving texts into different creative forms. I like the fact that our books will be among the best someone will handle, and that there’s something you can only get from the book because that means it is a book that has fully exploited the form. But I’m not interested in dominating anything. If someone thinks books aren’t important to them, I’ll wave them on their merry way. If they don’t like stories, I refer them to a special watch list at the Dept of Culture, Media, Sport, Shopping and Lawnmowers.

INTERVIEWER

In your Kickstarter project, you say you believe artist-Writers shouldn’t just be producing radical words; but also radical means of production and distribution. Can you expand on this – is there a Marxist element to your publishing ethos?

HENNINGHAM

Not Marxist, although I’m sympathetic to the Socialist publishing aspirations of B.S. Johnson you can find in Jonathan Coe’s biography, and admire Marxist friends who find a way to navigate the book Market.

What I mean by it is that, instead of approaching the current system of commissioning and selling books and trying to publish books that will change the world, the system itself must be changed in the process. Take diversity. Rooms full of privileged people are saying “how can we publish more diverse writers?” I suspect it isn’t working because the system is token operated. Not only are the people in the room almost all privileged, they begin by saying “how can we help these people?” The Hogarth Press had a fantastic record on publishing women writers. Because of what it was, not because of any policy. So if you want to make a Press that publishes X kind of writing, you need to make a Press the shape that will produce that writing. Not a mini-Corporate.

INTERVIEWER

How can aspiring artists and writers – or newly established publishing houses – reclaim the means of production and distribution from the corporate behemoths who dominate the publishing (and indeed wider media) landscape?

HENNINGHAM

The difference is between big organisations and partnerships of smaller organisations. Become a member of a group of smaller organisations and work together cooperatively if you want to take on the corporates.

If you simply want to make a few things and get them out there, you just need to find the right printer (production) and attend DIY book or arts fairs (distribution).

INTERVIEWER

Can you talk us through the sensation of crafting one of your books – is there a connection, do you think, between publisher and physical book that goes beyond a desire to sell copies? And where does the line between art and writing collide and/or blur?

HENNINGHAM

When I’m binding I’m very much thinking with my hands. I’m sort of aware of language, and thoughts apparently located in my head, but mostly it’s my hands working almost independently. I also stopped thinking ahead much, I seem to know what to do next without planning.

Afterwards, for me, it’s about getting the fruits of that process as close to readers as possible, but I suspect most publishers aren’t approaching it this way. They have babies, while I’m more of a midwife. Or a sorcerer.

INTERVIEWER

In many ways, the focus your project places on words influencing the physical design of the book – as well as the structure and form – makes this a thoroughly modernist piece of art and writing; yet the source material for the novel is from Ancient Greek mythology. What is the relationship, do you think, between the classical and the modern? And how important are the works of literary figures like James Joyce to informing any such debate on this topic?

HENNINGHAM

Well as you suggest, Ulysses took myth as its structure and embedded it in modernity. We don’t get equally influenced by all world mythologies, though. Some ancient stories are simply bizarre to us. It’s not just that we’re used to Greek myths, there’s something recognisable about the people and gods in them, and the themes, such as metamorphosis, we carry with us.

In the Penelope section at the end of Dedalus (his sequel to Ulysses), I suspect Chris McCabe wrote a kind of manifesto for himself, about writing myth. If so, he’s delivered in spades with Mud.

INTERVIEWER

Can anything ever be truly ‘new’, ‘modern’, or ‘unique’?

HENNINGHAM

It’s interesting to push it to the other extreme; to try making something the opposite of unique. It will always have this stubborn singularity.

INTERVIEWER

What’s been your experience of using Kickstarter to support your project? What role do crowdfunding models have to play in the current publishing and artistic sectors?

HENNINGHAM

We have been able to share our excitement around a project while we are still genuinely excited about it. Marketing afterwards is fun, but it’s more about sustaining that excitement and sharing a finished product. Involving people in the process and having a way of updating them as we make things for the book changes it too. The rewards structure has obliterated the barrier between our trade and handmade versions.  

Quick fire round!

INTERVIEWER

Modernism or post-modernism?

HENNINGHAM

Modernism

INTERVIEWER

Curl up with a book or head to an art gallery?

HENNINGHAM

Book

INTERVIEWER

Critically acclaimed or cult classic?

HENNINGHAM

Cult classic

INTERVIEWER

Most underrated writer/artist?

HENNINGHAM

Such a contested field! Agota Kristoff? Or I’d like to see Darker With The Lights On by David Hayden (which was acclaimed in the small press world) accepted wholeheartedly by mainstream booksellers and readers.

INTERVIEWER

Most overrated writer/artist?

HENNINGHAM

Again, such a contested field! J.K Rowling. So slow and clunky. Magic for people who don’t like to be surprised. Why bother. Ctrl+v Diana Wynne-Jones.

INTERVIEWER

Who is someone you think people should know more about?

HENNINGHAM

British Viceroy Robert Bulwer-Lytton was a famous poet and responsible for the deaths of between 6 and 13 million Indian subjects in the Late Victorian period.

INTERVIEWER

Could you write us a story in 6 words?

HENNINGHAM

Drawing road-markings made Doug’s handwriting taller.

INTERVIEWER

What 5-10 pieces of advice can you give to people thinking of exploring crowdfunding as a means of getting their writing or artwork out there?

HENNINGHAM

  • Get advice and key questions from their representatives or online knowledge base and do everything they tell you to. They’ve done it a million times.
  • Contact 30 committed supporters and get them ready to pledge in the first 48 hours.
  • Involve people in a process. Make sure you are doing something for the project other than talking about money in that 30 days and make daily updates of the work in progress.
  • Have a theme derived from your project and apply it to all your reward names and updates.
  • Make a video. If it’s just you, a selfie stick and windows movie maker, that’s fine. Without it nobody really knows you.
  • Look out for trolls. If someone spends big, have a look at their identity before announcing you’ve hit your target and raise it with Kickstarter if you think they look suspicious.
  • There will also be spam.

 

To find out more about Chris McCabe’s new novel, and to pledge your support for this fantastic project, please visit the Kickstarter page

 

A Writer’s Guide to Dungeons & Dragons

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Pssst… are you playing Dungeons & Dragons yet? In case you didn’t know, it’s not just for ‘nerds’ any more, hiding in their bedrooms with stacks upon stacks of impenetrable lore. These days, D&D has experienced a massive resurgence — partially thanks to Netflix nostalgia machine Stranger Things — and is now the focus of some of the most watched podcasts on the internet, played by stars like Magic Mike’s Joe Manganiello, Daredevil’s Deborah Ann Woll and action superstar Vin Diesel. Groups across the country are springing up and struggling to make room for massive influxes of players.

That’s because D&D is buckets of fun, but it’s also a fantastic tool for writers, allowing them to sharpen their craft without even thinking about it. I started playing D&D around 18 months ago — first as a player-character, and then embarking on a year-long campaign as the group’s dungeon master. The benefit for writers is present on both sides of the screen, whether you’re taking your Level 5 Fighter for a romp through the Underdark or plotting your players’ demise at the hands of Strahd von Zarovich, so whichever way you’re taking part, there’s plenty of opportunity to learn a thing or two.

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D&D has seen a massive resurgence in recent years, partially thanks to Netflix nostalgia machine Stranger Things

But wait, the treasure’s over this way!

As a player or a dungeon master (DM, if you’re being technical about it), one of the first things you’ll need to get down is improvising, and being quick about it. When there are multiple voices at the table, and dragons have gotta get slain, there’s no time for extensive debate. So, if the DM throws in an assassination attempt on your way back to Waterdeep, or your party’s dwarven warlock decides to hijack the party’s boat, you need to figure out how you’re going to react.

That quick-fire storytelling can be really helpful when it comes to your own writing, especially when you find characters wandering off in their own direction, or a plot thread that seems to be steadily gaining a life of its own. Don’t be afraid to see where the rabbit hole takes you; a little improv can take your story in new and exciting directions.

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As with writing, mastering D&D requires preparation – especially if your DM happens to enjoy curveballs (or, indeed, balls of any description)

Preparation is key

 Playing the role of the DM? You’ll need to make sure you’re prepared for your next session. Even if you’re running a module, also known as a pre-written campaign, you’ll need to read through the sections you’ll be handling before your session. It’s often helpful to draft a few pieces of dialogue or something to set the scene, and having that ‘prep time’ in mind can give you the perfect excuse to carve out time in your weekly schedule to write.

It’s also worth remembering that you’ll probably toss out about 70% of what you had planned for the session, based on how your group react, but that’s okay — after all, that’s what editing is like most of the time.

Accents maketh the monk

D&D is also your opportunity to do really, really silly accents. I’m currently playing a Grave Cleric called Gwendolyn who sounds like she’s from Merthyr Tydfil, and while it may seem like an excuse to play the fool, giving my character an accent is one extra level of separation for me. As soon as I start talking like Gwendolyn, I find it much easier to inhabit her shoes, figure out what her motivations are and make decisions that are wholly within her character, rather than what I would do personally — a handy trick for writing difficult passages. The same goes for DMs; giving non-player characters a distinctive accent that’s different from your own voice can help them become more than just Goon #1, and you might be able to build a compelling story around them.

This is our story, nobody else’s

Perhaps one of D&D’s biggest appeals (besides an excuse to hang out, eat junk food and sink a few beers) is the fact that it’s a story everyone can get involved with. Working with other people to effectively create and tell a story is ridiculously good fun, and especially if you’ve been struggling to find the time to start writing, it can help you satisfy that creative itch. Even if you’re playing a classic module, or a campaign you’ve completed with a different group, the story is different every time.

Bardic inspiration

Once you step away from the table and put the d20s back in your bag, the fun doesn’t end there. When I get back from a session, I’m filled with ideas for what might happen next time, and sometimes that even translates into a new story or something to try out in an existing piece of work. It’s thanks to D&D that I’ve felt more creative in those past 18 months than I have in years, whether I’m devising a new campaign scenario or coming up with a backstory for my latest character.

So, where to start…

While D&D can seem overwhelming to the uninitiated at first, the main thing to remember is that it’s a game, with the primary purpose of having fun with some friends. Creating a new character shouldn’t take hours upon hours (unless you want it to!) but should serve as a springboard for your next adventure. Sit back, relax, pick up a pencil and see where it takes you – whether that’s fighting bandits, sourcing magical ingredients or changing the multiverse as you know it.

 About the author of this post

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Robyn Hardman is a writer, blogger and a PR and marketing consultant based in the Cotswolds. When she’s not writing press releases about silly cars, she’s usually in the pit at your local punk show. She tweets as @twobeatsoff.

Creatives in profile: interview with K.M. Elkes

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Writing flash fiction takes skill, precision and – perhaps more than anything – hard work and dedication. When done well, these micro-stories can throw the reader in and out of the human condition in profound and unpredictable ways.

Some have said flash fiction stories are a part of our social media age, our insta-lifestyles, our shortened attention spans, our handheld devices, our micro-making of everything. Yet, in a world preciously short of big ideas, we could do with some of the big ideas contained within these short tales. And we could do with more

Nothing in the Rulebook caught up with one of these writers willing to put pen to paper to bring these short tales – and their ideas – to us.

K.M. Elkes’s short fiction has won (or been placed) in a number of international writing competitions including the Manchester Fiction Prize, The Fish Publishing Flash Prize, the Bridport Prize and the PinDrop Prize, as well as appearing in more than 30 anthologies. His work has also been published in literary magazines such as UnthologyThe Lonely CrowdStructo and Litro. A flash fiction collection All That Is Between Us will be published in paperback by AdHoc Fiction in 2019. He is a short story tutor for Comma Press and his work has also been used on schools and college curriculum in USA and Hong Kong.

Elkes lives and works in the West Country, UK. A recipient of an Arts Council England award, he is currently working on a debut short story collection and a novel. As a writer with a rural working class upbringing, his work often reflects marginalised voices and liminal places.

INTERVIEWER

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

ELKES

In summary – writer, teacher, musician, traveller, ginger, potty-mouth. Not always in that order. I currently live in Bristol, but my background is rural working-class Shropshire.

INTERVIEWER

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

ELKES

Writing is one of the things, like making music, that I cannot not do. It’s more complicated than love or passion.

INTERVIEWER

Who inspires you?

ELKES

Single-minded people – I’m too ‘jack of all trades, master of none’, so I draw inspiration from writers, particularly women or those from less privileged backgrounds, who have had the singleness of vision to succeed against the odds.
And pole vaulters – their sport is rife with symbolism.

INTERVIEWER

Who were your early teachers?

ELKES

I went to a tiny rural primary school in Shropshire that had about 30 children and two teachers. It was stuck in a 1930s time warp – two classrooms, no inside toilets, dinners delivered lukewarm on the back of a van. But that school and those teachers instilled a hunger for reading in me that has been the catalyst for many things.

INTERVIEWER

What draws you to flash fiction?

ELKES

As a form based around concision, it combines poetry’s attention to language and rhythm with the prose tools of plot, characterisation, dialogue etc. Within that there are infinite colours, moods and stories, so what’s not to like?

INTERVIEWER

One of the joys of English is that, while its huge vocabulary can be deployed in mesmerising Joycean arpeggios, it can just as easily concentrate its meaning in a few well chosen words. In the age of Twitter, why do you think so many people are increasingly attracted to the brevity of short, flash or ‘micro’ fiction?

ELKES

I’m not a fan of the notion that people have short attention spans so they are attracted to shorter forms. Just because something is short doesn’t mean it requires less concentration and effort to read. I would hope more people are attracted to the form because they recognise it can produce genuinely good writing. The rise of social media and digital platforms for writing has no doubt helped.

INTERVIEWER

What do you think a story needs in order for it to be a story?

ELKES

Movement. Not necessarily plot, but a sense that something has changed.

INTERVIEWER

How easy do you find it to move between different writing forms/mediums – can you balance writing a novel with crafting flash fiction or short stories?

ELKES

Transitioning between different forms is not difficult. Writers who claim otherwise are probably just procrastinating. In fact, changing forms is a good way to give the kaleidoscope a shake to find new ideas. What is difficult, sometimes, is the act of writing itself, whatever the form.

INTERVIEWER

How do you maintain your motivation for writing?

ELKES

By reflecting at length on the fact that I don’t have motivation to carry out just about any other form of gainful employment.

Also by dreaming of the day when I can walk into a bookshop and find a section devoted just to short fiction, rather than having to play ‘hunt the collections’ among the general fiction…

INTERVIEWER

Do you feel writers should feel any ethical responsibility in their roles?

ELKES

I don’t think it is ethical for a writer to create ethical responsibilities for other writers – they need to deal with their own shit.

Having said that it grinds my gears when well-established writers phone it in for cash. Such as when novelists supply distinctly average ‘been-in-the-bottom-drawer-awhile’ pieces for occasional short story specials in newspapers or magazines. In this case, maybe the ethical motto should be: ‘Do your best or don’t bother’.

INTERVIEWER

Do you have a specific audience in mind when you write?

ELKES

No. Except that maybe the fantastic audience who came to a live literary event I did in Bath last year and laughed like drains at my funny stuff and emoted all over my sad pieces. They can come and sit in the room while I’m writing (if they bring their own chairs).

INTERVIEWER

What are your thoughts on some of the general trends within the writing industry (if we can call it thus)? Is there anything in particular you see as being potentially future-defining?

ELKES

The trend to encourage more diversity in writing and publishing is something I would like to see continuing. As someone from a working-class background, I know there are barriers still in place. But I also know I have to check what privileges I have as a white male. Even those at the epicentre of the white, male, middle-class, London-dominated and Oxbridge educated system must acknowledge there’s a better way. Done right, I think more diversity would mean more readers, more books sold, a more robust industry.

Another big challenge is how writers, whose average income from books continues to decline, can earn enough to keep creating. There is an unrealistic expectation in society that creative work should merely be another form of free content.

INTERVIEWER

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

ELKES

I’m editing a collection of flash fiction called All That Is Between Us which will be published by Ad Hoc Fiction in Spring 2019. I’m also working on finishing a short story collection and starting a novel.

INTERVIEWER

What are your 5-10 top tips for writers of flash fiction?

ELKES

  1. Give yourself permission to write crap, then use that freedom to write well.
  2. Read lots of short fiction in collections and online to learn more about what works and what doesn’t
  3. Don’t grab at the first idea for a story, let things brew for just a little while longer.
  4. Write hot, edit cold
  5. Ignore lists of top tips for short fiction writers and write whatever feels risky and surprises you.

INTERVIEWER

Could you write us a story in 6 words?

ELKES

Instagram and Twitter allow this:  #Thewomandreamedofstrollingdampwintermeadowswithherlatehusbandbefore wakingtofindherloverwashingherfeet

 

 

How jiu jitsu helped me become a better writer

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The handshakes, that’s how I first know I’m in trouble.

I’m at a Jiu-Jitsu class. Wednesday. I’m recovering from the usual winter cold, have even opened my email twice that day to compose an excuse.

Sorry, Kev. I’m feeling under the weather – can I rearrange for next week?

Delete. If I send that I won’t ever go.

Down a coffee. Get in the car. Drive to the gym.

Now, the handshakes. There are ten men and each greets me by gripping my hand and telling me their name – I forget the names but remember the grips. I don’t know if it’s the coffee or the panic, but I don’t feel ill any more.

What followed was like a nature documentary, but instead of Attenborough’s voice putting the gazelle’s death into perspective, it was the sweaty grunting of ten men and me making noises like Kermit with tuberculosis. They choke me out, one after the other but are very polite about it.

I learn a few techniques and try to use them, without much success – still, I am getting better, surviving longer before they politely choke me. I start to figure that it’s about strategy, not just muscle and reflex. I have been using all of my strength and “gassing out,” while these men, some in their sixties, are effortlessly squishing me like soft cheese. Then they reacquaint me with their grips. Around my neck this time.

I stay on for the advanced class and start to last a little longer before tapping out. All the while, there is a strange thought in the back of my head: if these were fights to the death, I would be dead twenty-six times.

By the end it’s more like thirty.

I shake Kev’s hand, tell him I’ll be back for the next class, and leave with a smile. I am sore all over, have burns on my fingers and toes, but I keep replaying what I’ve learnt as I drive home, and later, when I’m lying in bed, I can’t sleep because I’m thinking of how I will improve next time, how I will change my game.

Now, I have been to four Jiu-Jitsu classes. I know nothing. But already, I’m noticing how it affects other areas of my life – my writing in particular. So… why?

Failure. Nothing acquaints you with it better than Jiu-Jitsu. You will be choked. But after a while, that becomes not so scary. And then, once failure is accepted as a necessary step for growth, once it is seen that the only way you learn is through doing something wrong in the first place, there is a feeling of freedom. Get choked. Get up. Go again. You know better this time. If you aren’t afraid to fail, you are willing to try new things, to play risky, to be interesting. Same with writing, and everything else worth pursuing, failure is inevitable – bad drafts, abandoned projects, rejections. Every novelist I know has a project-graveyard file on their computer. That is no source of shame. It is a mark of craft. Lose the fear of losing. A winner is someone who never let loss stop them.

Struggle. We as human beings are not built for sitting on beaches with cocktails. That is nice for a while, but only for a while. We need a target. Something with which to contend. Placing happiness as all important is wrong – better to pursue something difficult, something worth the struggle, something with meaning. Often it isn’t pleasant, but in pursuing that target, you are fulfilled. Do something difficult, just to see if you can. You will surprise yourself. Struggle upwards, towards a goal, and you’ll have something better than brief happiness. It’s why we run marathons, why we climb mountains, and it is why we writers choose to sit and write every day when we’d much rather be somewhere else. We turn up, at the desk, ready to contend. It requires an immense amount of work and effort – the trek out into that hinterland of composition. We are grappling with plot, emotions, ideas, and that greater thing, that unconscious current which dictates the direction we pursue, which word follows the previous. Jiu-Jitsu is just a physical manifestation of that which happens every day at the desk. You are willingly contending with something difficult, and it is often painful, but once it is over, you know it was worth it, and you can’t wait to go again, to see if you will be better. To see what you will learn this time.

A piece of writing is just a by-product of this process of struggle. This contention with the unconscious, the constant working and re-working. If something is jarring with the rest of the work, try something different. In doing this, the process itself will become rewarding – the pursuit of the target. The journey becomes what is important, that process of learning. Like Jiu-Jitsu, if something isn’t working, adapt and find the right technique, be satisfied with the journey, the constant reshuffling of set-ups and finishes. Maybe you will be choked in the end. Who cares? A novel is a by-product of the process of contending with the unconscious, of reshuffling and learning. The process is paramount. The pursuit. You don’t make a sandcastle, you abandon the sandpit.

Tenacity. The most important thing. In my last class, Kev, the instructor, rolled with me for the last thirty minutes. My ribcage is still bruised. At one point I think he just sat on me, but I can’t be certain. What I do know is that I didn’t quit. He asked if I wanted to stop but I caught my breath and carried on. And at the end, after my total annihilation, he called me “strong as an ox.” That felt good. Still, I think Kev could easily choke out an ox. I left that class aching, but proud that I had not given up. It’s rare today to encounter that kind of situation, but its good to know that if one were to arise, you have the ability to survive, the tenacity to continue. This directly correlates to writing – 40,000 words into a novel, it will feel like Kev is sitting on your chest. Be an ox. Kev will still sit on you, but the important thing is that you aren’t quitting.

Aggression. Everyone harbours it, no matter what they tell you or themselves. It’s normal. However, it will manifest itself in other, unwanted, parts of life if not acknowledged and integrated. Jiu-Jitsu lets you channel that aggression, and in doing so, gives you the confidence to integrate that assertive side in your life, when people might try to take advantage, when you need to stand up for yourself. It becomes a tool rather than a hindrance. There are circumstances where being nice just isn’t helpful – that isn’t to say that everyone should be an ass all the time. But for those of us who struggle to say no, whose first instinct is to be agreeable, this integration is life-changing. It’s a confidence. A self-belief. Again, an important quality for writers, who are (myself included) some of the most self-critical people around.

Humility. Try enduring a ritual strangling twice a week. It quickly teaches you humility. Appreciate that you will always be learning, that there are others who know more, that cockiness is laziness. If you are humble you are active, always trying to improve the work, but someone who believes they know everything has given up their desire to learn. Inactive. “There are no egos here,” is the phrase they use like a prayer or affirmation. It is a constant reminder that we are all learning, that we are all on the path – as Ursula Le Guin says so perfectly, “It is good to have an end to journey toward; but it is the journey that matters, in the end.”

I am halfway through writing a novel at the moment. Kev is sitting on my chest, but I am not quitting. So, on Wednesday, I’ll be back for another choking, and when I get home, I will write my 500 words.

Both are painful, but worth it.

 

 

 

 

 

About the author of this post

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Christopher Baker is a writer, published in the Writers of the Future 35th anthology and with theatre work that has won The Stage Award at Edinburgh Fringe. He graduated from the Warwick Writing programme with a First Class BA Hons in English Literature & Creative Writing. He has three dogs and is often covered in their hair. His twitter is @CSBker

Legendary writer Gabriel García Márquez’s archive available online for free

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There are precious few writers who can claim to have influenced the course of literary history and literary criticism in the manner of legendary author Gabriel García Márquez. For aspiring and established writers and litterateurs alike, Márquez stands out as an idol for his role in helping to launch what became known as the “boom in Latin American literature”.

It is a rare gift indeed then, to learn that the entire archive of this most influential of authors has been made available for everyone to read online entirely for free. Especially when that author’s works were still under copyright.

But this is precisely what the University of Texas has done, after acquiring the  Colombian-born writer’s archives in 2015, a year after his death.

The archive includes manuscript drafts of published and unpublished works, research material, photographs, scrapbooks, correspondence, clippings, notebooks, screenplays, printed material, ephemera, and an audio recording of García Márquez’s acceptance speech for the Nobel Prize in Literature in 1982. It was bought by the University of Texas for US$2.2 million.

The searchable, online archive is comprised of almost 30,000 items, so it’s easy to get lost in there.

“Often estates take a restrictive view of their intellectual property, believing scholarly use threatens or diminishes commercial interests,” Steve Enniss, the director of the Harry Ransom Center, which digitized the archive, said. “We are grateful to Gabo’s family for unlocking his archive and recognizing this work as another form of service to his readers everywhere.”

Many researchers and academics have been pouring over the archive since it first became available in 2017, and have credited the University of Texas for making such a valuable resource available for free. Many expect that access to García Márquez’s archive, including his personal notes and marginalia, will help advance literary research and criticism.

But this is not just a resource to be enjoyed, used and appreciated by academics. One of the most incredible things about García Márquez’s writing is how accessible it is – as The Guardian noted in its obituary of Garcia Marquez, his most famous novel, 100 years of solitude “not only proved immediately accessible to readers everywhere, but has influenced writers of many nationalities, from Isabel Allende to Salman Rushdie”.

So, what are you waiting for? Get on over to the Harry Ransom Center and start exploring (and getting lost in) this incredible literary resource.

 

 

 

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

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: inspired by @coffeeandpaneer’s helpful Twitter thread, below you can find 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?