Showing posts with label book. Show all posts
Showing posts with label book. Show all posts

Wednesday, February 15, 2023

FUEL anthology publication day!

 

It's publication day for the anthology I edited, FUEL: 75 prizewinning flash fictions by authors around the globe raising funds to fight #FuelPoverty! Buy the book here: taniahershman.com/wp/fuelflash/—all proceeds donated to
 
Authors: Kathryn Aldridge-Morris, Gail Anderson, Jack Barker-Clark, Zoe Barkham, Laurie Bolger, Andrew Boulton, Melissa Bowers, Sharon Boyle, Jude Brewer, Peter Burns, Claire Carroll, Matthew Castle, Kim Catanzarite, Kevin Cheeseman, Tim Craig, Kit de Waal, Emily Devane, Monica Dickson, Dara Yen Elerath, Abby Feden, Jeremy Galgut, Frances Gapper, Jo Gatford, Rosie Garland, Vanessa Gebbie, Lucy Goldring, Tania Hershman, Sarah Hilary, Sara Hills, Marissa Hoffmann, Patrick Holloway, Mary-Jane Holmes, Barbara Kuessner Hughes, Vicki Jarrett, Gaynor Jones, Louise J Jones, Taria Karillion, Ida Keogh, Brenden Layte, Cathy Lennon, D. Brody Lipton, Michael Logan, Rosaleen Lynch, Fiona McKay, Pauline Masurel, Sherry Morris, Rachel O’Cleary, Valerie O’Riordan, Gillian O’Shaughnessy, Phil Olsen, Sam Payne, Doug Ramspeck, Angela Readman, Electra Rhodes, Jane Roberts, Iain Rowan, Nicholas Ruddock, Iona Rule, Helen Rye, Bean Sawyer, Seamus Scanlon, Bernadette M Smyth, Brianna Snow, David Swann, Dri Chiu Tattersfield, Sharon Telfer, Elisabeth Ingram Wallace, Rob Walton, Terry Warren, Rowena Warwick, Mandy Wheeler, Joanna Will, Jo Withers, Alison Woodhouse
 

Saturday, February 20, 2021

On This Day She Book Launch Recording & Bunker podcast

 If you missed our On This Day She book launch the other night, it's available to watch again here - we had a blast, I think that's pretty clear!

And we're interviewed about our project over at The Bunker podcast.

Monday, October 05, 2020

and what if we were allowed to disappear...

So, my book, 'and what if we were all allowed to disappear'... is about to disappear! It's a limited edition, so when it's gone, it's gone. If you're in the mood for a sparkly gold particle-physics-inspired hybrid book, grab one from my delicious publisher here, or you can grab a signed copy direct from me, while stocks last! Click here for Paypal details.

Friday, July 14, 2017

My poetry collection published today!

So happy to officially become a Nine Arches Press poet, with my first book of poems, Terms and Conditions - out today! Here's my 'Happiness' poem - more about the book here.





Monday, April 18, 2016

Debut poetry collection coming 2017!

I am extremely and inordinately thrilled to be able to tell you that - hot on the heels of my debut poetry chapbook of 22 poems - my debut full poetry collection, This Is Not My Midnight, will be published in July 2017 by the fabulous Nine Arches Press! I can't quite believe this is happening, with poetry, oh my.

And with such a fantastic press, run by Jane Commane, whose taste in poets and dedication to poetry - her own authors and the wider community - I admire so much. Nine Arches publishes some of my favourite, favourite poets, not least of all my great friend Jo Bell as well as Isobel Dixon, Mario Petrucci, Maria Taylor, David Clarke, Abegail Morley, and, next year, Rishi Dastidar and Angela Readman. I can't tell you much more now, will keep you updated!

Wednesday, March 09, 2016

Jigsawed

I'm trying to write a new short story for Radio 4, so of course I have eaten a lot of biscuits, phoned the bank  - and recorded this, for your listening pleasure, all 50 seconds of it: Jigsawed, a poem from my new chapbook (did I mention I have a new book?! It's available here.)

Tuesday, February 16, 2016

Nothing Here Is Wild, Everything Is Open

After the most wonderful launch on Friday Feb 12th at the Cork International Poetry Festival - together with Victor Tapner, whose chapbook won 1st prize in the Fool For Poetry competition in which I scooped 2nd prize - I'm delighted to announce that my debut poetry chapbook, Nothing Here Is Wild, Everything Is Open, is published!

Yup, seems I can't deny being a poet any longer, though to reassure all you fiction writers, my adoration for prose is undiminished - let's just say, the love affair with words continues. I really never thought things would take this turn, I feel very lucky and immensely grateful!

Here are a few pics from the launch



I had a great time, can you tell? :) (Thanks to Jill Abram for the photo.)

And here's the gorgeous cover, featuring artwork by Eileen White - a piece I bought from her last year and thought would be ideal for my poems, which are often in some way inspired by science (spot Sir Isaac Newton on there):


The book will shortly be available to buy from the publishers, The Munster Literature Centre's Southword Editions - but if you'd like a (signed) copy, wherever you are in the world, you can buy direct from me - all the information is here, including a sample poem!

Monday, April 07, 2014

And the winners are...

Yes, you are all very clever, I was in Reyjyavik, Iceland, - and it was COLD! So, picked by a random number generator, the winners of the 8 books and lit mags are:


Andrew
Ade
Miriam
Grace
Sursanchari
Sonya
Nora
Miriam


Dear all, please email me your postal address, to taniah(at)gmail(dot)com and I will dispatch your goodies at random!

Tuesday, January 28, 2014

Guest post: Yael Unterman on Writing & Place, The Hidden of Things

I am absolutely thrilled to welcome to the blog today my great friend and wonderful writer, Yael Unterman! Yael and I go way back - all the way to 1998, when I was also living in Jerusalem, and we can honestly say that Shakespeare brought us together -  in more of a practical rather than literary way which I won't go into here! Since then, she and I have both seen our names on the spines of two books - Yael's first book is a biography of Professor Nehama Leibowitz, a fascinating teacher and Bible scholar. And she's here to chat about her brand new book, her first short story collection, The Hidden of Things: 12 Stories of Love and Longing (Yotzeret Publishing, 2013).

I asked Yael to complete my Writing&Place questionnaire, knowing that, as a fellow immigrant, where she is has had an impact on what she writes, and I thought it would be interesting for all of you. Before we get to that, here's a little info about Yael:

Yael Unterman was born in Jerusalem, Israel. She grew up in Manchester, England, and returned to Israel at the age of 18. In addition to spending several years on advanced Torah studies, she earned a BA in Psychology and Talmud from Bar Ilan University, an MA in Jewish History from Touro College, and an MA in Creative Writing from Bar Ilan University.  The many hats she wears include:
  • Poet
  • Author
  • Actress
  • Life Coach
  • Teacher & Lecturer
  • Translator & Editor                                                                
  • Bibliodrama Facilitator
  • Coordinator, Cardozo Academy Think Tank
 
Boaz the Sagging Tree
Tania: Where are you?
Yael: I’m in Jerusalem, in the southern neighbourhood of Katamon, populated by a high percentage of English speakers and of singles. My bedroom window looks out over a fruit-tree-filled organic garden. Two fir trees outside my window make a nice perch for small blue-breasted birds. I named the trees Yachin and Boaz, after the two bronze columns at the entrance to Solomon’s Temple (not sure why they gave names to columns, but it makes me smile…). Sadly, in a recent heavy snowfall, one of Boaz’s branches snapped and he is now sagging badly.

T: How long have you been there?
Y: I grew up in Manchester, but have lived in Jerusalem for all of my adult life. Though I do speak fluent Hebrew, I admittedly live in a bit of an English-speaking bubble, and also I travel abroad four or five times a year. This means that I am not fully immersed in the local life here, though I feel very connected.

T: What do you write?
Y: Though my first book was an academic biography of a famous female Bible teacher, I’ve always adored fiction, so I’m delighted that my second book is in this genre: The Hidden of Things: Twelve Stories of Love and Longing, published December 2013. The first few stories were forged in the crucible of the Shaindy Rudoff MA programme for Creative Writing at Bar-Ilan University. Take-no-captives feedback was the norm, and I learned to pull up my writing socks, producing some interesting but fairly flawed first attempts. After the programme’s end, new stories continued to emerge, crystallising around an image, a character, a fragment of thought. Within three years or so, I had put together a collection of interlinked stories with recurring characters – Jewish twenty- and thirty-somethings searching for love, identity, and transcendent meaning, in Jerusalem, London and New York. The book is both tragic and comic; the characters range from noble to downright nutty.
After hiring and then parting from an agent, and searching for a good couple of years, I was fortunate to find a publisher. This book has been over nine years in the works and I can’t believe it’s finally out.

T: How do you think where you are affects what you write about and how you write?
Y: In major and obvious ways. For my first book I was able to interview dozens of people who knew the subject of my biography personally – she lived in Jerusalem. For The Hidden of Things, many of the stories are set in Jerusalem, with the characters being Jewish young adults from countries such as England, South Africa and America who have gravitated to the city for its special brand of spiritual life and its nature as a singles mecca. They suffer from the dual challenges of being immigrants and the exhausting dating system, endlessly searching for someone to make a life with. I know this world intimately, belonging to it to a large extent, and my characters are composites of myself, friends and what I invented from my murky mind. Other social groups in Jerusalem make brief appearances in the book and there are hints to the conflicts taking place between religious and secular, Arab and Jew in the region. But this is not a political work, it is about ordinary people trying to make sense of things that refuse to be nailed down easily.


Thank you so much, Yael! You can find out more about The Hidden of Things: 12 Stories of Love and Longing by clicking the title, including excerpts and information for where to buy the gorgeous paperback or the instantly-readable ebook (yes, I am trying to come around to ebooks, I really am! Sigh.) I highly recommend Yael's wonderful stories, whether or not you are or have ever been single, whether or not you are Jewish, whether or not you've ever been to Jerusalem or fancy going. What is more human, more universal, than love and longing? 



Monday, October 01, 2012

Reviews and other news

First, one of the fictions from My Mother Was An Upright Piano, Manoeuvres (which I can never spell!) is included in a new echapbook anthology, "Found" from Wordrunner, alongside authors Susan Meyers, Tania Hershman, Mary McCluskey, Jeff Haas, and Lucille Shulklapper and poets Sara Toruno-Conley, Angela Corbet, Bianca Diaz and Victor Perez.Read it all here.

I am also very lucky that MMWAUP is getting some great reviews:

In her review in the new issue (No. 80) of the Frogmore Papers, Alexandra Loske says: " It seems that Hershman has achieved two things here: She has perfected the art of the very short short story, making it appear utterly appealing and perhaps one of the most appropriate forms of creative writing of our age. She has also managed to form a bridge between poetry and prose. At times it feels as if one is reading a very well constructed, witty, moving long poem, without the boring bits. Excellent." 

On the Thresholds Short Story Forum, Vicki Heath writes: "every word is perfectly placed as she explores the offbeat world we live in." Read the full review here

And my friend Jon Pinnock calls MMWAUP " the work of a grown-up writer who has gained the confidence to let her muse off the leash and to follow it wherever it goes, however unexpected that turns out to be. " Read his review here.

Three of the fictions from My Mother Was An Upright Piano: Fictions are featured on the excellent book review site bookoxygen, which describes the book as "56 short, strange fictions which arrive out of left field, bringing warmth, wit and a deliciously off-beat perspective." Read them here.

Sally Zigmund reviews the book on her blog, The Elephant in the Writing Room, saying: "I am sure that everyone who reads this collection will see different colours, shapes and meanings from the ones I have discovered. But isn't that the point? These stories are what the reader brings to them. Reading Tania's fiction is like a being overwhelmed by wave on a deserted January beach that takes you to places you never imagined.  Stunning." Read her full review here.

Over on Goodreads, Berit Ellingsen says: "there is no doubt that Hershman is an expert of the very short story. The themes in the collection are nicely cohesive and the voice and narrative structure well varied. I’ve had the pleasure of reading many of these stories in their individual publication, but reading them all together for a full impression of the author’s warm voice and deft descriptions, was even better."
Read the full review. And Roxane Gay says  "The stories that were great ... were truly great. I particularly liked how she was able to warp reality and time in different ways. Hershman is not lacking in imagination and this is definitely a book worth reading." Read the full review. And Annemarie Neary says: "This is a beautifully produced book with an open, elegant feel. The fictions themselves are extraordinary - compact, resonant and highly original." Read the full review.

Thank you to all of the above for taking the time not just to read my book but to express your thoughts and opinions. It is much appreciated.

Sunday, April 15, 2012

Weird Things Customers Say in Bookshops

This was going to be a fairly ordinary interview as part of a virtual book tour for an author I "only" know from Twitter, but then, on Tues night, I popped in to meet Jen Campbell at her event at the fantastic Edinburgh Bookshop (which I could easily live in) ...and, well, after only planning to stay, umm, 20 minutes, I left three hours later, after 2 glasses of prosecco and much merriment! And... with some lovely photos of the author herself (taken with the Hipstmatic app on my iPhone so they're very "artistic"):



So what is this all about? Well, I don't often laugh out loud while reading a book. It is rare indeed. But Jen Campbell's fantastic Weird Things Customers Say in Bookshops, published a few weeks ago by Constable, had me chuckling, giggling, and interrupting J's reading to make him listen! It is exactly as it says, a collection of some of the weirdest things said to Jen and to other booksellers in bookshops. This is clearly a very good idea for a book - Jen's been interviewed on Radio 4's Open Book program and got lovely mentions in the Guardian and the Daily Telegraph newspapers here in the UK.

I am delighted to have Jen here today: she is a writer and bookseller living in London, a published poet and short story writer. Weird Things is her first book; her poetry collection The Hungry Ghost Festival will be published later this year by The Rialto. She blogs at This Is Not The Six Word Novel. Before getting to my interview with Jen, here's a little taster from the book, which you will have your chance to win:
customer: Doesn’t it bother you, being surrounded by books all day? I think I’d be paranoid they were all going to jump off the shelves and kill me. 
bookseller: . . .

Tania: Your book made me seriously question the sanity of many members of the public. It might almost been seen as a philosophical tract about sense versus nonsense, or a scientific work about the bizarre workings of the human brain. Did you feel you learned anything about the human condition from all these interactions?

Jen: Being able to share these moments, first on my blog, and now as a longer collection in book form is, I guess, my open 'WTF?' question to the world. The fact that the blog posts made their way quickly across Twitter, and made people giggle, validated my own sanity, which I found myself questioning at times when the oddest things that were said to me. You know, doing a double take and inwardly saying to myself: "There is no map of Atlantis... I definitely don't have a book that forecasts the weather for the rest of the year... no, books are not edible... nor do they conduct electricity... and, no, this is not Hampstead Heath; this is a bookshop."
    As to whether it helped me understand the human condition... no, probably not, but perhaps I'm now more prepared ;)
   [Also, I must point out that I would never, ever include quotes from anyone who was actually mentally unstable. These quotes are just rude/odd/bizarre things said by people who should know better.]

customer: I do find it odd that people manage to make a living out of writing books for children. I’m sure any mother could do it. 
bookseller: Why don’t you try it yourself? 
customer: I always mean to, but I’m very busy right now with my pottery class.

T: It's really funny to read - but how did all this make you feel at the time? Especially as a writer yourself, what did you learn from these interactions as to how people interact with books and the book trade?

J: Some of it made me blink and do a double take. Some quotes are funny, and were at the time. There were rude things said to me, which aren't included in the book [my decision] but were included in the blog posts which definitely were not funny. However, the quotes that reoccur quite frequently - price-checking on iphones; people calling up the bookshp for advice on books and then saying they'll go and buy the book on Amazon; one person who thought that all independents were owned by Waterstone's - these definitely show that, for some, there is a lack of understanding when it comes to the book trade.
   A lot of people forget how many people have to be paid for the production of just one book [editors, writer, illustrator, designers, production, marketing, an agent, wholesaler, and then the bookshops who have to pay rent, staff, business rates etc], and think that £7.99 for a paperback is too much. It's not a massive sum; it's less than the price of a cinema ticket or a take-away, and a book can change your life. Sounds corny, but it's true. I love a good curry as much as the next person, but one tikka masala's probably not going to change my outlook on life.
   Also, the big one: "It must be lovely working in a bookshop; you get to read all day." *sigh* I wish I had a penny for every time this was said to me.

T: I loved your section at the end with quotes from other booksellers, do you think there's something about a bookshop that leads to this kind of craziness? How do you try and explain it?

J: I think anyone who has worked in retail has weird stories to tell. Bookshops in particular - especially antiquarian ones - seem to attract odd requests. Perhaps because, in the case of the latter, the books are old, read long ago and we associate memories with them that perhaps don't make sense to us, so when we try and describe a book to someone else it comes out sounding a little odd. But that only accounts for 1% of the strange requests and those are understandable - what's not is when someone might say they read a book and it was blue, and they were three, and truly expect you to know which book they mean. Sometimes I can find these books, and those are amazing moments, but normally with a little bit more to go on than just one colour.
   I don't think I can try and explain the international nature of Weird Things... - I've no idea. But at least it makes us giggle.

bookseller: Can I help at all? 
customer: Yes, where’s your fiction section? 
bookseller: It starts over on the far wall. Are you looking for anything in particular? 
customer: Yes, any books by Stefan Browning. 
bookseller: I’m not familiar with him, what kind of books has he written? 
customer: I don’t know if he’s written any. You see, my name’s Stefan Browning, and I always like to go into
bookshops to see if anyone with my name has written a book.
 
bookseller: . . . right. 
customer: Because then I can buy it, you see, and carry it around with me and tell everyone that I’ve had a novel published.Then everyone will think I’m really cool, don’t you think? 
bookseller: . . .

T: As an antidote, what was the most intelligent question or comment you received in a bookshop?
J: I don't know about intelligent [there's obviously lots of those, though], but the lovely comments are always nice. I'd say about 80% of the people who walk into Ripping Yarns bookshop [the antiquarian bookshop where I work] say: "Oh, the smell of books is amazing!". Then there are our loyal customers who want to support our bookshops and keep us running which is just fantastic; parents who bring their children along at weekends to read and show them their own favourite books from when they were young. I had a child in last week who looked around the shop with his mouth open, turned to his dad and said: "Bookshops are special places, aren't they, dad?" That sounds pretty intelligent to me.

Thank you, Jen! Jen has extremely generously given me a copy of her book to giveaway to one lucky blog reader! So, here's the challenge: What's the weirdest thing you could imagine someone might say to a bookseller? The most creative answer wins the book! Just put your answer in a comment on the post, you have a week, til April 23rd, and then Jen and I will pick a winner! 

Jen is appearing at Blackwell's bookshop in Oxford this Tues night, April 17th, at 7pm, so if you're in the area, pop by, say hi and buy a book! Find out more on her blog.

Thursday, April 12, 2012

My Mother Was An Upright Piano... nearly here!

Well, it's all kicking off now! I'm delighted to announce that my new collection, published May 3rd, is now available for pre-order!


A collection of 56 short fictions, here are a few lovely things I cajoled writers I greatly admire to say about it:

"Funny, fresh, lyrical.  These stories are like colorful glass lozenges holding the substance of our everyday lives, sparkled up by the unusual and wondrous."
Aimee Bender, author of Willful Creatures and The Particular Sadness of Lemon Cake

"Tania Hershman writes with such passion and playfulness, the pain and the fear and the hope woven through her stories hits all the harder. The result is beautiful, funny and quietly devastating."
Nicola Walker, actress (Spooks, Inside Men)
 
"Tania Hershman makes immaculate tiny stories that punch ten times heavier than their weight, as if a 500 page novel had been ground up and distilled into capsule form. They are so biting and so perfect they seem to hang in the air for moments after you’ve finished reading them, like little prayers. Emotionally wrenching, funny, quirky, and full of condensed wisdom, insight and love, Hershman’s short short stories are whirring, ticking word machines waiting to explode inside you."
David Gaffney, author of Sawn-Off Tales, Aromabingo, and The Half Life of Songs
The writer Alasdair Gray once described himself as “a maker of
imagined objects.”  It strikes me that Tania Hershman needs a more
artful descriptor than ‘writer,’ too: brilliant; mysterious; not of
this earth—I adore her and I adore this book.
Marjorie Celona, author of Y

 
"Simply superb, and anything but simple, these fictions peel back the layers we build up over our lives with the sharpest of scalpels: the eye of that rare creature - a real writer."
Vanessa Gebbie, author of Words From a Glass Bubble, Storm Warning, and The Coward's Tale  

“This collection is two rich catalogs interleaved. In the first, the stories succeed precisely where their own characters fail: these deft fictions are full of (and about) the humor and heartbreak made manifest when communication fails. In the second, meaning somehow gets through, albeit not through words, but through physics, say, or music, say, or love. Together the two halves lay bare a world where speaking clearly is nothing short of heroic.”
Roy Kesey, author of Pacazo, All Over, and Nothing in the World

If you would like to pre-order, please visit my lovely publishers: Tangent Books. Also available is a special limited edition of 30 signed and numbered copies into which I will be hand-writing a brand new and unpublished 57th very short fiction! You can order one of those here and I will be doing hand exercises in preparation...

Monday, January 16, 2012

I'm delighted to announce...

that I'm having another book! Now that the contract is signed, I can reveal that my second collection, My Mother Was An Upright Piano: Fictions, will be published by excellent Bristol publisher Tangent Books. It will be a collection of fifty or so very short flash fictions written over the past few years.

Because Tangent are well known for their art books, such as Banksy's Bristol: Home Sweet Home, about Bristol's most famous graffiti artist,

as well as the Naked Guide to Bristol


and two collections of short fiction from Stanley Donwood, who also happens to be Radiohead "artist in residence"


this physical version of my book is going to be a beautiful object, which will involve a local Bristol illustrator too. So, truly a local affair and I will be involved in every step, which I am very very excited about!

The book and ebook will be published in Spring this year, I will reveal more details as they are decided upon. It's been 3 and a half years since The White Road and Other Stories came out, and I finally feel ready for another book, and slightly better equipped than I was the first time to deal with everything that comes with a new book. We are planning some special treats, a limited edition and other things... what fun!

Wednesday, May 11, 2011

Andrew Oldham Visits

I am delighted to welcome award-winning writer and poet Andrew Oldham to the blog today to talk about his debut poetry collection, the beautifully-titled Ghosts of A Low Moon, published by Belfast press Lapwing.

I decided first, as is sometimes my wont, to ask Andrew the questions I have asked writers as part of my writing&place series, mainly because I am very nosy! Welcome, Andrew!

Tania: Where are you?
Andrew: I cannot be exact. I am always shifting. Where I was is now somewhere new. I have gone from concrete to earth. From grey to green. From valley to moor living. I am in the wilds. I face the north wind and laugh. I am on the moors on top of the Pennines. I am the ancient mariner.

T: How long have you been there?
A: The moors and the hills have always been in me. Flat landscapes and valley living makes me sick. Makes me sad. I dream of hills. I have always been here. I always will be here. It is not a question of time or life. I am part of the landscape.

T: What do you write?
A: I write fiction, I write poetry, I write journalism, I write about the things I see, the things I hear, the things that have been or could be.

T: How do you think where you are affects what you write about and how you write?
A: It affects me. It is in my blood. The Spanish call it duende, we call The North. If you place your ear to the ground you can hear it.

Very lovely answers, thank you. Moving on to Ghosts of a Low Moon,  I asked Andrew a bit about his process:

T: How did you go about putting this collection together? Did you consciously work on it as a complete entity?
A: No, I don't think as a poet putting together a first collection that you can afford to see your first collection as being written as a complete entity. It would mean that I would write the entire collection and then seek to get the individual poems printed in magazines to get a track record of publications behind me. I didn't start writing poetry thinking that I would have a collection, I was just happy to be published in magazines. It would mean I would have to stay true to the contents of that original collection, and I move on as a poet, I would just end up with a manuscript that I would constantly tinker with. During the editing though I did pull threads together in a manner that would pull the collection into a single entity. This meant writing new poems along the more established track record poems. I am now writing a second collection and I am conscious this time of writing within specific themes and forms, with an eye not just for magazines but for poetry publishers as well. Publishers do want you to have a track record in magazines regardless of which collection you're on, it shows a necessary and vital interaction with poetry industry and readers.

T: How do you write? A particular place/time?
A: I used to write in the mornings and late evenings but since becoming a father I've had to negotiate time between nappies, feeding and toddling. However, rather than killing any creativity as Cyril Connolly said it has sparked it. It has meant that I spend more time with my notebook rather than my laptop because it is faster, easier to carry around and doesn't end up with a small child grabbing it and licking it. Sometimes the old ways are the best and easiest. This means now I build up several early drafts in my notebook before going to a final edit on the laptop. It means that in one afternoon I can go from notebook to laptop in a final edit. Then print out poems, read them, leave them to cool for a month and then edit again. This means I can produce a large quantity of poems in my laptop sessions. The rewarding this is that I can discover poems I forgot I wrote in my notebook. At the moment, I don't write in a specific place. At my old house I wrote on a step near the top of the stairs due to the light and quiet space around it. We moved, again down to fatherhood and a desire to go back to my rural roots. I have selected a space in the orchard behind our house which will be the home of my office and has wonderful views over the orchard and the hills beyond. I like the quiet there.

T: What inspires you as a poet?
A: Poets I read do have an impact on my writing, a few poets I enjoy reading are, Ruthven Todd, Wallace Stevens, Carlos Williams, Tom Raworth and T.S. Eliot to name a few. Though Eliot is seen as deeply unfashionable by some of my contemporaries, such was his dominance of the twentieth century, many poets I know have turned their backs on him. I think it is a shame to turn away from any poetry, fiction or non-fiction. There is so much to read and so little time! There are poets I know who I talk with on a regular basis and the conversations we have do have an influence on my reading if not necessarily on my writing. I know in Ghosts of a Low Moon that the major influences were the road trips I went on around the UK and USA, that the people I met and the stories they told me came through on the page time after time. I can't pin it down more than that as it would become a fruitless journey, inspiration is so fleeting, a sense rather than an act of logic. Logic tends to boil things down to mechanics rather than senses. That would be a dangerous journey to take.


Thank you so much, Andrew. To leave you with a little more inspiration, Andrew has kindly allowed me to reprint one of the poems from his collection, Geometry, a title sure to appeal to me!

GEOMETRY
 by Andrew Oldham
Some grey, wet afternoon in the lower set,
The blackboard is full of size, shape and lengths.
Two girls sit behind me; one smiles, smirks
and asks to see the length of my middle finger,
the circumference of my forefinger and thumb.
She looks under the table at my shoes, turns red.
Eyes widen at they look at the space my fingers conjure,
the empty round circle hangs in the air between us.
They’re adding me up and subtracting my volume,
I go red; stare at the board, stare at their legs,
polished and matt, one set bare, one set in tights.
Thanks so much for stopping by, Andrew. You can buy Ghosts of a Low Moon from Lapwing and find out more about Andrew on his website.

Sunday, August 08, 2010

The Problem With Second Books: Advice Please!

I always heard people talk about how difficult writing the Second Book was. The first book is almost always written without any thought of publication. Dreams, maybe, but no realistic expectation that anyone is ever going to read it. That's how it was for me, anyway. The stories in The White Road and Other Stories were written over about 2 years. All the science-inspired ones, the longer ones, were written while I was doing an MA in Creative Writing, and I'd never had anything published. My only thoughts then were, Please let me have enough words to pass the MA! I just wanted to get enough stories written to make the word count. I wasn't thinking about how they might work together, it was hard enough to write one story, let alone consider questions of collections and structure. 

Now, things are very very different. Now my name is on the spine of an actual book, a book that's been read by people I'm not related to, a book that's received reviews. What a wonderful thing! But it certainly makes the writing of Book 2 a different experience. I feel watched. I have thoughts in my head of what a reviewer might say... and this is before I've really even started writing it! 

Also, it's going to be another collection of short fiction, but this time with a very strong theme or concept - inspired by biology, inspired by being in the University labs, and also as a fictional response to a classic 1917 biology book. I've never been in this situation before, having committed to writing an entire book that fits this concept, being funded to do this by the Arts Council. How do I conceive of this project in my mind? Yes, I wrote the Arts Council application and said I'd do all sorts of things that sounded so impressive - but how do I actually now carry that out?

One thing I am mulling over is whether I write all the stories and keep them to myself until the whole collection is ready, or do I send individual stories out along the way to see if any get published? This immediately throws up another question: should the stories stand alone? Now when you talk about short stories, or when I'd always talked about them, I'd always asserted that yes, any short story in a collection should stand alone. Should? Is there a should? I'd love some opinions here. 

This isn't quite the same as something like a novel-in-stories, I don't imagine the same characters cropping up. But the stories will seem different when read in the context of the concept, the fictional response to the 1917 book. Yes, I could include a quote from the book at the beginning of a particular story when I submit it to a lit mag... but increasingly I am wondering about the effectiveness of quotes at the beginnings of stories. Yes, I did it a lot in TWR, but I imagine a lot of people skipped the quote and just read the story.

Ok, I can already hear many of you shouting at me, "Don't worry about all that now! Just write and see what happens!" Yes, you're quite right. I should do that. This is me being neurotic, right? But it also feels like I should spend a little time contemplating before I embark on this, to set sail in the right direction. Or at least to set sail in a direction even if I then change course. Advice appreciated - has anyone else approached a second short story collection in a completely different way from the first? Or any second book? Also, as readers would you want each story to stand alone?

Sunday, June 21, 2009

Bigger Picture & Guardian Weekend Short Story Competition

I had hoped to be able to announce some lovely news here but it isn't public yet so will have to rein myself in! The good news is that my week here at the Anam Cara writing retreat, which draws to a close tomorrow, has helped enormously, as I hoped it would. Not in terms of writing reams of words, but in turning what I had seen as a strange mess of vaguely connected bits and pieces about my character, into a much more coherent whole. I have around 10,000 words and can see some kind of sense developing across them, an arc, which, not a novel, I think I will call a "story", which may be book-length, slim or slightly wider. Clear? Yes, I thought so. Anyhow, structure has fallen into place, interestingly non-linear, and some themes are emerging which are signposting me onwards. So: direction. What more can a writer want?

I did write several thousand words this week, bits of them for this story, some poems and a few flash stories, which is great, of course. But to now know what I am working on, the Bigger Picture, is what I have been waiting for for two years. I have another meeting with an agent in a few weeks to talk more about this project, will keep you updated.

In the meantime, here's a short story opportunity I came across - for UK residents only (sorry!):

Are you a budding writer? This year we're inviting readers to submit stories to Guardian Weekend's annual summer fiction issue, published in August.

When choosing the winner, the judges will be looking for the most original, gripping and well-crafted piece of writing.

Submissions can be on any theme, must be previously unpublished and no longer than 2,000 words.

The stories will be judged by authors William Boyd and Julie Myerson, and the winning story will be printed in Weekend magazine alongside others by established authors. Five runners up will have their stories published on the Guardian books website, at guardian.co.uk/books.

Send your story by 10 July to Short Stories, Guardian Weekend, Kings Place, 90 York Way, London N1 9GU or short.story@guardian.co.uk. Please include a phone number.

Visit the site for the terms and conditions. Good luck!