Monday, January 18, 2010

A (Non-Complete) List of UK and Ireland Lit Mags Which Publish Short Stories

NEWS: For an updated and enhanced lit mags list (and so much more!) head over to ShortStops...>>>




Update Aug 2011: 127 lit mags and counting.....!


Why am I doing this, you may ask? Well, I wanted to know, partly for my own selfish reasons. I had heard mutterings about the lack of lit mags in this area compared to the US, but then I started hearing about new lit mags and more new lit mags.... and then I started doing a bit of research. And since I am living in the UK now, I want to know about everything that's going on. I want to know if it's true that the "short fiction scene" is dozing. Well, I think you'll see from what I gathered below that that is far from true.

I should qualify: when I say "lit mags", my definition is a magazine that publishes fiction, or fiction and poetry.  There are a wealth of poetry-only magazines, see The Poetry Library  for listings of poetry mags. I  am not including them here because I wanted to keep this list to those which publish short stories.  I also included the few live lit events I know about - since these are also "publication" opportunities for short story writers. Where possible, I have lifted the description from Duotrope, the essential writer's resource, and done my best to say if the magazine pays contributors - although "paying" could mean a monetary reward that is very very small!

A (Non-Complete) LIst of UK and Ireland Lit Mags





20x20 - " a square platform for writings, visuals and cross-bred projects. Writers are invited to submit works up to 1,500 words. Please submit up to 3 written pieces or poems."
Four Thirty Three - " a new audio magazine. We'll be broadcasting and podcasting short stories of around five minutes (up to 1,000 words), written and read by some of the best contemporary writers.We're looking for edgy, engaging stories about modern life - stories which work well when read aloud." AUDIO
Aesthetica - "Aesthetica engages with contemporary art, contextualising it within the larger cultural framework." PRINT
African Writing  - "new, unpublished work. Our natural constituency of writers and material are African or Diasporan (please interpret boldly) but we will publish any writer who writes into the African Condition (please interpret boldly). We are adventurous in our definition of Africana, but we will also publish good literature generally." PRINT
Albedo One - " Ireland's longest-running and foremost magazine of the Fantastic. Since 1993, we have published stories of both Irish and international authors which push at the boundaries of Science Fiction, Fantasy and Horror." PRINT PAYING
AltHist "the new magazine of Historical Fiction and Alternate History. Lovers of historical fiction for too long have been denied outlets for short pieces of fiction, as the number of print and online magazines for historical short fiction is very limited compared to the popularity of fiction set in past times. Alt Hist’s mission is to provide readers with entertaining and well-written short stories with a historical setting, whether portraying actual events or events that could have happened. If you read and enjoy historical fiction, alternate history or historical fantasy then we think you will like Alt Hist.… "  EZINE
Ambit - "quarterly, 96 page magazine that prints original poetry, short fiction,art and reviews." PRINT, PAYING 
Arete Arts Tri-Quarterly - Fiction, poetry, reportage, reviews PRINT
Ballista speculative fiction. just published last issue PRINT
Banipal -  "publishing contemporary authors and poets from all over the Arab world in English translation" PRINT
The Battered Suitcase - "We welcome all work that explores the human experience of any genre: literary, experimental, mainstream, speculative, paranormal, poetry, narrative non-fiction, and humor.  We don't wish to hang labels on good writing. We hope to provide a safe space for writers who've gone underappreciated because the industry has led them to believe that they don't fit a particular format.  We hold no editorial bias in regards to stories for or about individuals of any race, creed, gender, sexual orientation, or planet of origin." PRINT EZINE
The Beat - " a showcase for new and exciting writers and artists. The site is now published on a rolling basis, so we will post any new work as and when we see fit (rather than on an issue basis that we began with)" EZINE
Beat the Dust "Submissions to Beat the Dust are by invitation only, with the exception of the July edition, which is open to all writers to submit. For this issue we are keen to hear from writers with ‘kiss my shades!’ attitude who 'live life in the raw, grapple with it bravely and attack it with naked fists' when they put pen to paper (quote by John Fante in Ask the Dust). Beat the Dust is about inventive, hard-hitting, intelligent, honest, emotive, thoughtprovoking writing. Of particular interest is writing that involves some kind of contradiction or breaks a rule or convention in some way… "  EZINE
Bewilderbliss - " a quarterly magazine published in Manchester; it’s a high-quality publication showcasing the capabilities of new writers in the area." PRINT
Black Market Review  -poetry, flash fiction, short stories EZINE
Black Static - horror fiction PRINT PAYING
Bloody Bridge Review - "publishes short literary fiction and poetry, with new material uploaded weekly. We like things that are surreal, difficult, imaginative and darkly comic in terms of content, but relatively traditional in terms of form. We're not really into experimental writing, but we might be surprised, so send it anyway." EZINE
Bonfire - fiction, poetry and art. just closed. PRINT
Bottom of the World - "fledgling literary magazine based in the UK. It seeks to show off new prose (and poetry) to an unsuspecting world" PRINT
BRAND - "specialize in the short form; left of field work; international writing. We publish high quality, original short stories, plays, poems, creative non-fiction." PRINT PAYING  NO LONGER ACCEPTING SUBMISSIONS
Brittle Star - "a ‘little’ magazine which, for its size, contains a surprising variety of new work: poems, stories, interviews." PRINT  
Burning Houses: “Short stories, poetry, essays, "art and anything else accepted as long as it reflects the modern worlds." PRINT
The Cadaverine - " publishes the best new poetry and prose by emerging authors under the age of 25.From urban gothic to high modernism, cyberpunk to scathing satire, science fiction to fictitious cookery," EZINE PRINT
Cake -  "new, exciting literary magazine based at Lancaster University, calling all fresh-baked submissions of poetry, flash fiction and more!" Subs: themixingbowl@hotmail.co.uk PRINT (I think!)
Cambridge Literary Review - " welcomes submissions of previously unpublished poetry, short fiction, literary criticism and political commentary." PRINT NOT CURRENTLY ACCEPTING UNSOLICITED WORK
Carillon -"wide-ranging poetry and prose from contributors across the world, plus book reviews and a readers’ competition." PRINT PAYING subscribers only
Chimera -  "verse and prose in serious and lighter vein on a range of topics. Philosophical, confessional, satirical, polemics, speculation, pastiche, essays, reviews, fiction"  EZINE
Chapman - "publishes the best in Scottish writing" PRINT PAYING
Cherrypicked Hands "I prefer short stories to be short. Poems can be as long or as short as you want, as long as I like them. like poems that describe all kinds of things in all kinds of wonderful ways. I don't like experimentation for experimentation's sake - although I do like it, sometimes, for the poem's sake. Talking of prose, I like short stories that are short - say, below 2,000 words, though I might consider slightly longer pieces. I also like them to be funny, and strange. I like short stories that leave a quiet hum in my head, and that contain characters who I would like to know in Real Life"  EZINE
Chroma Journal -  "is published twice a year. We accept submissions from all people who identify as queer, regardless of sex and sexuality. Each issue is themed." PRINT
Cossmass Infinities "is a Science Fiction and Fantasy audio magazine. Our first episode was published in January 2010. We are looking for short stories, ideally, between 4000 -- 8000 words.Stories should be either Science Fiction or Fantasy, or even a blend of both. Try to avoid mediaeval-fantasy though. Previously published stories are welcome."  AUDIO PAYING
Countryside Tales -" illustrated magazine in A5 format and is published quarterly...interested in any material with a countryside/rural theme." PRINT PAYING
Crannog - poetry and prose PRINT
Crimewave -  "outstanding modern stories of crime, mystery and suspense, as well as borderline material which uses genre elements in a new way" PRINT
Cyphers -  Ireland's longest running literary magazine founded in 1975, publishes Irish poetry, in Irish and English, and poetry in translation, as well as some prose fiction and criticism and graphic art." PRINT
Dark Tales - "horror and speculative fiction",  PRINT
Dead Drunk Dublin: - "online literary arts magazine dedicated to attracting poets, writers and artists who are looking through the obvious"  EZINE
Dream Catcher - "a terrific mix of poetry, prose, artwork and reviews" PRINT
East of the Web - "is keen to provide exposure for writers by offering them a place where their work will be seen and read in a high quality, respected setting. The site receives about half a million unique page views per month"
The Edge - "publishes short stories of more than 2000 words (not whole novels or sequels to work published elsewhere). Many have urban themes, and/or could be described (by others) as modern and borderline gothic horror/fantasy/sf, slipstream, crime fiction or erotica; please don't send clichéd stories. Experimental work is welcome. There is always room for new names." PRINT PAYING
Edinburgh Review - publishes essays, short fiction, poetry and reviews aimed at an educated reading public with an interest in critical thought. Since its inception in 1802, the magazine has balanced a strong Scottish focus with a keen interest in international intellectual currents" PRINT
First Edition - "Whether you've written a short story, poem, complete novel, or book review we want to hear from you. We run a monthly competition in each of these categories that is completely FREE to enter." PRINT
Flash - a biannual literary magazine, publishing quality short stories and occasional articles and reviews of up to 360 words. PRINT
Fractured West - " seeks stories of honesty, fury, humiliation, and unusual beauty for first print issue. 500 words max...new and emerging writers particularly encouraged." PRINT.
Friction "the new online space for creative writing and non-fiction published by the Newcastle Centre for Literary Arts and edited by the students on the MA and PhD programmes in creative writing at Newcastle University. will publish work from leading writers, nationally and internationally, both established authors and first time writers. We’ll publish a selection of stories, poetry, flash fiction and other creative work that won’t easily fit into categories. EZINE
Frogmore Papers - mostly poetry but also "prose may be experimental or traditional, but is unlikely to be accepted if it's either very experimental or very traditional." PRINT
Fuselit - "is looking for work that you wrought or forged using the next issue's title (a spur word) as your inspiration point."
Gold Dust - "exciting and original prose and poetry" PRINT
Granta  - "committed to discovering and publishing the finest new fiction and non-fiction from around the world" PRINT PAYING
Gutter magazine - "a new, high quality, printed journal for fiction and poetry from writers born or living in Scotland. The editors believe there is a need for an energetic, ambitious magazine dedicated exclusively to the best in new Scottish creative writing." PRINT
Horizon Review - short stories and poetry  EZINE
Ink, Sweat and Tears - "webzine that explores the borderline between poetry and prose in the digital age" EZINE
Inkspill magazine - " The aim of Inkspill Magazine is to publish great quality work, with a creative internal layout. Not only will it publish short stories and poetry, but articles, debate, art, readers' letters etc." PRINT EZINE
Inside Out - "Confessional/autobiographical prose, on any subject." PRINT
The Interpreter's House - poetry and short stories   PRINT
Interzone - "new science fiction and fantasy short stories" PRINT PAYING
Iota - "quarterly literary magazine founded in Derbyshire in 1987 and enjoys a longstanding reputation for publishing excellent work from new and established writers - poetry and prose."
Kerouac's Dog - launching Sept 2010: " an Independently published quarterly, inspired by American writer, Jack Kerouac and the 1950s Beat generation. It's a bold and exciting platform for new writing, design, illustration, photography, architecture, fashion, and creativity in general. Bound together with overarching themes of freedom; truth; beauty; love; travel; wanderlust; sex; taboo; and fringe." PRINT
LabLit -  "dedicated to real laboratory culture and to the portrayal and perceptions of that culture – science, scientists and labs – in fiction," EZINE
LauraHird.com - "Submissions of previously unpublished short stories (4,000 words max), flash fiction, poetry (send 6-8 poems at a time), film / book / music / best tunes (300 words on a favourite song) / gigs / exhibition / lit mag / chapbook reviews (send samples of previous work), interviews and articles" EZINE
Liars League - "monthly, themed short story reading event based in central London, where the stories are written by emerging authors, performed by professional actors, and watched by a literature-loving crowd. Winning stories are read live (and recorded for later download) every second Tuesday of the month, and then published to our website." LIVE EZINE
The Liberal -"invites submissions of new poetry and short fiction"  PRINT
Linnet's Wings - "We are looking for well-crafted fiction with full plots and strong characters that you own the copyright to, but do remember if the work you submit is of an adult nature, provide a warning to that effect in its title or promotional sentence we won't publish pornographic or racist based work" EZINE
The Literateur - "new online literary magazine featuring interviews with luminaries of the literary world, articles, reviews and exciting new creative works." EZINE
Litro - "free monthly literary magazine. We publish new, original short fiction that excites us.... distributed widely near London Underground stations, in libraries, galleries, bars, cafes and other venues in the Capital and beyond" PRINT
The London magazine -"article and feature ideas, as well as poetry and short fiction submissions." PRINT
The Manchester Review -  "existing only online, with new issues appearing each spring and autumn. These will often include broadcasts of new music, public debates and video pieces, as well as visual art, fiction and poetry."  EZINE
Matter magazine -  features the best new writing by past and present students of the university’s respected MA Writing programme alongside work by established guest writers." PRINT 
Midnight Street -horror, science fiction, dark fantasy and slipstream EZINE

Mslexia - poetry, flash fiction, short stories.  PRINT PAYING
Moving Worlds - "a forum for creative work as well as criticism, literary as well as visual texts, writing in scholarly as well as more personal modes, in English and translations into English. It is open to experimentation, and represents work of different kinds and from different cultural traditions" PRINT
Neon (previously FourVolts)- "UK-based literary magazine, published online every quarter, and featuring the kind of imaginative, stylised poetry and prose not generally found in British magazines. We focus particularly on the new, the experimental and the strange." EZINE PAYING
New Walk magazine -  "We welcome letters,essays, reviews and other poetry-related features. Please contact us if you have any ideas or wish to submit. We are also looking for a small amount of short fiction and artwork." PRINT
New Welsh Review -  "best new writing from Wales" PRINT PAYING
The New Writer - "Short stories from subscribers and prizewinners only. The magazine does not consider unsolicited manuscripts but each issue contains up to four short stories from subscribers and guest writers, limited to a maximum 4,000 words on any theme and in any genre." PRINT PAYING
The Night Light: "The Night Light is an online magazine based in Manchester, England. We’re a disorganised cooperative publishing stories, plays, poems, essays and artwork." EZINE
Notes from the Underground - Comic stories, sketches, cartoons and comic poetry, Longer short stories up to a maximum of 1800 words, Very short stories of only one or two sentences, Travel Writing and reportage, Poetry  PRINT EZINE
Paraxis: “an online publisher of short stories. Partial to the unnerving, uncanny and fantastic. Tired of arguments about literary versus genre and genre versus literary - we just love well written imaginative fiction. Slightly sporadic in its publishing schedule.” EZINE
Patricide  - "All interested writers and artists are invited to submit work for publication in a new journal with a first edition to be published in the first half of 2010 as a limited edition of 100 A5 perfect bound books.Work should engage with the interface between documentary practice and surrealism. Written work should be within the range of 1 to 1000 words, images may take any form suitable for reproduction in monochrome." PRINT
Pen Pusher - "We are a literary magazine for those of you who are interested in words, writing, writers' lives, literary history, philosophy and the odd bit of silliness." PRINT
The Penniless Press -  " The eclectic North-West based magazine of poetry, prose, reviews and comment." PRINT
Penumbra - "If you've got something original to say and a fresh way of saying it, we want to hear from you. What we're after: 1. short stories (up to 2,500 words) 2. poetry 3. reviews (books, theatre, music; between 500—1,500 words)." PRINT
Planet magazine - " bi-monthly magazine covering the arts, culture and politics in Wales and beyond. In addition to features on and interviews with contemporary Welsh artists and writers, it includes political analysis, both of Welsh affairs and international issues. Several poems and one short story are published in each issue" PRINT PAYING
Polarity magazine - "sets out to fill a hole in the soul of today’s culture-kestrels. Sitting somewhere between McSweeney’s magazines (The Believer, McSweeney’s Quarterly Concern) and that dark blend of European surrealism forefronted by Georges Bataille (Documents, Story of the Eye), Polarity aims to tickle its readers’ hearts, minds and rude bits, with a selection of visual art, poetry, prose and articles. (But no reviews. Well, we might decide to break our own rules.) Appearing three times a year, or as often as we can manage, each issue will be organised around two falsely polarised concepts, forming an artefactual expansion of the metaphorical substance of each."  PRINT 
Prole - "Prole promotes accessible literature of high quality. Anything that we publish will be intelligent, engaging and impact the reader in a variety of ways. We want to appeal to a wide audience and reconnect a broad readership with excellent examples of poetry and short prose. Anything that sniffs of literary elitism is highly unlikely to make it through the editorial process. If it does, it�s only because we won�t have noticed and the piece has other areas of merit. Obscure references and highly stylised structures and forms that exist only to aggrandise the writer and appeal to the coffee lounges of our older universities are not welcome." PRINT
Pulp.net - short stories - on a break right now. EZINE
The Pygmy Giant - "an online home for UK flash fiction, non-fiction, poetry, and pretty much anything else under 800 words. We aim to publish something new on the site approx. every other day." EZINE
Random Acts of Writing - "a Highlands-based writing magazine, and we are keen to publish writers who are either based in the north of Scotland, or whose work is relevant to the area. We have a commitment to new writing and unpublished writers" PRINT
Ranfurly Review - We accept fiction and poetry on almost any subject and in any genre. We will from time to time publish special genre editions, so if your work is accepted it may be held over until publication. We are looking for fiction that is engaging and thought provoking, maybe a touch humourous or a tear-jerker. Whatever it is, it must be well-written and engaging." EZINE
The Reader - "Poetry and short fiction accounts for 20-25% of each issue of The Reader."  PRINT and we encourage published and non-published writers to send in their work
Ronin Press Phase 47 periodical: "We choose to focus on the alternative & subversive, but we will consider all forms of writing and subject matter....up to 10,000 words a piece, any style."  EZINE  PRINT
Riptide - "bi-annual anthology of new short fiction by both established and emerging writers. We are committed to providing a forum for high quality, innovative fiction, expanding the readership of the short story genre and enhancing its standing" PRINT PAYING
Salt magazine - "publishes poetry, short stories, essays, articles and reviews on contemporary literature and culture. The magazine appears twice yearly in April and October" EZINE
Sein Und Werden - "both an on-line and in-print publication, with different content in each. Every issue is themed and though non-themed work will be accepted, I will only consider these after a decision has been made on any themed material. Bear in mind that longer stories will automatically go in the print publication, and unless otherwise specified, colour artwork will go online." PRINT EZINE
Shadowtrain - "a bi-monthly gathering of poems, translations, articles and other writings, from the lyrical to the innovative, whatever stings and stuns the editor." EZINE
Shortfire Press - "We are a digital-only publisher specialising in short stories from emerging and established writers.Everyone is busy nowadays. But there's always time for a short story. Here you'll find stories, short and sweet, which you can buy one by one. That means you can discover new writers and new stories and read them in the time it takes you to get to work, wait for a friend in a bar, or in any spare moment you have to yourself.We're looking for great literary/upmarket fiction which is plot-driven, has an original voice and is fresh and vibrant. Word counts should be from 2,500 words to 15,000 but every one of those words must count - no flab, please." EZINE  PAYING
SHORT Fiction - "If you want to know what kind of fiction to submit, we direct you to see our first issue... which is another way of saying, we like exceptionally well-crafted stories and form-breaking fiction which has narrative drive and dynamic tension." PRINT PAYING
Short Fuse - "one of Sussex’s best short fiction nights. Writers of short stories can showcase their work at our live lit nights which take place monthly at Komedia’s Studio Bar in Brighton and at The Rooms Cafe Bar in St Leonards/Hastings"  LIVE
Smoke: A London Peculiar - " a 52-page magazine of words and images inspired by the city" ON SABBATICAL PRINT 
Some Ways to Disappear  - "A biannual publication of new Photography and Literature." PRINT 
Solander  - "published twice yearly, in May and November, interviews, articles, short fiction and comment - the only such magazine in the world for enthusiasts of historical fiction." PRINT PAYING 
Southpaw Journal - " a quarterly independent journal dedicated to showcasing short fiction contributions from unpublished writers. Looking for short, gritty, punchy entries. Based in reality. Originality, verve and substance are the key words." EZINE
Southword Journal - "a literary journal featuring poems, fiction and reviews and published biannually by the Munster Literature Centre" EZINE  PAYING
Sparks - "A flash-fiction evening in Brighton. Stories are accompanied by a commissioned photo, projected behind the author as they read." LIVE
Spilt Milk Mag - "Nothing delights us more than discovering an orgy of words woven together in such a way that we're left aching to lay them out on a dirty floor and roll around like frenzied gerbils." PRINT  EZINE 
Spokes - "welcomes poetry, short fictional prose and images of all kinds - with a particular interest in the culturally engaged and the fantastic. Spokes is 'published' twice yearly." EZINE
Stand magazine -  "quarterly literary magazine established in 1952. Jon Silkin founded Stand as "an attempt to remedy the intellectual situation of reader and poet" in response to our need for "something more human . . . for art and a public which is prepared to be receptive" where the art in Stand is "what is simple in expression and human in its context; for the chances that the compound will be profound and worth reading are reasonable." PRINT PAYING
Staple - a magazine of poetry, short fiction, articles, reviews and images published three times each year. PRINT
Stinging fly - "welcomes submissions from Irish and international writers. We are looking for writers who have something to say, and who have taken the time to say it well. We publish poetry and short stories." PRINT PAYING
Stride magazine - "gathering of new poetry, prose poems, articles and reviews (or whatever takes our fancy), Stride is regularly updated with new contributions. Enjoy your visit." EZINE
Streetcake magazine - " the magazine for innovative, visual and experimental writing " EZINE
Structo - "a fiction and poetry magazine, containing original work as well as features on, interviews with, and essays by some of the most interesting writers from all sorts of fields." EZINE
The Subterranean Literary Journal - "The journal aims to be a timeless tribute to the written word, avoiding the fleeting moments of trends and fashion, remaining date-less with each issue numbered as it is created. It explores humanity and the lives of people the world over, through fiction and non-fictional stories. Each issue is handmade and put together by the subterranean literary journal."  PRINT EZINE
Succor - "the UK’s most exciting journal of new fiction, poetry and art. We have editors in London, Manchester, Brighton, Exeter and Dublin who are committed to seeking out and publishing the very best new writing. We habitually set a title for upcoming issues, which we then ask contributors to respond to in their work." PRINT CLOSED
Tales of the DeCongested & DeCongested Tales - "monthly evening of live fiction, run monthly at The Wheatsheaf on Rathbone Place & monthly magazine. Sixty pages of new writing - featuring stories from our live events as well as other contributed writing." LIVE PRINT
Tears in the Fence  - "an independent literary journal, open to a wide variety of critically aware voices and perspectives. We are an international magazine and have editorial bases in England, France, Australia and USA. We publish poetry, fiction, translations, reviews and essays by known and developing writers from around the world." PRINT
Tomlit Quarterly -  "a home for writing, art and friends. We set up to give us somewhere to display the work we believe in by people we love. If you're not our friend yet, please get in touch because I'm sure it'd be great to meet you. We publish a range of Short Fiction, Poetry and Features from experienced writers and beginners alike" CLOSED. EZINE
Transcript - "news, reviews and articles, profiles of writers, translators and publishers, and samples of the best contemporary writing from all corners of Europe."
Trespass magazine - "classy, beautifully designed magazine packed with the most dangerous and exciting poetry, art, short fiction and music." PRINT
Under the Radar: "Because of the increasing high-standard of work submitted to us, and because we've aimed for some time now to be able to include more short stories, reviews and articles in each issue, we are taking Under the Radar up to the next level."  PRINT
The View from Here - "a print and on-line literary magazine with author interviews, book reviews, original fiction & poetry and articles. We exist to provide an environment for authors and poets to feel connected and inspired and to showcase new talent. We showcase the weird, unusual, thought provoking and occasionally bizarre. We classify ourselves as "Bohemian Eclectic" PRINT EZINE
The Warwick Review - fiction & poetry PRINT PAYING
Wasifiri- "a literary magazine primarily concerned with new and postcolonial writers, it continues to stress the diversity and range of black and diasporic writers world-wide." PRINT
White Chimney - "A4, 32 page and full colour journal, was established to promote the work of both published and unpublished poets, short story writers, playwrights and artists, internationally" PRINT
The White Review "quarterly arts, culture and politics magazine, published in print and online, and established on a non-profit economic model. The website is updated with new, usually web-only content several times each week....Edited, designed and defined by an emergent generation of London-based writers and artists, the magazine is creating a space for a new generation to express itself unconstrained by form, subject or genre.Writers wishing to submit fiction and poetry should make it clear whether they wish to be considered for print or web, or both. "PRINT  EZINE 
Writers Hub -  "The Birkbeck Writers’ Hub accepts submissions of poetry, fiction and non fiction four times a year. For fiction and non-fiction we accept submissions up to 5,000 words and poetry up to five poems. We publish work under the creative commons licence and would prefer to receive work that is not published or under consideration elsewhere" EZINE
Wufniks"Submissions can be:  - Short stories. - Miscellany. - Poetry?” PRINT
Wyvern magazine - "specifically designed for the readers and writers of teen and young adult fiction.  The magazine is packed full with author interviews, how to articles, teen fiction, short stories, features of artists, and news from our readers and authors at Wyvern" EZINE
The Yellow Room - "aims to be the best literary short-story magazine around for women by women" PRINT PAYING

Thursday, January 14, 2010

Upcoming Deadlines etc...

It's been a while since I did one of these so here's my Writers Service Announcement about some upcoming deadlines of interest:

JUST ADDED**
25 January Mslexia Women’s Short Story Competition
Max length 2200 words. You have to be a woman to enter - from anywhere!  1st Prize £2,000 plus a one-week writing retreat* at Chawton House Library (accommodation only) and a day with a Virago editor** 2nd prize £500 3rd prize £250 3 other finalists will win £100 each. Postal entry - online for non-UK writers. £8 fee per story.


Feb 5th: The Verb's Chekhov short story competition:
The radio programme on BBC Radio 3 is celebrating 150 years since Chekhov's birth with a Chekhov-themed comp open to all UK resident non-professional writers (i.e. writers who derive no more than 50% of their income from writing - so, basically, only JK Rowling is  disqualified! - over the age of 16 at the closing date of the competition). The prize is having your story read out on air. Details:
"The Verb would like you to send us an original short story of 1000 words, using one of the following Chekhov titles:

1. The Lady with the Dog
2. Difficult People
3. The Lottery Ticket

Please don’t call your story Difficult Dogs, or The Lady with the Ticket! These will not be considered. You don’t have to use the same characters, or setting – you don’t even have to have read the original story - but we will be awarding points for a certain Chekhovian spirit. Please check our terms and conditions, below, before sending your entry to: theverb@bbc.co.uk"
Feb 8th: Succour mag 400 words Feb 8th:
I like this: Succor's latest call for submissions is a little different:
For Succour 11, our Spring/Summer 2010 issue, we would like to invite submissions which pertain not to a theme, as has hitherto been the case, but which adhere to a pair of conditions.
Condition 1: All submissions should be written on Saturday February 6th, 2010.
Condition 2: What you write should not be an attempt to execute an idea – for a story, for a poem, etc – that has previously occurred to you. Rather, we would prefer you to write whatever happens to come into your head at that particular time.
We will be accepting submissions to February 6th, 2010 from Saturday February 6th 2010 until Monday February 8th 2010 – thereby allowing a couple of days for typing up etc.
Maximum word count: 400

Feb 15th: Ambit's 200 word comp:
To celebrate UK mag Ambit's 200th issue, they want 200 words of prose or poetry - which actually means no shorter than 196, no longer that 204 including the title. Nice prizes for 200 words: 1st prize: £500, 2nd prize: £200, 3rd prize: £75. Open to anyone, anywhere, over 16. Postal entry only, sadly. £4 for the first entry and £3 for subsequent entries

Feb 28th: Summer Literary Seminars' Unified Contest:

One short story or novel excerpt, maximum 25 pages per entry, or up to three poems.
Contest winners in the categories of fiction and poetry will have their work published in Fence, as well as the participating literary journals in Canada, Lithuania and Kenya. Additionally, they will have the choice of attending (airfare, tuition, and housing included) any one of the SLS-2010 programs – in Montreal, Quebec Vilnius, Lithuania; or Nairobi-Lamu, Kenya. 2nd place winners will receive a full tuition waiver for the program of their choice, and third-place winners will receive a 50% tuition discount. A number of select contest participants, based on the overall strength of their work, will be offered tuition scholarships, as well, applicable to the SLS-2010 programs. $15 per entry, online and postal entry.

March 20th: Fish One-Page Comp: 300 words or less.Nice prizes:First Prize - €1,000.Nine runners-up will be published in the Anthology and will each receive €50 plus five complementary copies of the Anthology. Open to anyone, anywhere.  Online entry €12, postal entry €15. Bit steep but great prizes and great exposure.

March 31st - entries accepted from Feb 15th: Commonwealth short story Comp:
600 words or less. First prize of £2,000 Special and Regional prizes of £500. No entry fee. And this year: special prizes for the best children's story and the best story concerning Science, Technology and Society, the Commonwealth Day theme for 2010.(yes, that one got me excited...!)

Also: the two comps I am on the judging panel for are:
26 Feb  Brit writers awards:
For one-off admin fee of £10.95, you can submit an unlimited number of entries. Short stories (minimum 1,000 and maximum 5,000 words).

March 31st  The Bristol Short Story Prize: 
3000 words max - but can be much shorter. open to anyone, anywhere:
The 20 shortlisted writers will be invited to an awards ceremony hosted by Waterstone’s in the centre of Bristol when the winners will be announced and the 2009 Anthology launched. Prizes : Ist- £500 plus £150 Waterstone’s gift card, 2nd- £350 plus £100 Waterstone’s gift card, 3rd- £ 200 plus £100 Waterstone’s gift card. Shortlisted writers get £50. All 20 shortlisted stories will be published in Volume 3 of the Bristol Short Story Prize Anthology. Entry fee of £7 per stor. Stories can be on any theme or subject and are welcome in any style whether it be graphic, verse or genre-based.
For even more.. check out Sally Quillford's excellent new Writing Calendar.
May all your submisssions be sent with joy and come back to you with more joy!

Tuesday, January 12, 2010

Writing and Place: Elisabeth Hanscombe

I'm delighted to present the latest in my series of Writing & Place guest blogs, this time from Elisabeth Hanscombe, based in Victoria, Australia, who writes what she calls "autobiographical fiction". Elisabeth who blogs at Sixth in Line, describes herself thus: "I am a writer and psychologist with an interest in the underpinnings of all things autobiographical. I’m keen to explore ideas about what drives the impulse to write, unconscious connections and the like. I’m interested in the text behind the text, embedded in the text and in readable theory in the area of so-called ‘life writing’ with its weave of fact and fiction."

This is how Elisabeth answered my questions on how where she is affects what and how she writes. Welcome, Elisabeth!

My Life as an Autobiographer


I live in Hawthorn, a leafy inner city suburb of Melbourne, Australia. My husband and I bought the house in which we now live in 1980 and we have lived here ever since through two renovations, four daughters and significant changes within the local community. As in so many other inner city suburbs, the area has become increasingly gentrified. I have lived in Melbourne in a number of different suburbs throughout my life, with the exception of brief trips interstate and overseas and a short six-month sojourn in Canberra, the capital city of Australia, when I was young before children and my husband had been seconded there.


I prefer to stay in the one place, to travel in my mind, rather than in fact. In this sense I am like Gerald Murnane, the little known Australian writer of ‘fictional autobiography’ who travels even less than me, but describes the most amazing places from his imagination.

Although I have lived in Australia all my life I have a deep and abiding sense of being Dutch. My parents were both born in Holland. They arrived in Melbourne in the 1950s with four of their eventual nine children as part of the post world war two exodus from Europe. I am sixth in line and the second child born in Australia.

I will slip a statement in here from a paper I wrote recently on migration. It speaks about this aspect of my experience, as a second-generation migrant and the degree to which this informs much of my writing.
‘I was born in Australia but I feel the weight of my parents’ migration throughout my childhood in my memories. The business of living in two lands, of being in between, of feeling neither here nor there. For me as a child Holland could only exist in my imagination. It was not real. It was my mother’s home and I spent much of my childhood flooded by the feeling that Holland was where she wanted to be, not here with me, with us her family, not here in Australia, not in my home country.’
I am a psychologist/psychotherapist by profession and this colours my perspective but essentially I write as an autobiographer, against a tide of resistance from those who object to such activities.

People generally recognise that fiction writing requires skill and artifice. They are less likely to recognise as much in autobiography. The artistry of fiction in some ways redeems it from its content, but given the prevailing view that there is little if any artistry involved in autobiography, readers tend to focus instead on the actual content. The belief that this really did or did not happen can lose us in a maze of endless argument of the fact versus fiction variety.

There are caveats. Although the word autobiography comes from the prefix ‘auto’, meaning ‘self’ and ‘bio’ meaning ‘life’, there is no suggestion that it refers to an entire life, a full and complete life. Besides no such thing is possible. In this sense memoir writing might be a better term, but even it refers to writing that is based on memory and memory is a complex notion. It cannot be reduced to one easy definition.


I write about aspects of my life that resonate for me at certain times for certain reasons but I avoid writing about the people with whom I work therapeutically, for the sake of confidentiality and also so that I do not exploit information or stories passed on to me in a protected context. Similarly I tend to avoid writing about my own children, especially where it matters. On the other hand, almost everything else is fair game if it is part of my experience, with the obvious proviso that I work hard not to libel people, not to write gratuitously about things that might upset people unnecessarily, and not to indulge in idle gossip or cruelty that might identify and hurt people however much they may have hurt me. We are relational creatures. When I write about myself I must inevitably write about those others who feature in my experience and my memory.

During a professional writing and editing course, which I undertook in the early to mid 1990s, I viewed my writing as a sort of autobiographical fiction. Occasionally I managed to produce and to publish fiction in the form of short stories but overall my writing tended to be and continues to be non-fiction. For years I have used the descriptor, creative non-fiction, following in the footsteps of Lee Gutkind, the so-called Godfather of creative non-fiction, but more recently I have dared to declare myself an autobiographer, one who writes about her life, not just about the past but about the present as well.

I weave the autobiographical with the more abstract and theoretical to create a tapestry of voices, my child self, my adult self, my academic self and many more voices in between. I agree with the literary critic Lynn Bloom, who quoting from Joan Didion’s On Keeping a Notebook, says writers of creative non fiction have an ethical duty to ‘live and die by a single ethical standard…to write how it felt to me…That standard and that alone,’ Bloom argues ‘is the writer’s ethic of creative non-fiction.’ Writers of such non-fiction, she insists, are duty bound to write ‘the unauthorized version, tales of personal and public life that are very likely subversive of the records and thus the authority of the sanctioned tellers.’ (Lynn Z Bloom ‘Living to tell the Tale: The Complicated Ethics of Creative Non-fiction, University of Connecticut. College English Jan. 2003 65.3 pp 276-289.)

At the moment I am working on a PhD in the unit for studies in biography and autobiography at LaTrobe University here in Melbourne, in the suburb of Bundoora. My thesis topic is Theories of Autobiography: Life writing and the desire for revenge. I use my own autobiographical writing along with the writing of other mainly Australian writers, for example Helen Garner, the Brett sisters, Doris and Lily, and Gerald Murnane, to explore the degree to which the desire for revenge as it erupts through experiences of hurt and trauma – I stress the desire, the feeling, the wish, and not the enactment – can lead to feelings of rage, shame and resentment. These feelings, once processed and understood, can become triggers to the art of writing, of creativity generally, and particularly of life writing. It can equally apply to fictional writing.

The ‘desire’ becomes the spark. Too much of the desire and everything is spoiled or destroyed but enough desire, enough of the feelings like those of a hurt and wounded child, can inspire writing that is powerful, effective and alive. At least this is my take on it. It is a hot topic and one that has been around for a long time.

I write to find a voice after a childhood of silence. I write to create an aesthetic primarily as a communication to others about what it was/is like for me and also to evoke a response from others, to be heard, and to be acknowledged. The writer Margaret Atwood lists some 72 different reasons for why writers write. I suspect there are almost as many reasons as there are writers. The need to write and to be read is a universal experience among writers and the underlying motives are again complex. I write to deal with my life, to share ideas and to make sense of things that would otherwise remain a mystery. I write to be remembered and to preserve the experiences that rush past me so quickly I am lucky to grasp a fraction of them. I write to live. I write because I cannot do otherwise. Writing for me is like breathing these days; without it I would die.

The past informs much of what I write, living here in the relative comfort of my life as a wife and mother, a practising psychologist and a PhD student. The past is in my blood and more so because I tend to remember aspects of it vividly. The rest I make up. When I fail to remember I am still curious about the things that fall through the gaps and so I must resort to imagining. I do not want to lose touch with these memories and imaginings, these hauntings. I want to preserve something of my past for future generations.



Given that in my family of origin I am sixth in line, one of the ‘little girls’ and more especially one of the girls, my opinion was not worth much. Such legacies do not disappear. It is part of why I am so taken with the degree to which a sense of unfairness and hurt can lead to resentment and a wish to turn the tables and no longer be the helpless little one. I also write as a woman, in what I consider in some ways is still a man’s world. I would like to think that gender no longer matters when it comes to the recognition of the quality of writing but I think not, not yet at least. Finally, I write as an Australian citizen in a country whose identity is fragmented, through the process of migration, a process I do not oppose but one, which may well have contributed to the cultural cringe that is so often reported here. As a child when I sensed my mother’s longing for her home in Europe I felt that even the land on which I stood was inferior. Compared to Europe, we in Australia had no culture, or so I believed. We were taught at school in those days that we had begun as Britain’s penitentiaries for convicts and as well we learned later that had stolen this land from its indigenous people. It is only in the last fifty or sixty years that Australian women writers have felt confident enough to write about the seasons as the opposite of that experienced in the northern hemisphere.

For me as a child growing up in Australia I was torn between two countries. My mother in those early days decried Australians their lack of culture. To her they seemed ill educated, uncouth. No theatres to speak of, few bookshops, few cafes on the street, none of the bustling city life she remembered from her life in Haarlem, Holland. I thought of my mother in those days as a snob, but I also took pride in the foreign.

John Hughes writes about his experience as a second generation Australian, the business of living in two worlds, and the importance of avoiding actual knowledge, ‘so that by knowing just a little, not only was he able to establish his own sense of self, he could also make himself however he wanted.’(John Hughes ‘Memory and Home’, keynote address presented at the Perth Day of Ideas, Institute of Advanced studies, University of WA, September 2006, p. 2.)

Like Hughes, without actual knowledge, whenever I imagined what life was like before my own began, I saw it as a series of images, in black and white, without sound, flat, one dimensional, like old photographs spilling out of albums, curling at the edges and fading in the centre. I saw a world of war, of bombs and starvation, set against the picture post-card tranquillity of Holland. My mother's Holland, with its frozen rivers teeming with children on skates in winter and later, in the springtime, lined with tulips and daffodils. Holland, the Netherlands, the land of longing, where it never gets hot and always stays green, even under the snow and ice of winter. In my child’s mind, I heard the name Neverlands, a country I could never come to know myself except in my imagination. Holland was in the centre of Europe and just as Hughes’s past evoked for him a sense of something foreign lodged within, so it was for me.

My mother had bemoaned her loss of Europe and all things cultural through her migration to Australia. Memories became my mother’s ‘currency’, at least for the time of my growing up when her difficulties with nine children and an alcoholic and abusive husband were so acute that she could not but fill the gap of her sadness with her memories of a grand European past. Her memories sustained me, too. They nurtured me throughout my own difficult childhood and created a sense of my family’s specialness, a specialness that resided in the foreign. But Europe was also a place of war and horror. I knew this from my father. I knew that he had fought in the Second World War, and through this, at least in part, he had become the man he was. So Europe for me became a hybrid – the beauty and the beast of my parents’ past.

The trauma of my past, through migration, through the experience of feeling lost and often silenced in a large Catholic family and other traumatic experiences later in my life all inform my writing. The memories become the triggers to a re-remembering and in this sense a reconstruction of the past, which I use as fodder for my writing. I then link the autobiographical to broader issues of meaning, but always told essentially through storytelling. To me story telling is the best way to get at an understanding of life experience. And I choose to use my own story because although I am biased in my subjectivity, it is still the one area I know more about than any other.


Thank you so much, Elisabeth, for that moving and fascinating insight into writing and family, history, fiction and autobiography. My mother was from Australia, I am also the child and grandchild of immigrants, this has given me much food for thought. Read Elisbeth's blog, Sixth in Line, and if you're interested in contributing yourself, email me.

Friday, January 08, 2010

Scott Prize shortlist - congrats to all!

Salt has just announced the shortlist of the inaugural Scott Prize for Short Fiction, which they call
"an important new venture for Salt as we continue to discover and nurture new talent from around the English-speaking world. The prize forms part of Salt’s commitment to the short story, to debut collections and to our vision of new literature in English as an international endeavour."
Congrats to the 12 full-length collections shortlisted - and especially to my friends and writing colleagues Susannah, Joel and Tom! - from almost a hundred entries and a longlist of 25. 4 winning titles will be announced next month for publication in the summer.

1. Ben Cheetham: The Hate Club (UK)
2. Alexandra Fox: Roundabouts (UK)
3. Miriam Hastings: Demon Lovers (UK)
4. Patrick Holland: The Source of Sound (Australia)
5. Sandra Jensen: A Sort of Walking Miracle (Ireland)
6. Laurence Klavan: Family Unit and Other Fantasies (US)
7. Wes Lee: This Animal Kingdom and Other Stories (NZ)
8. Mary McClusky: Gift to the Dark Gods (UK)
9. David Philip Mullins: Longing to Love You (US)
10. Susannah Rickards: Hot Kitchen Snow and Other Stories (UK)
11. Tom Vowler: They May Not Mean To But They Do (UK)
12. Joel Willians: Buy Ma Biscuits or Kiss Ma Fish (UK)

May this be the start of a wonderful year of short story success for all these writers!

Thursday, January 07, 2010

Lots of lovely short story related stuff

First, for all of those who are concerned about submitting to Southword because I know you - this is new for me too. I've never been in this position. I only have one issue to fill - the 2nd issue of the year publishes the winner and finalists of the Sean O'Faolain competition  - so I won't be able to choose every story that I love. I will have to reject quite a lot of fantastic writing, I imagine, because it's not about the "best" it will most probably be about the ones that fit "best" together in some way. Please don't let it put you off - no, it's not anonymous, and I would love to read your work. If you want, you can always submit under a pseudonym. Really.

Email me if you have any more concerns. Let's venture into the unknown together!

Next: my article on the joys of short stories, Stopping to Smell the Miniature Roses, is in the latest issue of Bellatrista. I was delighted, as always, to be asked to tell the world why everyone should read what we all know to be wondrous creatures. If this gets just one person into short stories, it'll be worth it all!

Finally - the new issue of The Short Review Jan 2010, with an interview with the fabulous A L Kennedy, THREE books to give away, and we are the latest stop on the Short Circuit virtual book tour. Here's the blurb.

2010 sees the launch of The Short Review 2.0. What does this mean? It means we want to hear from you. Let's talk: about reviews, interviews, short stories, writing... come and join in the conversation on our new discussion forum.

This Month: From flames to madmen, ruins, relics, Indians and happy shades - reviews of debut collections by Alice Zorn, Daniel A Hoyt, Midge Raymond, Andrew McNabb and Hassan Blasim (translated into English for the first time) alongside Alice Munro's first collection from 1968, and Sherman Alexie's third collection and A L Kennedy's fifth, Tales of the DeCongested's second anthology and the Atlantis Collective's first.

And interviews with A L Kennedy, Alice Zorn, Dan Hoyt, Midge Raymond, Andrew McNabb, Hassan Blasim...

AND

Competitions: 3 very different books to give away this month: The Madman of Freedom Square by Hassan Blasim, The Body of This by Andrew McNabb, and Short Circuit: A Gudie to the Art of the Short Story, edited by Vanessa Gebbie (see below). Find out how to win>>

And On the Blog: The Short Review is delighted to be a stop on the Virtual Book Tour for Short Circuit: A Guide to the Art of the Short Story. Says Short Circuit ed Vanessa Gebbie: "On one level, a reader looks for entertainment – to be taken out of themselves for a while, by following a complicated plot. The reader who actively seeks that experience, sustained for the length of time it takes to read a novel, who then switches to read a good short story, expecting it to deliver something similar, will be disappointed. " Read the rest of the blog post here >>

Wednesday, January 06, 2010

Southword - submissions now open

A quick note to say that my new role as Fiction Ed for 2010 of Southword, Munster Literature Centre's esteemed literary journal, has begun, and submissions are now open. I have copied and pasted the Submission Guidelines are as follows (please don't submit directly to me):

Submission Guidelines

Southword has published the likes of Haruki Murakami, James Lasdun, and Colm Toibín if you would like to join their esteemed company carefully read the directions which follow.
1 All manuscripts must be sent via email to the appropriate editors, during open reading times only. Email addresses will be made available during open reading times on this page. (See item #6). Submissions are no longer accepted by post, as Southword is now an online journal.
2. Work should be submitted as an attached document. The end of the Microsoft Word file name should read ' .doc' ONLY. Please be aware that if you have the most recent Microsoft Word program, it will automatically save as a ' .docx ', which we do not accept. Please manually save the file using 'Save As' as a 'Word 97 - 2003 Document'. If you are a Mac user, please send us an ' .rtf' file or paste your work into the body of an e-mail.
3. If submitting poems and prose simultaneously they will be considered by different editors at different times, so to be sure of a response please email the appropriate editor. To submit poetry, please e-mail poetryeditor@munsterlit.ie. To submit short fiction, please email fictioneditor@munsterlit.ie.
4. There is a strict submission limit of 5 poems or 3000 words in short stories. If submitting multiple poems, they should be contained within one document please.
5. Attach an up-to-date biographical note with a cover letter, keeping with the document format instructions in point #2.
6. Both Poetry and Fiction are considered between January and March 15th each year for our summer issue. Poetry alone is considered between July and September 15th for our winter issue. PLEASE NOTE after the close of the submission date the poetry editor will make a selection. Because of the number of submissions it may not be possible to reply individually. If no response has been received by the end of September please assume that your submission has been unsuccessful.

Visit Southword online to read the current issue. But in terms of my personal tastes, I am open to everything from the very tiny right up to 3000-word stories as long as you surprise me, you never give me a minute to think, Hmm, do I want to carry on reading this? I love experimental work, but not for the sake of it. It's still got to be a great short story. Is this helpful? Probably not! I read so many short stories for review for The Short Review, so much that I would never have read because it is shelved under some "genre" or other, that I would never say that there is any type I won't read. My mind is open. Delight me.

Self-critiquing

Well, it's been a week of things I've never done before - and tonight, without planning it, I did something else new: I went back to a story that wasn't working, something I wrote about 6 months ago, to do some revising, and instead of just sitting there and reading and tweaking, alongside the story I opened a Sticky Note which is a great feature of Linux, the operating system I use (see left). And then I took notes on my story as I read it, exactly as if I was critiquing someone else's story.

Now, isn't this always the aim of a writer, to be able to see your own work as if through someone else's eyes? I know that I am a good critiquer, I have worked on these skills, learned them from many writing workshops: how to really see a story deeply, take it apart, from structure to language to point of view to character.

But -  I have never ever been able to really crit my own work, even with a much older story - I am always too attached to it, too in love with the language. Tonight I was slashing it! Writing notes like
  • declare - makes character sound unlikable
  • too writerly - kill it
  • stilted
  • oh too clunky! 
What a relief, to do this slash and burn... and instead of worrying about making the story longer, actually be cutting far more words than I was adding. Each time I re-read it, I saw more utterly unnecessary "fat" to be trimmed.

It went from 1223 words that made me mostly cringe to 443 words that I actually am rather happy with.

Plot-wise, it now gives away far less, and now I am now not at all sure what is happening. And this is always the way I prefer to write. I hadn't "noticed" that the first drafts were way to "obvious", with some really really cheesy devices going on. How could I?! Well, it doesn't matter. We all do it. The main thing is to do it, see it, take it out. Phew. A good night's work - 800 negative words gained!

Tuesday, January 05, 2010

Pi and Wislawa

I'm not supposed to be online, these are my sacred night time writing hours, but in the spirit that there are no "shoulds" or "musn'ts", I had to blog now. I've been writing and I took a break, Internet off, and turned to one of my favourite poets, Wislawa Szymborska, to her new and collected poems 1957-1997. For those of you who aren't familiar, ohmigod she's amazing! And yes, she won the Nobel prize for Lit in 1996. She was a breath of fresh, fresh air for me, someone who thought poetry had to be very "worthy". I love her poems, her wit, her language.

And now, oh joy of joys, a Wislawa poem about maths! About Pi, the mathematical constant, no less. What could make me happier? Not much. Here is a joyous excerpt:

The pageant of digits comprising the number pi
doesn't stop at the page's edge.
It goes on across the table, through the air,
over a wall, a leaf, a bird's nest, clouds, straight into the sky,
through all the bottomless, bloated heavens.
Oh how brief - a mouse tail, a pigtail - is the tail of a comet!
How feeble the star's ray, bent by bumping up against space!
While here we have two three fifteen three hundred nineteen
my phone number your shirt size the year
nineteen hundred and seventy-three the sixth floor
the number of inhabitants sixty-five cents
hip measurement two fingers a charade, a code,


What I love is her imagination - seeing all those things, a phone number, shirt size, hip measurement, in the endless stream of Pi's digits. You can read the whole poem here, but I recommend you buy this book. She never fails to inspire, amuse, astonish. She's made my day. Again.

Friday, January 01, 2010

Ah, so THIS is the writing life!

Decade revisited

In the spirit of it all, having only just realised that this is a new decade as well as a new year (bit slow, me), I thought about 1999. That was the year I wrote the first short story that was ever published, during my first visit to the sublime Anam Cara writing retreat which I have since revisited several times and where magic always always happens. Anyhow, I may really regret this, but that first story, Doing it in Eden, is still available online, in The Beat's second issue. Ok, yes, you can read it. Hmmm. Perhaps you shouldn't comment. No. Don't!

So, a momentous ten years, one that saw me starting to take writing seriously, attending two Arvon Courses, at the first of which I met J, my partner, and at the second was instructed by my writing idol Ali Smith to drop everything and write full time. An MA in creative writing, several workshops in the US, various publications and some lovely prizes, and then... my first book was born. What a decade!

Finally, I get it

After all that, it is fairly embarassing to admit this. But in the spirit of honesty I shall do it: only this week have I felt that I am really living The Writing Life. A few months ago I was asked to write about my daily writing routine for Branta and, perhaps stupidly, I wrote candidly about all the ridiculous things I do every day online. As someone commented somewhere, I should have been too ashamed to admit it all. Yes, I should have been. it wasn't so much a writing routine as Wordscraper tournaments and Amazon ranking checks with some writing slipping in there purely by chance every now and then.

Now, thanks in great part to the Twyla Tharp book, The Creative Habit, which I blogged about here,  as well as being castigated  by several far more efficient writers (thanks Adam M and David G!), I have made a radical change to my life, implementing it before Jan 1st to get a good start. And a good start it has been. I finally feel like a Writer. Let me elaborate:
  • Simplify
The first thing I did was decide not to switch my mobile phone until 2pm or the Internet on til after 5pm . So, when I wake up, I don't run to check anything, don't feel like anyone can demand anything from me, that I have to reply to anything. No-one can need me to do anything. And I am not constantly multi-tasking and doing lots of things half-heartedly.

Tip: if you can get through the first hour after waking up without checking your email, it gets easier, believe me. I was really tired the other day (see later for why) and felt weak, felt like I needed email. But I fought it. Didn't give in. And the craving vanished.
  • Feed the imagination
I have, over the last ten years, been both silly and, frankly, arrogant. I have never - I repeat this to shame myself further - never carried around a notebook and pen and taken notes. I never wrote done the great first lines that came into my head, never sat and watched people, recording observations, overheard snippets. I assume that if something was good enough, I would remember it. Well: You don't. It's GONE. Gone. I wonder now how much I have lost. Stories I've written in my head at night in bed and in the morning they've disappeared.

So, first thing in the morning, after breakfast, I go out and, following Twyla Tharp's example of what a writer she knows does,  I determine to come back with something. I take a notebook and pen, phone (for emergencies, switched off).

The first day I went for a wander around the neighborhood streets and while this was physically invigorating (damn cold) it didn't give me anything to take back. So on Day Two I headed the other way, to the shops, and went and sat in a cafe I'd never been in before. Because I didn't have my mobile on, I didn't sit there and check email obsessively every few mins. And I didn't look around for something to read or entertain me.

I just watched.

And I discovered how much I never normally see. The place was very busy, I watched everyone, and I wrote things down. And as I did this, I felt myself seeing in a whole new way, looking out for things no-one would see unless they paid careful attention. And, writing it down made me feel like a working writer. I was working. I sat for an hour and that day I definitely came back with something:  a character. She then provided the inspiration for not one but two stories, or beginnings of stories.
  • Don't write yet
So, this is an interesting one, will see how this works, but when I get back from my walk, I go and spend several hours doing other work - with the Internet still off. This week it was finishing the gargantuan Arts Council grant application form, and working on a freelance project for the university's science faculty. And do you know what? Without email and Facebook I not only was more productive, I felt calmer.And all the while the stuff I had fed my imagination with earlier was whirling and percolating in the back of my mind.

  • Make an appointment / Write at night
This is something I have been dying to try for a long, long time. A lot of well-known writers work at night, and I am a night-bird anyway, but normally we are watching telly or something. Not this week. This week, I had two hours or so of Internet time, 6-8, then spent time with J, dinner etc...But I had made an appointment with myself, so at 10pm each night I headed back to my study, the Internet off again, and stayed there til 2am, only writing and doing writing-related things.

Are you surprised to hear that I got a lot done? I wasn't sure what would happen. At first, I thought I might fall asleep. But I didn't. I love nighttime, the darkness, the different kinds of noises (city foxes squealing in our garden). I wrote several stories, the beginnings of stories, transcribed things I'd written, and in one hour on Wed night adapted another of my stories into a play.

I tried to simulate the conditions in which stories come into my head as I am dropping off to sleep by lying on some cushions on the floor and letting myself drift a bit. Hmm, sort of worked. Not great. Let's just say it might take some time. 

For me, as a short story writer, it makes so much sense to write at the end  of the day, when stuff has happened, when you have material, rather than first thing, when I am not very awake, when it's all a bit of a fuzzy blank. A novelist has what to work on, what to return to, so that's different, perhaps you need that clarity, that lack of stuff, in order to get back into it. But for me, this seems to work.
  • Don't beat yourself up
My final point: I am not going to make myself crazy if one night I don't write much, I don't get much "done". As another well-known writer said, the main thing is to just turn up. And I turned up.

Not smooth sailing yet

Suffice it to say, the new routine has created some sleep problems for both of us, since I am creeping into bed at around 2.30am, and waking up at 11ish. We haven't got that one sorted yet. The other night I couldn't sleep til 4.30am. And, of course, I can't schedule anything for myself before 12 every day. Ok, that might be workable. I don't see why my writer-in-residence position at the Uni's Science Faculty should be morning-based? I bet a lot of the Faculty keep odd hours. Frankly - and I know I am not alone in this - this society is far too morning-based. New Scientist reported a while ago that, given the choice, the majority of us would go to be at around 1am and wake up at 9am. (Of course, if you have kids this is pretty impossible, I know. Sorry!)

So, there you have it. My first week truly feeling like a Working Writer. It is a relief to have got here. Because I didn't have a Creative Habit, because I didn't have a way of working, I was coming up with a load of bizarre scenarios - getting a job in a flower shop, for example - that might serve to force me to write. But now it all feels right, at last. I have a routine, I have time slots for different things, I have ritual activities to do, I have a way of generating inspiration.

It's all new and I know it will take time, will evolve. I am really excited to see how it goes, to incorporate days in the Nanoscience and Quantum Information Centre into my routine. I will write more as it happens - and wish you all a wonderful year in which you are able to do what you most want to do, calmly and without too much frustration, guilt and angst. Happy New Year!

Monday, December 28, 2009

Good news to end the year - and Resolutions starting early!

So, I had all sorts of things I wanted to blog about  - why so many of my favourite short story writers are Scottish, for example - and then the nicest email last night and all my priorities shifted. The Scots will have to wait. The Binnacle, the delightful people who awarded me the Grand Prize in their Sixth Annual Ultra Short Comp last year, wrote to let me know that the publication of the Ultra-Short issue has been a little delayed... but then took my mind off this entirely by telling me that they have become my Favourite Lit Mag Ever by nominating my winning story, My Mother Was an Upright Piano, for a Pushcart Prize!

For those who aren't familiar, here's the Pushcart Prize info:
Little magazine and small book press editors (print or online) may make up to six nominations from their year’s publications by our December 1, (postmark) deadline. The nominations may be any combination of poetry, short fiction, essays or literary whatnot.
Over at his excellent blog, Perpetual Folly, Cliff Garstang does his annual Pushcart rankings, a listing of lit magazines according to how many Pushcart prizes and special mentions for fiction they have received since 2000. Cliff does this with the Pushcart because of the way they call for nominations from the editors themselves rather than getting a guest judge to pick.  It makes for interesting reading - the Top Three are Ploughshares, Conjunctions and Zoetrope-All-Story. Says Cliff:
I'm a fan of the Pushcart Prize Anthology and I happen to think that it is a good indicator of magazine quality. It isn't perfect, and it doesn't mean a whole lot, frankly, but when I'm making my decisions of where I want to submit, I look at this list and aim as high as is realistically possible.
Read the list here for some submission ideas. 

Anyhow, the Pushcart gets 8000 nominations (it's only open to American publications and presses), and publishes 30 pieces of prose and 30 poems in its annual anthology, so the chances of getting any further are very, very slim. But it is an enormous honour to be nominated, I have been looking longingly at other writers' bios where they say "nominated for a Pushcart prize", and it's really thrilling for me to be able to put that too.

So, a good way to end the year that was rather up and down, with the lows being far lower than anything I've ever experienced, and which saw us make the radical decision to move countries - and then actually do it. The cats are more than 2/3 of the way through quarantine, 8 more weeks, which is wonderful, that has been very hard, for us and them. I am really loving being here, every few weeks meeting up with people who just want to talk about short stories and writing!

The main thing, though, that I haven't been doing is writing. So last night I decided to implement my New Year's Resolutions a few days early, in order to avoid that inevitable desire to sabotage the whole thing on Jan 1st. This morning, fighting that self-sabotaging demon, I got dressed before having breakfast and headed out for a walk, with just a notepad and paper (and mobile phone, switched off, and a little money for emergency croissants should I need them).

I walked for about 45 minutes around the neighborhood, avoiding slipping on the frost, and determined to come back with "something". But also determined to give myself a break and not to expect too much. I jotted down some words, a few phrases and things, as I walked, and just tried to follow my thoughts. It didn't help that I couldn't stop humming the damn song I heard on the radio before I left. Note to self: Don't turn the radio on before walk!

I came back, and continued with my new regime by not switching on my phone or the Internet. Not at all. Nope. I went into my study, and didn't check email at all until 4pm. And guess what? Felt much calmer, and was rather more productive. There's a surprise! I  did a radical overhaul of my assortment of short stories and flash fiction and set up a new Folder on my computer called "2010" so that I can start the year with a clean-ish slate, sort of. All those old half-stories that I just haven't got around to doing anything with got swept under the digital carpet just so I don't have to look at them and despair! And I decided not to split up Short Stories and Flash Fiction, just have one Work in Progress Folder. Might make life a little easier.

I actually didn't even want to check my email all day - and of course when I did I found that there was nothing urgent, nothing that coudn't wait, or could even have waited longer.

It's 7pm now, am allowing myself to blog, catch up on FB, Tweet a little... listen to some music. And then... after dinner I am going to try something else that I have wanted to do for ages and can do this week because there's nowhere I have to be in the morning. And that is: come back into my study at 10pm and spend a few hours writing. I have this desire to write at night, I love nighttime. But there's always somewhere to be in the morning etc. Well, this week the diary is clear. Will report back.

If it goes well, the plan is that I can set up my schedule around this: For the 2 days a week that I am at the Nanoscience and Quantum Information centre for my short-story-writer-in-residence, I could go in after 12, and just not plan to do anything before that. I am not aiming to work all night, that would be quite odd, and when would J and I see each other? But I am open to seeing how I feel - apart from tired - and what comes. I know several writers work at night. It's an experiment!

Is there anything else I'm going to do? Hmm. In the last few weeks I have been slowly starting to work on the next issue of The Short Review instead of leaving it all til the 5 days before I want to get the issue up and making myself - and Diane - crazy. That's been more relaxing and enjoyable, so will probably try to keep doing that.

I've also almost almost finished my Arts Council grant application for the residency - just a little unsure about the budget part, it's confusing me. But I really hope to get that printed off and sent tomorrow. Fingers crossed!

This turned into quite a long post, sorry about that. Wishing you all a Happy and Creative New Year. Any Resolutions anyone wants to share?!

Monday, December 21, 2009

Science, science, science...mmmm

I spent a day at a physics conference last week, had a great meeting today with the head of Bristol University's experimental psychology department, which involved discussions about caffeine and optical illusions, and tomorrow I am going in to the Nanoscience and Quantum Information Centre - ooh, I just love saying it! - where my short-story-writer-in-residence position will be based, to get signed up so that I get a swipe card and can actually get into the building. So: all systems go for the preparatory phase of my position. I'm applying for an Arts Council grant and can't begin until that has been processed, so will be spending the 6 weeks or so after the holidays finding my way around, meeting people, trying to determine the structure of what I will be doing. I have a lot of ideas, and am meeting the head of the University's Centre for Public Engagement in Jan too, to see if there is something I can do there. It is not just inspiring - it's over-stimulating. I have so many ideas whirling around in my head and am dying to get the time and space to set something down on paper. I am sure it will happen soon!

In the meantime, Bristol is snow covered, which was a lovely novelty this morning and is now rather slippy and slushy. Happy holidays to you all, see you on the other side! 

Wednesday, December 16, 2009

Short Circuit at Ride the Word: A Lovely Time Was Had By All

A wonderful time last night at the special launch event for Short Circuit hosted by Ride the World XX at Cafe Yumchaa! Here I am in full flow, reading three flash stories (photos courtesy of Elizabeth B):





The variety of readings was wonderful, with Vincent de Souza, Jay Merill, Short Circuit Editor, Vanessa Gebbie, Sarah Salway, Marian Garvey, David Gaffney, Lane Ashfeldt, Elizabeth Baines, and Alex Keegan... there was stationery porn (pens and paper), dodgy doings on the M62, and much much more. Wonderful evidence that Short Circuit is a book written by real writers, all of whom write very differently.


Several of those above were online friends I had not met yet, lovely to meet you in the flesh (and Bob J too!). Thanks to all who came, celebrated, bought copies, cheered us on! Jen Hamilton-Emery from Salt Publishing was there too, and as well as celebrating Short Circuit, she thanked everyone who helped Salt when it was going through hard times this year... and that thanks goes to so many of you. We all appreciate it.



Find out more about the must-have Short Circuit: A Guide to the Art of the Short Story on the newly-created website (umm...designed by me).

Sunday, December 13, 2009

RIDE THE WORD Christmas Special 'Short Circuit' Celebration


Come along and hear me and some of the other contributors to Short Circuit, the Guide to the Art of the Short Story, read their own work at:


RIDE THE WORD Christmas Special 'Short Circuit' Celebration

Ride the Word XIX
Free Event at The CAFE YUMCHAA
When: Tuesday 15th December 2009
6.30 for 7pm - till 9pm
Where: 45 Berwick Street, Soho, London W.1
With
Vincent de Souza,
Jay Merill,
'Short Circuit' Editor, Vanessa Gebbie
Salt Publishing Director, Jen Hamilton-Emery
Arts Editor of 'Prospect' Magazine, Tom Chatfield
and
Tania Hershman, Sarah Salway,
Marian Garvey, David Gaffney, Lane Ashfeldt
Elizabeth Baines, Chika Unigwe,
David Grubb, Alex Keegan, Catherine Smith
also
Floor Spots on first come first served basis
Hosted by
Jay Merill and Vincent de Souza

(nearest Tube: Oxford Circus, Tottenham Court Rd.,
All Oxford Street buses - to Berwick St stop)

Monday, December 07, 2009

Shameless self promotion & The Year of Flash Fiction?

Ok, here is the hard-nosed self-promotional author side of me coming out! If you have a gap in your Christmas/Chanukah/Divali/Yule present list and you're looking to buy something for someone who loves books, how about a Salt Bundle? My book is part of the "Contemporary Student" bundle, alongside Broken Things by Padrika Tarrant, The Brand New Dark by Mark Waldron, Sawn-Off Tales by David Gaffney and Third Class Superhero by Charles Yu.


More info:
This bundle suits them all, often tripping along the line of avant-garde or deftly plunging right in, this bundle longs for an open minded reader who wants to embrace the wonderful and the abstract- however dark it may be at times.

Buy it for the contemporary writer/artist/student in your life or keep it and expand your mind by treating yourself to a journey to all the strange and beautiful literary crevices it has never been before.
Buying each of these books individually would cost you £54.95 (RRP) so buying them in the bundle saves you nearly £20, a fine deal if I do so say so myself.
In fact, it all sounds so good, I think I should buy myself one! More info here.

Ok, shameless self-promotion almost over: I am thrilled that the fabulous Sara Crowley, the short story queen at Waterstone's Brighton, and a great writer, has unveiled a brand-new display case in the shop, devoted entirely to.... Flash Fiction!


I am thrilled to be there alongside the most amazing short short story writers: Lydia David, Amy Hempel, Barthelme..Now, my theory is that 2010 could very well be The Year of Flash Fiction. If so, Sara's display case is a vital part of the lead-up to this momentous year, as is the Bridport prize's new Flash Fiction category and (shameless self-promotion warning) my week of flash fiction on Radio 4 in June 2010, perhaps? You hear it here first - if we talk about it enough, surely it will come true!

Sunday, December 06, 2009

Suprisingly delightful - my story rebroadcast on Radio 4 tonight

Thanks to Miriam, I discovered yesterday that my short story, Drinking Vodka in the Afternoon, which was first broadcast on Radio 4 in 2007 as part of a week of Afternoon Readings commemorating the 50th anniversary of the launch of Sputnik, was being rebroadcast tonight! It was wonderful hearing it again, and now the story is available on BBC iPlayer for the next 7 days, in case you want to have a listen.

Hearing it again was like being back with old friends. I was deeply attached to my main character, Mary Margaret, the first character in any of my stories that stayed with me after this one was finished and compelled me to write more. I have... the other pieces haven't found homes yet, maybe it's all supposed to go together, I don't know. And, before you ask: No, not a novel. No!


Thanks to Teresa for the Kreativ Blogger award, I have had one before but each time it is a great boost, that some of what I am waffling on about might be of interest to someone else.

And: following several comments about lack of readability of my new blog design, cool as it was, I have managed to tweak the template so that it is clearer - I hope! Dad, can you read this??

Saturday, December 05, 2009

Fiction and science and science fiction...

I had a great meeting on Friday with a physicist from the Uni's physics department, briefing me on an upcoming physics conference which he is hoping will inspire me to write some fiction. (This is the first step towards the start of my writer-in-residence position which I will take up at the University's Science Faculty in January. What form it will take -and who will fund it! - is still up for grabs.)

It is always a thrill for me to go into a science department! But what was interesting about this visit for me, as someone who studied physics 20 years ago and really didn't have what it took to be a physicist, is that this time I was looking at everything differently. My "eye" has changed.

For example, someone was stripping posters off the walls in preparation for a new coat of paint. Something about the remnant (see pic left) spoke to me, but not because I understood the equations. It was something more aesthetic, less about learning and knowledge than about symbols, patterns, shapes, colours.

As we walked to get coffee in the common room (is that the term?) he showed me some of the posters on the walls talking about the team's current research. Wonderful terms jumped out at me: Catastrophe Optics! Quantum carpets! And while I am most definitely fascinated by the science itself, it was another part of me, the writer part, itching to take these phrases, to twist and turn them, to make them my own.

In describing to me the Aharonov-Bohm effect, whose 50th anniversary the conference is to celebrate, he drew this on the board:



My first thought? Not - Oooh, look at those magnetic fields! But: It's an eye. I am seeing things differently, and, more than that, I am now allowed to see things differently, to see them however I want. And that is truly thrilling.

The most moving part of the meeting was when we talked about my short story, The Painter and the Physicist. It was read out at a Liars League event, and you can hear the actress read it or read the text here. Now, I thought I had made this up. I did. I made it up. I had no knowledge of anything like this, of anything that concerned the thrust of the story, in which the Painter asks the Physicist what colour he imagines electrons, protons, neutrons to be. So - imagine my astonishment when this physicist said that he and his colleagues have spent much time discussing what colour they think an electron is! Chills went down my spine.

This has happened before, me making up a story and then someone telling me that it happened to them. And it's ALWAYS freaky. And yet, in some way, gratifying. I can't really say why.

Finally, today's lovely news: there is a story I have been trying to write for YEARS. I mean this (as Vanessa and others can testify.) It is basically about a mother dealing with her son's very bizarre behaviour. I tried it in so many ways, coming at it realistically, trying to find out why the son behaved the way he did, showing it to many, many writing groups. Never hit it. Then I was inspired by reading Paddy O'Reilly's wonderful short story collection, The End of the World (my review here) to try a brand new structure, and suddenly a new language appeared, something more experimental, more visceral. Aha!

This happened after my book was finalised, so I held on to it. And now it has been accepted for publication by Electric Velocipede - a (paying) print magazine that wanted something "a little weird" and that I have been wanting to make it into for quite a while. Stories published in  Electric Velocipede and the magazine itself have won Hugo and World Fantasy Awards - THE  awards for so-called "genre" writing, (sci fi, fantasy, speculative, steampunk and other categories) which actually, I have found since setting up the Short Review, reward some of the most wonderfully-written and imaginative fiction I have had the pleasure of reading.

Reviewing the Logorrhea anthology (edited by Elec Velocipede's editor, John Klima) shattered my shameful misconceptions of "genre" fiction, and it has been a dream of mine for quite a while to cross this artifical divide myself. I liked to think I was writing "literary fiction" and aimed my stories at lit mags that fit this  - but once I released myself from these self-imposed restriction, I discovered a whole new world. I now subscribe to Interzone, the UK's leading sci fi magazine and love it. Open your mind!

Now EV's 4 issues for 2010 are full already, so my story, Under the Tree, won't be published til 2011. That's something to look forward to.

Thursday, December 03, 2009

Petina Gappah wins the 2009 Guardian First Book Award!

Huge congratulations to Short Review author Petina Gappah, whose collection, An Elegy for Easterly, has won the 2009 Guardian First Book Award, "the second short story writer to win the award in its 10-year history, " says The Guardian today, "the first being Yiyun Li in 2006. Gappah's collection of 13 stories, An Elegy for Easterly, tells of the lives of people, rich and poor, caught up in events over which they have little control."

"The Guardian's literary editor, Claire Armistead, who chaired the judging panel, said she was thrilled to name Gappah as winner, particularly since 2009 is the year of the short story. There had been some wonderful first books, she said, and 'Petina Gappah's humane and disarmingly funny mosaic of life in Zimbabwe is undoubtedly one of the very best.'"



Congratulations, Petina! Read my review of An Elegy for Easterly, an interview with Petina about the collection, and the rest of the Guardian article.

PS I didn't know 2009 was The Year of the Short Story! Did anyone know about this? Oops, it's nearly over. Let's do it again next year.

Wednesday, December 02, 2009

Cinnamon and Aesthetica

Nice news to wake up to: Cinnamon Press has accepted my flash story, Straight Up, for their microfiction anthology. This same story was the European winner of the Commonwealth Broadcasting Association's short story comp last year (you can listen to it here), and was just commended in Aesthetica magazine's's Creative Works comp.

It's always funny/weird to win something, to in some way "beat" other writers - a horrible attitude, I don't think that way - and you think it's subjective, it's the whims of the judge, which it is, to some extent. But then when one story does well in various places, you think, well, it must have "something" that is quantifiable in some way. But what? Who knows? I certainly don't. If I did, I would damn well try and keep doing it!

Anyhow, a day of warm and fuzzy feelings, and an outing shortly to buy myself clothes appropriate to this weather... 15 years in Israel has left me utterly unprepared for a British winter. (Yes, an excuse to shop.... did you spot that?!) Congrats to my fellow microfiction anthologees, I look forward to reading the book.


PS For those of you who have problems reading my blog posts/comments because of the colours, I highly recommend the Firefox browser,  which enables you to ignore the colours on any site and set your own, whatever is easier for you to read. Firefox has a lot of other benefits too...