Finding my voice with Liquorice Fish

Liquorice Fish, literary imprint of Cinnamon Press, have lfish_logo-300x300announced the winners of their ‘Lost Voices’ competition and I’m very pleased to say I’m one of them!

My short story, Once There was a Bear, will be alongside six other works in an anthology which will be published in Spring 2015. All the authors’ work are described here along with details of the commended and highly commended entries.

I’m thrilled to note that the anthology will also feature a preview of Vanessa Gebbie’s next work. Ed’s Wife and Other Creatures. This will be the second Liquorice Fish publication;  “a striking, surreal, and poignant collection of micro-fictions” written by Vanessa and illustrated by Lynn Roberts. As someone who is constantly inspired by her work, I really cannot wait for my writing to be with hers in the anthology.

Liquorice Fish is a “new imprint from Cinnamon Press to promote the innovative and idiosyncratic in contemporary writing: writers who are passionate and committed to finding an individual voice and approach to their writing; who are restless and want to explore the many possibilities inherent in language and the written word; or who wish to celebrate and extend the vibrant and varied traditions — and anti-traditions — that emerged during the 20th Century but which have been too often marginalised and belittled by the world of corporate authorship.” Find out more on their website.

Once There was a Bear has been described by Liquorice Fish as “the fabulous and mundane exist side-by-side in this delicate short story from an up-and-coming young British writer.”

I can’t tell you how chuffed those words make me. 2015 is going to be a very good year and this is just the beginning.

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Word from the Factory floor

Today I was high fived by Deborah Levy.

That is enough to describe how I am feeling, even at almost midnight. I want to tell you why and how this came to be. Word Factory. Two exceptional words when placed together and carried by the wonderful founder, Cathy Galvin.

Word Factory is so many things and will become so many more, but at the core it is a literary salon that concentrates on short form fiction which takes place once a month in The Society Club in Soho, London. Around that, the team at Word Factory (and I am honoured to say that I am part of that team as an associate editor) strive to bring news of the short story to writers and readers in the form of video, articles, networking…the list goes on. Condensed, we love the short story. We also love writers and we are writers. If you want to get to the heart of the reasons behind the Word Factory and what it will become then please read this fantastic article by Cathy herself.

I stumbled upon Word Factory. I will call it fate because things have happened in ways I cannot begin the fathom but I am just grateful for them. I found myself surrounded by a high percentage of my past and present writing colleagues who seemed to have gathered in yet another twist of fate. More obviously, they just know how good Word Factory is at presenting the very best writing and bringing together wonderful people. 

I was hooked and came along to the next few Word Factory events before jumping on the chance to become one of the team. Since then I have been involved with supporting events both in London and now Leicester, maintaining and helping to shape the future of the website and this weekend I got the chance to be part of the latest Word Factory Masterclass.

Everyone who signed up for the Masterclass weekend knew it was going to be good, great even. With the line up of Adam Marek, Julia Bell, David Vann, Alison Moore, Carrie Kania, and Deborah Levy it was destined to be amazing. We arrived at Birbeck’s Keynes Library following a Friday night spent at The Hauntings, a Word Factory salon run from Earlsfield Cemetery – betwitching readings that continue their spell on us provided by Adam Marek, Alex Preston, Tania Hersham and Stella Duffy.

The masterclass started with Adam leading us through dream confessions, exercising ill-paired combinations and then circuit training through word cricket, blackout techniques well as musical and pictorial exercises. After a much needed lunch break, our refreshed brains were then expanded by Julia’s exploration of time management in fiction. Closing off the day, David taught us how style is a choice and that generosity in characterisation is worth the challenge it presents.

Sunday began with Alison showing us how are word choices can provide deeper context to the truth at the core of our stories. The readings in this session were outstanding, the group providing support and inspiration to one another. After lunch in the winter sun, Carrie navigated us through the truths and myths of publishing and working with an agent, with dry wit and much appreciated honesty. Finally our weekend was concluded by a session commanded by Deborah who assisted us in finding our voices and to express our strengths and weaknesses in writing. This allowed us to take control, reclaim our work and ensure that our strengths and weaknesses are no longer a secret to ourselves.

And so, where I began we can conclude. Perhaps what was not expected was how we surprised ourselves. By the end of the weekend, I certainly now know more about myself as a writer and about how I am going to continue my writing journey with even more skills and experience.

Word factoryDeborah and Alison will be reading at Word Factory on 30th November at The Society Club, alongside Michele Roberts and Dave Lordan. With hope, there will be further master classes in 2014, and if you wish to find out more and get tickets to the salon on the 30th then sign up to the newsletters on the homepage to get the latest news from Word Factory. Come on in and join us on the factory floor.

A day for Flash

Today is a day of moments: the moment you can run between the car and house without getting soaked; the storms that rage are highlighted by flashes of blue sky. Can you tell the pathetic fallacy is getting to me as much as the rain? Today is National Flash Fiction Day and the weather is allowing me to indulgence in a couple of wonderful collections that we ought to all share.

Scraps_cover_frontpdfFirst up, Scraps, the second official anthology for National Flash Fiction Day. I talked about  Jawbreakers last year and if you haven’t got it yet then buy it now as even if it wasn’t in a free promotion until Monday 24th it would be very much worth the money. Anyway, back to Scraps. The collection features stories from Jenny Adamthwaite, Jenn Ashworth, Oliver Barton, Alan Beard, Natalie Bowers, Cathy Bryant, Joanna Campbell, Nuala Ní Chonchúir, James Coates, Claire Collison, Chris Connolly, L.A. Craig, Judy Darley, Ariel Dawn, Vanessa Gebbie, Kylie Grant, David Gullen, David Hartley, Kevlin Henney, Tania Hershman, Sarah Hilary, H Anthony Hildebrand, Eva Holland, Holly Howitt, Thaddeus Howze, Anouska Huggins, Claire Ibarra, Paul Kavanagh, RM Kealy, John Keating, Calum Kerr, Clare Kirwan, Mark Kockelbergh, Emma J. Lannie, Cathy Lennon, Beverly C. Lucey, Amy Mackelden, R A Martens, Ana Martinez, Thomas McColl, Stephen McGeagh, Danielle McLaughlin, Siobhán McNamara, Freya Morris, Andrea Mullaney, Clay Norman, John Paul O’Neill, Sonya Oldwin, Jim O’Loughlin, Amanda Oosthuizen, Jonathan Pinnock, Dan Powell, Amanda Quinn, Eabha Rose, Sam Russell, Shelley Day Sclater, Emma Shaw, Ian Shine, Diane Simmons, Tim Stevenson, Becky Tipper, Stella Turner, Tracey Upchurch, Bart Van Goethem, Alison Wells and Brendan Way…wow sorry, I ran out of breath too.

This collection has entertained, challenged and developed me in one afternoon. I no doubt will go back to it again and again as I do with Jawbreakers, but the stories that have captured me this afternoon are Finding Trainspotting by Clare Kirwan, Bright New Morning by Joanna Campbell, Feed a Fever by Freya Morris, Planets by Vanessa Gebbie, and The Short Tree Has its Hand Up by Tania Hershman. In fact I could probably go on about every single one of the stories but do us both a favour – buy the book and comment below, I’d much rather chat about it! As ever, these collections allow readers to explore new writing and new writers and I can’t wait to find out what else is available from these authors.

David+Gaffney+More+Sawn+OffNext is More Sawn Off Tales by David Gaffney. Following on with the tradition of secondary collections of flash fiction to prove their importance, this collection sequels Sawn Off Tales (2010). David’s works stretches storytelling and twists language within the tiniest of forms – even the titles could be, and have been, described as miniature works of art (Thanks Emma Jane Unsworth for that review!). It’s a collection that leaves you feeling slightly unsettled as though you have seen more than you ever thought you would, even though the sights were within a blink of an eye. If that’s not enough to make you run to the nearest bookseller, Salt sums Gaffney up as an “expert miniaturist with the ability to stuff an elephant inside a flea without the insect noticing…”. I think that should do it.

keepcalmAnd lastly, a website which everyone should get well acquainted with: Flash Flood. The site is literally being flooded today with flash fiction selected from entries that were submitted in the last week or so. It’s a fantastic place to find new writers whether debut in general or just missing from your shelves. So take a look a look around, wallow in moments or in the case of Paul McVeigh’s Safe – sit open mouthed in wonderful horror.

Plans are unfolding…

…I am unfolding.

A confession for myself more than for you – I am not the neat little package I thought I should be. I am not the carefully laid plan I thought I would have. Knowing these things has helped me realise that there is not set way of getting from A to B. And that the safe prescribed shortest or quickest routes are generally not the most interesting. As a child my dad would let us choose which way to go the A to B journey we took almost every weekend for at least ten years of my life. Although I may know those road names and numbers now, I still think of them as the individual “scenic” routes; the one with the hill that made our stomachs flip, the one with the bridge where the trolls might live, the one that would cover the car in water from annual flooding (possibly the most exciting one).

Recently I had forgotten this, these journeys, these choices. I had begun to worry that I hasn’t been doing “it” the way I should have been. And by doing “it” I mean my life, my career choices, my plans for the A to B. I thought I should be on this set plan that everyone else seemed to be on, where 1+2+3+4 = the magical 10. But what about getting to that goal of ten with smaller numbers or starting with twenty and dividing it down to your goal. I had forgotten the story of which has become a legendary tale (within my family) of my stubbornness or fearlessness; I was born seven weeks early which now isn’t so much of an issue and health-workers know that it doesn’t restrict the possibilities for a premature child. But in the 1980’s at a check-up I was asked to kick a ball, to check coordination or motor skills one would presume. And instead of doing as I was instructed I told the health-worker “no”. That I could communicate my feelings towards the instruction assured them more than kicking the ball could have done. As children we take risks and we push boundaries until we know where there is safety. And then we often don’t leave that safe ground.

Challenging ourselves is even more important that challenging others; that is an easier task, but one that feeds my desire to work with other writers. I have an overwhelming passion for learning, particularly when it comes to literature and human expression through language. Recently I was told by a dear friend that I fascinated them when I spoke about the literature I read and write, and the plans for developing that for others, because my passions were suddenly on show and I was making them accessible for those I was speaking with. It was enlightening to be presented with this view of myself, even though I knew where my passions lie. Fear obviously is contained for many in the unknown, the not knowing. Mine is the fear of being found out to be unknowing. But we are all constantly learning and there is nothing wrong with not knowing as it will be part of the discovery. We are all unfolding, the plan changes as we develop and there is unadulterated excitement and pleasure in that self-discovery.

My decision for this open honesty has been inspired by recently connecting with a series of courageous women; my wonderful friend Charlotte Reeve who is following her journey (check out her fantastically funny blog), Sarah Butler who has just had her debut novel published Ten Things I’ve Learnt About Love who, whilst speaking at States of Independence yesterday, was refreshingly honest and open on the process of “being” a writer rather than just the author part, and lastly Amanda Palmer who has been inspiring me with her music for some time but her TED talk on The Art of Asking has taken this to a new level. So this is my gift back.

Is there anyone out there?

When I received this quarter’s Mslexia, I laughed. Very loudly.

Continuing Mslexia’s feature of guest editors, Suzi Feay and the Mslexia team have made a bold statement with the June/July/August edition. Featuring two gingerbread women, clearly in love, with the title “Dyke writers. What’s the problem?” As thought provoking and daring as the title is, my laughter subdued as I read the Agenda article.

Feay has shed light on the fact that there is a problem: not enough “dyke writing”. Although I identify as a lesbian, I am a writer, editor and reader: not a lesbian writer, -editor, -reader. Perhaps the lack of lesbian writers (lesbian author, lesbian content) is because more women are identifying themselves in a similar manner (?).

My own writing focuses on characters and their development no matter their sexuality. However, when writing my current project, I was struck by my hesitation to make another character a lesbian – I already had one featured and even that was thrown into question. Perhaps I should make my characters more obvious but in a “this is normal” way? I find it appalling that I actually have to think of ways to make the relationship/sexuality normal, by which I mean that the other characters will not have some kind of opinion or commentary on it. The natural assumption is for lesbian characters to maintain the stereotyped other-ness, or use sexuality as a twist within the character development. As Feay says,

I was startled to find novels in which lesbian characters were stereotyped as murderers or or deranged, or in which a character’s sexuality turned out to be the ‘twist’ in the story (as opposed to an unremarkable aspect of someone’s life).

*p.9 Mslexia JUN/JUL/AUG 2012

There are writers, of course, who create lesbian characters who do not fit into stereotypes as above. However, I agree with Feay, they are the same few again and again.

Which leads me to my main interest in the article; there is a distinct lack of “L in LGBT” writers going for the Polari prize and others, as well as within mainstream publishing. From an indie perspective, I’ve noticed the same whilst forming a long-list of authors to get involved with the Fruit Bruise Press anthology – there are a lot of male writers with diverse backgrounds getting in contact with us, but very few women; whether lesbian or not. At Fruit Bruise, we’re working towards promoting and supporting the transgressive, emergent, and excluded writers and I’d love to hear from lesbian writers who would like to be involved with the anthology and future programme for literary development. Following from Feay’s question, I’d like to ask “Is there anyone out there?

Discover more about Suzi Feay and her writing here: www.suzifeay.com. And find out more about Mslexia and the latest edition: www.mslexia.co.uk. If you would like to know more about Fruit Bruise Press and discuss writing with us, please contact me below or at lexi @ doghornpublishing . com.