Create a setting for your story

Buddhist monks and offerings cr Dipika Mukherjee

Author Dipika Mukherjee tells us how she came to set an award-winning novel in Shambala Junction, India, and advises how we can make setting play a role in our own writing.

One of the nicest perks about being a writer is that it is a great excuse to travel, all in the guise of research. Although Shambala Junction is an imaginary place, writing the novel took me on lovely long train journeys through India.

Mine your own memories

Shambala Junction begins with a rather jinxed train journey for the protagonist, Iris, an Indian-American young woman visiting India with her new fiancée. I mined the memories of my own childhood, especially the wonderful nostalgia of long train journeys from New Delhi Station to Howrah in Kolkata, to write Iris’s wide-eyed enchantment with the ubiquitous details of Indian life.

Every summer, when the heat drove Delhiites to cooler cities, my family would board the Rajhdhani Express for a 24-hour journey with a long halt at Mughal Serai. Mughal Serai in my childhood had makeshift stalls selling colourful wooden dolls; although, it is almost impossible to find these artisans at railway stations anymore, Aman’s stall is inspired by my vivid memories:

He had an array of colorful wooden dolls spread out in front of him on a pushcart: there were dolls with turbans and flared coats playing flutes and dholaks; there were men riding horses with colorful stirrups and dazzling sword-sheaths; there were dancers dancing with the left leg slightly on tiptoe, caught in mid-swirl in the disarray of flouncing skirts.

Iris was enchanted. She had once owned a dancing doll just like that one, a beloved painted wooden thing with a crack in the veiled head, a gift from some unremembered relative in her childhood.

New Delhi cr Dipika Mukherjee

Start with a vein of truth

I started writing this novel after being enraged at the tone of an article about ‘baby shopping’ which was about international adoptions fuelling child-trafficking in India. This is a global problem, not just limited to India, and the trafficking moves from one impoverished country to another as the authorities start clamping down on severe irregularities I wanted the western world to realise that we are all complicit in this, especially by pretending that if poor children are placed in affluent homes it makes the world a better place.

I wrote the first draft in about three months in Amsterdam, then I edited this novel over four years, toning down the rage and making the characters blossom into real people. A novel like this taught me that there are far too many victims in these stories to be a novel about the East vs West or the Consumerist North vs Impoverished South. This story needed nuanced characters, and I was very aware of how easy it was for me, as an author, to have them climb onto soapboxes.

Use your imagination 

So this story shifted, from being based in New Delhi, to an imaginary Shambala Junction, loosely based on Gaya. Gaya is an ancient city and a deeply spiritual place where the Buddha attained enlightenment. It has a real hill where the Buddha preached the Fire Sermon and a Mahabodhi temple, and these feature in the novel as well. At the same time, Gaya is also within the state of Bihar, which was at that time considered one of the most badly governed, lawless and corrupt states in India. I travelled to Gaya alone to get a sense of the place and visited the Mahabodhi temple, with its most international gathering of Buddhist pilgrims from all around the world alongside general tourists like me.

Buddha cr Dipika Mukherjee

I also visited the cave with an emaciated Buddha figure; an image rarely portrayed in Buddhist iconography, yet the rigors of attaining Nirvana would certainly have necessitated this condition. It was a startling image; a reminder of the frailty and mortality of all human condition.

The hill where Buddha preached the Fire Sermon was quite a trek, and in the novel, I transmute my experience into the voice of Emily, a Canadian woman wanting to adopt an Indian girl-child:

Emily raised her head. She could see the motley group of children heading for the next tourist bus pulling in. They had no time for play; it was work for them as long as tourists like her showed up. She felt her eyes prickle; so many children with miserable lives. Too many children who could not be adopted into better lives.

Beside a square white enclosure it was all brown on the hill. The rough-hewn rocks scattered on the dusty ground made room for brown shoots to limply wave in the wind. Her skin tingled with a tragic epiphany; on this hill, pregnant with religious history, she could see absolutely no signs of life.

Unlike Emily, I was left with a very happy memory by my trip to Gaya. During my visit to the Mahabodhi temple, as I sat under the Bodhi tree meditating with other people at the site where the Buddha had attained Nirvana, a stray leaf twirled down from the green canopy of the Bodhi Pallanka overhead and fell into my lap. That dried leaf is now framed and hangs in my home in Chicago; I like to think that the Buddha approved this story much before it found a publisher or won a prize!

Author Dipika MukherjeeAbout the author

Dipika Mukherjee’s debut novel was long-listed for the Man Asian Literary Prize, then published as Thunder Demons (Gyaana, 2011, South Asia) and Ode to Broken Things (Repeater, 2016, World). Shambala Junction is her second novel and won the 2016 Virginia Prize for Fiction (Aurora Metro, 2016). She won the Gayatri GaMarsh Award for Literary Excellence (USA, 2015) and the Platform Flash Fiction Prize (India, 2009). Her short story collections include Rules of Desire (Fixi, Malaysia, 2015) and edited collections Champion Fellas (Word Works, 2016), Silverfish New Writing 6 (Silverfish, 2006) and The Merlion and Hibiscus (Penguin, 2002).

Read my review of Shambala Junction tomorrow.

How to add drama to your writing

Gigi and The Cat by ColetteI recently read The Cat by French novelist Colette. Now, Colette was no slouch when it came to seeding her stories with escalating tension. Nominated for the Nobel Prize in Literature in 1948, Colette’s most renowned work is the novella Gigi, but for me The Cat far surpasses that tale.

It begins slowly enough with our introductions to Alain and his fiancée Camille; Alain’s beloved rescue cat Saha in the background. As the narrative progresses, Alain’s resentment of Camille’s position in his life deepens. The wedding takes place off-screen, hinting at how little significance this change in circumstance holds for Alain.

The newly weds move in together and muddle along relatively all right, until Alain brings Saha to share their temporary home.

The home, leant by a friend, is in a tall, skinny building the unhappy couple refers to as The Wedge. Their apartment is nine storeys up, and Saha quickly develops a tendency to sit “washing herself at length on the parapet” above the sheer drop.

Initially this behaviour terrifies Camille, but jealousy is a dark and unpredictable thing. Alain’s love-making is “hurried” and “peevish”, while he reserves all his warmth and affection for Saha.

In the first pages of chapter eight, Camille’s thwarted dreams of wedded bliss crack through to the surface. While Alain is out, she and Saha “were resting on the same parapet”, providing Colette with the perfect setting for a truly dramatic scene. “They exchanged a glance of sheer mutual investigation and Camille did not say a word to Saha.”

Instead, Camille behaves as if Saha is not there, perhaps pretending to herself that her “rival” truly does not exist. Yawning, stretching and pacing, she impels the cat to move endlessly, over and over, in the small space they inhabit high above the ground.

After a few near misses, “the cat was looking at Camille’s back and her breath came faster. She got up, turned two or three times on her own axis and looked questioningly at the closed door. Camille had not moved. Saha inflamed her nostrils and showed a distress that was almost like nausea. A long desolate mew escaped from her, the wretched reply to a silent, imminent threat. Camille faced round abruptly.”

As Camille strides to and fro, Saha has continually to dodge her feet to avoid being kicked, or trodden on. Rhythmically, the torture continues, with Camille feigning ignorance while forcing Saha to leap onto the parapet and back to the balcony floor to save herself, again and again.

And, as in any great drama, it is just as Camille is distracted and Saha has a chance to relax that the scene reaches its breathtaking climax.

My copy of The Cat by Colette is part of a volume published by Vintage in 2001, which also contains the novella Gigi. Buy it from Amazon.

What are you reading? Impressed by a particular scene? I’d love to know. I’m always happy to receive reviews and comments on books, art, theatre and film. Please send an email to Judy(at)socketcreative.com.

The power of reading aloud

Remember Me To The Bees launch photographer Pete GettinsThis month I’ll be doing readings at events in Cardiff and Bristol, sharing flash fictions pieces inspired by art, a short story based on the life of a lady aviator, and a tale prompted by superstition and the sea.

I love doing readings – it’s always somewhat terrifying, but at no other time do you receive such an instantaneous reaction to your work. I even enjoy reading out during sessions with the writing groups I attend. Somehow speaking the words I’ve written gives them life beyond the page, which is, in part, what every written word requires in one form or another.

With works in progress, it also helps me to hear where my writing would benefit from being tightened up or amended in some way. I sometimes wonder if the neighbours are ever puzzled to overhear me reading my latest story or chapter aloud, sometimes stopping mid-sentence as some previously unnoticed clunkiness or typos come to my attention.

If a sentence trips you as you speak it, something’s generally amiss. A few tweaks can smooth out the structure and rhythm, enrich each sentence, and get it closer to the flawless piece of prose or poetry you intended to construct in the first place.

If you haven’t tried it before, I definitely recommend giving it a go, even if it’s just you alone in a forest with an audience of trees. Even better, as one of my friends does, dictate your writing pieces into a Dictaphone or similar and play it back to yourself – you may find yourself cringing, but surely that will be worth it for the enhanced end result.

Time management for writers

quaffleToday’s guest post comes from writer Freya Morris, and offers some golden tips for managing your time and maintaining motivation to get the most from your urge to write.

Time’s a snitch. The golden type, that flies away from you in that awesome game that doesn’t exist – Quidditch.

Picture this: we writers are the seekers, up on our broom (which for the sake of this Harry Potter analogy, I’m going to say is the pen/laptop/whatever), squinting, trying to spot that tiny little glimmer of hope, find the time to write.

We just have to catch it.

Harry Potter golden snitch

I’ve been looking for the golden snitch for as long as I can remember. I stayed in my first full-time job for about three months before realising that I was nowhere near it. In fact, my head wasn’t even in the game. On my lunch breaks I read about playing, or caught up on the results of other writers who had caught the snitch hundreds of times before me. But this was getting me nowhere. So I worked out that if I went part-time, I could earn the same about doing an admin job and actually put pen to paper during the rest of my time. And so I did.

So you’d think that going part-time would be it, right? Game over. Snitch caught. We can all cheer. YAY! Go Gryffindor (or whatever your house of choice is).

Wrong.

Going part-time was like standing in the arena, broomless and without a clue how to play the game. I was in it, I caught glimpses of the snitch, but all I had really achieved by going part-time was space. By not grasping ahold of my broom and training, the arena soon filled with distractions: family, housework, chores, DIY and whatever. And in all this crap – the snitch could hide forever.

And it still does. Every day, it’s like playing a game of Quidditch and so many things get in the way of me catching that snitch – mostly, myself. Here are some things I’ve learnt in training along the way.

bludger

Beware the Bludgers

Rejections – they happen often, and most of the time you can dodge them and carry on. But the odd one here and there will smack you right in the face and throw you off your broom (ie – pen/laptop/whatever). But remember, it’s only temporary. The game is still playing, the snitch is still flying. You’re just floored for a bit. It might be a longer game than usual – days long – but someone has to catch the snitch before the game can finish. Make sure that it’s you.

This is where it’s probably good to get some Beaters on side, ‘Champions of You’ that can bat away any Bludgers coming your way. So stop playing Quidditch alone. Find your Beater today. They will greatly increase your odds of catching that pesky snitch.

Quaffing the Quaffle – scoring points and jumping through hoops

For me, this is all the stuff that I do that isn’t writing but supports my writing: social media, blogging, this very post, readings. Hit those Quaffles and score some points, but don’t forget to block some too when it’s stopping you from focusing on catching the snitch. The Quaffle gets you points, but ultimately, it doesn’t win you the game. Be your own Chaser, and your own Keeper.

Harry Potter brooms

Training 

Get on your broom regularly. Find out the best techniques for you. Find your heroes and read about them. Exercise – literally. Blood flow is good for the brain. Have specific goals, for now, next week, next year. (Listen to your own advice Freya.)

Once you catch that snitch, you’ll be thinking about the next game, and sometime you won’t catch it as often as you so desperately hope to. So if you want to survive being a writer, you got to know why you’re playing the game in the first place and enjoy it.

The hardest part for me is the first step, the shoe-tie, the picking up of the broom, the pressure on the pitch. And that… well I’m still learning to overcome. Any advice, especially HP related, do share!

Freya MorrisAbout the author

Freya Morris was named after the great explorer, Freya North, and lives up to her name by exploring other worlds in her imagination. For her flash fiction, she won the Yellow Room Flash Fiction Competition and came runner up in the Greenacre Writers Competition. Her short stories have been published in: Litro’s Friday Flash, Short Story Sunday, Nature’s Futures section, Popshot, and National Flash Fiction Day Anthology ‘Scraps’.

NB: Thanks to JK Rowling for providing the source material for Freya’s analogy. Freya has obtained permissions for all images used in this post.

How to write a short story collection

Knit graffiti in Arnos Vale cr Judy DarleyToday’s guest post comes from writer KM Elkes and offers an insight into the art of stringing a short story collection together.

Telling people you are working on a novel is easy enough. People ‘get’ novels. Even the least reader-ish person has probably read a couple, either because they were forced to at school or because they were part of Generation Harry Potter.

But a short story collection? Not so much.

Maybe that’s because short story collections are relatively unfamiliar – not so surprising when you consider bookshops force readers into an Indiana Jones-style quest to find them. They lurk unassumingly, a diaspora spread among distant bookcases, waiting for the day when someone has the bright idea to give them a shelf of their own.

But there’s a deeper issue too – even those in the biz, writers and publishers, are sometimes ignorant of what a short story collection really is. Which makes putting one together feel like a Sisyphean task.

Think about it. There’s plenty of advice out there on what makes a good novel – how to write it, pace it, plot it, sell it. But I’ve yet to Google a go-to guide on what constitutes a fantastic collection.

Most short story writers are busy just trying to make each story the best we can. The emotional investment is quick, deep and hard, the art tricky.  It’s only when you come to the point of putting your own collection together that you realise it’s not simply a matter of polishing up your bestest, nicest stories and pressing Send.

What does a short story collection involve? What does it need?

Well, in my opinion, many of the same things that characterise a good short story – unity of purpose and theme.

I’m not talking specifically about some clunky link (hey, watchya know, they’re all characters from the same street!) but something less obvious, spider silk thin at times, but there, somehow.

Runaway by Alice MunroLook at some wonderful collections – Alice Munro’s Runaway; Cathedral by Raymond Carver; Nathan Englander’s For The Relief of Unbearable Urges; Walk the Blue Fields by Claire Keegan. Whether or not the author planned it, there is a thread that runs through these books, located in place, or in an overarching theme, in the kind of lives they tackle and in that most intangible thing: voice.

Regardless of point of view, tense, sympathetic or abhorrent characters, regardless of timeframe or timeline, great authors have a voice, a way of storytelling that leaves an imprint on their collection.

Think of George Saunders at the frayed edge of satire, or the rich gravy of Saul Bellow’s language, the wry humour of Kevin Barry and Edith Pearlman’s precise concision – all give a shape that is the author’s own.

What can those of us putting our debut collection learn from this?

Being ruthless is necessary, especially with our earlier work. Yes they might have won prizes or been shortlisted for decent competitions, but do these stories fit with our latest work, where a more individual voice is starting to form? Perhaps it’s time for that tricky chat: “Thanks guys, we had fun, but I’ve moved on. It’s not you, it’s me.”

Tough love is also needed for the stories that are up to scratch, but simply don’t fit in. That cracking three thousand worder, which someone said reminded them of Jorge Luis Borges, probably won’t fit if you are building a reputation as the Cheever of Milton Keynes.

Even then, this process throws up fresh dilemmas. How do you know when you’re done? How do you know that the next story you write won’t be the one to top out the collection, the crowning glory that will pull it all together?

This is particularly tricky for me, and, I suspect, many other short story writers because I don’t (I can’t) write with a collection in mind. Story writing for me is a weird alchemy, when character, voice, theme and tone come together through some process that has little to do with the analytical part of my brain.

So time is important, to allow things to accrete. Maybe the key to creating a short story collection is the key to all writing – keep going, get better at it, read stories by people who are better than you, learn from them, accept your failures, don’t get carried away with your successes, rinse and repeat.

Eventually you may begin to ‘feel’ a group of stories huddling together. You sense a deeper resonance coming through, common themes being explored. You think – and this is as important as anything else – of a title that makes things tick.

Good advice is hard to come by, but fresh perspectives (note the plural), might help you push to keep creating new material or re-think existing work.

All of this points towards a simple fact – creating a short story collection is also about growing up as a writer, reaching a maturity which enables you to fathom how stories hang together, the palette you work with, the themes which gnaw at you and how that is not such a ‘bad thing’.

And that’s about as much as I can tell you. For now.

Author KM ElkesAbout the author

KM Elkes is an author, journalist and travel writer. He has won the Fish Publishing flash prize, been shortlisted twice for the Bridport Prize and was one of the winners of the Aesthetica Creative Writing Award 2014. He also won the Prolitzer short story prize in 2014 and wrote a winning entry for the Labello Press International Short Story Prize 2015. His work has appeared in various anthologies and won prizes at Words With Jam, Momaya Review, Writing WM, Bath Short Story Award, Lightship Publishing and Accenti in Canada. He blogs at www.kmelkes.co.uk and tweets via @mysmalltales.

KM Elkes will be sharing more of his writing expertise at free flash fiction workshops taking place at Bristol Central Library for National Flash Fiction Day (this Saturday!), along with NFFD director Calum Kerr and prize-winning author KM Elkes. The workshops take place from 1.30-4.30pm. KM is also taking part in An Evening of Flash Fiction, from 6pm at Foyles Bookstore Bristol, along with a number of other writers, including Zoe GilbertKevlin HenneySarah Hilary, Freya Morris, Grace Palmer, Jonathan Pinnock, and, well, me.

How to play with time creatively

Victoria Park cr Judy DarleyIn today’s guest post, author Kat Gordon talks us through how she went about weaving together different time periods in one narrative for her debut novel The Artificial Anatomy of Parks.

At its heart, my book The Artificial Anatomy of Parks is about family secrets and the damage they cause, and is told through interweaving narratives in the past and the present. The Parks are a larger-than-life, eccentric family, and Tallie – the protagonist – begins the novel as a young woman already estranged from them.She hears of her father’s heart attack, and visits him in hospital where she runs into other family members and is gradually drawn back into their world.

The more time she spends with them, the more she remembers her childhood, and teenage years, and the reason behind her estrangement, until she makes the decision to uncover what she sees as the biggest secret her family have been keeping from her: everything that happened the day her mother died, and how her mysterious Uncle Jack was involved.

Here are a few of the things I learned as I was writing the novel.

Innocence versus experience creates humour as well as poignancy

I knew from the start I wanted to depict Tallie, my protagonist, both as a child and an adult. When you’re writing from the perspective of children, you can have them say or do almost anything, because they don’t have the same sense of social niceties.

Most of the lightness in the novel comes from the dramatic irony of the adult Tallie recounting the younger Tallie’s actions and reactions with the benefit of hindsight and maturity. I think this distance is where the humour lies, and I really wanted that element in the novel, which covers some fairly dark territory at times. Weaving the two storylines together rather than having a more straightforwardly-linear narrative also allowed me to juxtapose Tallie’s happy childhood memories with her present day experience, lending poignancy to the narrative.

Victoria Park1 cr Judy Darley

You need to balance your timelines

On the other hand, when you’re writing adult characters they can analyse events better, and think about what’s happening around them in a more complex way, which is also very satisfying for the writer. On top of that, their actions can take on an added level of significance, either positive, or destructive, because they understand the concept of consequence, and that was very important for the pacing of the present-day narrative.

The narrative in the past follows Tallie from age five right up to twenty-one, five weeks before the novel starts, so it was always going to have a sense of progression and momentum, because we see her change so dramatically. The present-day narrative takes place over a period of roughly one week, so it could have felt too quick, or, given Tallie’s passive mindset at the start (she’s come to accept her lack of friends and family, and her unfulfilling job), it could have felt too slow. From the beginning, I was conscious of the fact that at some point in the present-day timeline she had to make a decision to become more active (knowing full well the risks and consequences involved), and that would be when the book kicked up a gear. It’s her decision to find Uncle Jack, who set everything in motion when he suddenly appeared all those years ago, that drives the book towards the big reveal at the end.

While I was doing the synopsising (more on that below), it also became obvious that I needed more of the present day (it was originally set over only three days), and that I needed to emphasise that arc so that it gained more of an equal weighting with the past (younger Tallie goes from happy, trusting and affectionate to unhappy and isolated; present day Tallie moves from brittle and damaged towards reconciliation, but that was getting lost).

You don’t want your readers to skip over one of the storylines to get to the other because they’re not as fully invested in it.

The form can help create suspense

Adult Tallie is able to drop hints about significant events – accidents, strangers arriving unannounced – in the past of which her younger self is blissfully unaware at the time. But also switching between the different time periods creates cliff-hangers, as the action in either the past or the present is interrupted for the other storyline.

These interruptions were something I could play up (for instance, by having adult Tallie comment directly on what’s just been happening in the past before the switch), or play down as I liked; in the middle section, just before Tallie starts trying to find Uncle Jack, I had a succession of very short scenes that switched rapidly between the two timelines, and that was meant to suggest her fractured, unsettled emotional state. So the form is really very useful on many levels!

Artificial-Anatomy-of-Parks-coverSynopsise!

Rather than writing the two narratives separately, I wrote The Artificial Anatomy of Parks as it reads, alternating between the younger and older Tallie’s perspectives. When I’d finished, I wrote detailed synopses of each scene on flash cards, and laid them all out on the floor (it took up a lot of space!). This really helped me concentrate on the pacing and allowed me to work out whether the revelations were happening at the right points; if something seemed to be happening out of sequence, I moved the cards around until it felt right.

If you’re setting the scene for a big reveal at the end (in my case, the big family secret), you have to make sure it’s ‘foregrounded’ throughout the novel, but subtly (you want to pique the reader’s interest, but not let them understand everything until the very last moment).

So although it can be time-consuming and nowhere near as fun as writing, synopsising is definitely something I’d recommend if at any point you’re worried about structure and pacing. In fact, for someone who is so terrible at timekeeping and organisation in real life, I’ve come to realise just how essential those two factors are in writing!

Kat GordonAuthor bio

Kat Gordon was born in London in 1984. She attended Camden School for Girls, read English at Somerville College, Oxford, and received a distinction in her creative writing masters from Royal Holloway. In between, Kat has been a gymnastics coach, a theatre usher, a piano accompanist, a nanny, a researcher and worked at Time Out. She has spent a lot of time travelling, primarily in Africa. Kat lives in London with her boyfriend and their terrifying cat, Maggie. The Artificial Anatomy of Parks will be published by Legend Press on 1st July 2015.

When metaphors come to life

Harriet's catAward-winning short story writer Harriet Kline tells us how and why she likes to use animals as metaphors in her fiction, but warns us that they sometimes they take on a life of their own. 

I talk a lot to my cat. I ask her if she’s having a lovely sleep, or if she knows how beautiful she is. I talk to other animals too. I’ve been known to greet butterflies, thank blackbirds for their songs, hurl insults at flies. Trees, recalcitrant computers, zippers also get comments aimed their way.  I know I’m not the only one. Plenty of people name their cars and tell hamsters not be scared when they lift them out of the cage. Once I heard a woman say to her dog, we’ve talked about this before.

For me, there’s a particular set of feelings that comes with addressing things that won’t reply: A sense of power perhaps, in knowing that my comments will not be contradicted. A sense of foolishness, especially if I’m overheard. And also a sense of creativity. There really is no significance in a fly buzzing at my window or a zip sticking on my favourite dress, but when I speak to these things I fill them up with meaning. I create a relationship with them, through my words. We all do. We gain a sense of ourselves, of where we are in the world by relating to the things around us.

This set of feelings also occurs when I’m writing short stories. I feel powerful, creative and foolish all at once. I believe the link is that as I create a narrative, I simultaneously fill it up with meaning. As the story unfolds, the deeper, metaphorical layer is revealed. So a story about a young woman who finds a ladybird caught in her blouse is really about how she finds a small but gritty determination to survive. A story where three siblings neglect their guinea pigs is really about their unwillingness to admit to any vulnerability in themselves.

Harriet's dog

How it feels to use metaphors in your writing

What really interests me is not simply that I use metaphor as a writer, (many of us do,) but what it actually feels like to do that. I am intrigued by the very moment when something becomes significant. That twinge of self consciousness when I catch myself in the act of appropriating meaning. The pause between addressing the animal and remembering that it definitely won’t reply.

It is this active interface with metaphor, that I wanted to examine in Familiars, my collection of short stories. I wanted to make that moment of self consciousness central to each narrative and explore its effects on a range of protagonists. In some stories the significant animal relationship allows a transformation: A young woman comparing a dog’s whining with her own, comes to accept her feelings of grief.

In others the protagonist resists the moment, refusing to see significance when it is clearly present: A teenage boy is horrified by his sister’s attempts to imbue a robot with character. He insists it can have no feelings because he would rather not to admit to his own. In some stories the moment is fleeting: A woman, unable to express herself honestly is struck by the hideous hawing of a donkey. In others it is stretched into something magical: A mother struggling with feelings of awkwardness transforms repeatedly into a hare.

I chose animals (and a few magically animated objects) for this exploration because I’m certain that the impulse to talk to animals is almost universal. I guessed that the interface between animal, human and meaning is something my readers would recognise. I also suspected that many of us have imagined how the animals might reply.

And it was here that I had the most fun with my writing. What would a cat say if it could speak its mind? How does a ghost dog feel when someone walks through it? I thought it would be difficult to put language into the minds of animals, but what I’ve learned through writing Familiars is that is even more difficult not to. When the cat walks across my notebook as I write, I can’t help imagining her thoughts: Hey, don’t look at the paper, look at me. Or when my friend’s dog brings me a ragged slipper in his jaws it’s impossible not to believe he’s thinking, love me, love me, go on, please. So it was almost a relief to give free rein to this impulse, and create whole narratives from the minds of animals. It was as if the metaphors I had chosen began to take on a life of their own.

And yet, I also wanted to show that this impulse to make meaning is really a human concern. It’s how we connect, how we love and learn, take our place in the world. So I decided that my talking cat would have no reverence for language and less for any moments of significance. Despite her abilities her priorities would still be the food bowl and a warm place to lie in the sun. And by doing this, I hope I was also able to suggest that for humans it is different. Language gives us a richer and more wonderful life. We thrive on stories and metaphors and I believe they are central to our humanity.

Harriet KlineAbout the author

Harriet Kline won the London Magazine Short Story Competition 2013 and the Hissac Short Story Competition 2012. She was highly commended in the Manchester Fiction Prize 2014 and has been shortlisted and longlisted elsewhere. Two of her short stories have been broadcast on BBC Radio 4. Familiars as a collection is as yet unpublished. You can read Ghost at www.hissac.co.uk/Ghost and and Donkeys at shortstorysunday.comChest of Drawers appears in The London Magazine April/May 2014. Hares appears in Story.Book, Unbound Press and Spilling Ink Review. If you are interested in reading any of the other stories, contact Harriet through her website www.harrietkline.com “and we may be able to come to an arrangement.”

How to harness your demons

Hamlet of Sachs Harbour, NWT, April 1992This week’s guest post comes from Joan Mettauer, author of Diamonds in an Arctic Sky, and explores how you can tackle life’s most brutal challenges by using them in your fiction.

The course of your life can change in an instant. I know it can, because mine did.

When I was young, I took too many things for granted – like life itself. Happily married, with two wonderful young sons, my world was suddenly turned upside down one sunny August afternoon when my eldest son died in an accident. He was just three weeks away from his third birthday. I became a bereaved mother at age 32, and a divorced, single parent at age 33. Unfair? You bet.

Having lived in various northern communities in Canada, I soon leapt at the opportunity to move to Inuvik, Northwest Territories, which lies high above Canada’s Arctic Circle in the ‘Land of the Midnight Sun.’ We all know, or have heard, that people deal with their grief in different ways; some eventually become addicted to prescription drugs, alcohol, illegal drugs, or even sex. I was on the downward, slippery slope to becoming an alcoholic when I finally woke up one day and said, ‘That’s enough.’

The Hamlet of Grise Fiord, the place that never thaws, on Ellesmere Island, Nunavut, 1976

The Hamlet of Grise Fiord, the place that never thaws. This is one of the coldest inhabited places in the world, 1160km north of the Arctic Circle. Visited on a supply trip, 1976.

The Compassionate Friends, a grief-support organisation for bereaved parents, encouraged me to keep a diary, and to write about my grief. I couldn’t do it though, as my feelings were just too raw at the time. Their suggestion was never far from my mind, though, and 25 years later I finally found the courage to put into words my most private thoughts and feelings. My first novel, Diamonds in an Arctic Sky, is the result of my determination to face grief head-on.

Write what you know

Diamonds in an Arctic Sky-JoanMettauer-CoverWhen I retired and decided to start writing full-time, it was quite natural for me to write about the things I knew best – living in the north, and surviving the death of a child. My books’ heroine is Andi Nowak, and her life mirrors my own. Through Andi’s eyes and emotions I was able to pour out my own story, without having to think twice about how Andi was feeling. I knew exactly how she was feeling at all times. The serenity and beauty of the north play a large role in healing Andi’s ravaged emotions, and helping her come to terms with her grief. I feel that having something, or someone, important in one’s life is an essential element in restoring peace and equilibrium.

Add some dazzle

While plotting out the storyline for Diamonds in an Arctic Sky, it quickly became apparent that I would have to add something ‘extra’ to make the story more intriguing and readable. Alas, my life, interesting as it was to me, needed some perking up! I thought it would be great to add mystery and suspense to the story, and at the same time tell my readers another little-known fact about Canada’s north – we have a flourishing diamond mining industry. So I created a fictitious diamond mine near Inuvik (the real mines are all closer to Yellowknife, near Great Slave Lake).

I have read quite a few ‘how to’ books for writers, and also realise that to make my characters more believable, they must have struggles, internal battles and low points in their lives. Andi’s battle with alcoholism seemed like a natural and believable fit into the story, and gave her another personal challenge to overcome.

In my case, turning the events of my life into a work of fiction proved to be remarkably easy. The basic theme of the story echoes my life in Inuvik. The wonderful people I met in Inuvik made a huge impact on my life, so it seemed natural that most of the characters in my book, with the exception of North, Andi’s friend and eventual lover, are based on people I knew or worked with. Fictitiously, of course!

Joan MettauerAbout the author

Joan Mettauer was born and raised in Alberta’s heartland in Canada. Her love affair with aviation was sparked at an early age, and she dedicated most of her working years to the flying business. Living in various Northern communities, including Lac La Ronge, Saskatchewan and Yellowknife, Northwest Territories, she travelled throughout Canada’s Arctic. Her final years in the aviation industry were spent in Inuvik, N.W.T., from where she bid farewell to the North. Now retired, she resides on Vancouver Island, British Columbia, with her husband. Diamonds in an Arctic Sky is Joan’s first novel.

How to write hungrily

dad, me, shan 1962

Dad, me and Shan, 1962 © Lynne Rees

In today’s guest post, Lynne Rees, aka the hungry writer, shows us how to use the ‘taste of memory’ in our writing. All images in the post were supplied by Lynne.

What’s your earliest memory of food? Mine is Farley’s Rusks, those flattened domes of featherweight biscuits my mother bought for my baby brother. I remember eating them dry, their distinctive sweet wheatiness, or in a bowl with milk where they transmuted into an immediate sludge. I don’t remember the occasion of this photo though, eating chips with my older sister and father on holiday in North Wales. It is 1962. I am four. The year before our brother is born.

Welshcakes cr Lynne Rees

Welshcakes © Lynne Rees

While I was teaching creative writing at the University of Kent a couple of my students commented that I couldn’t get through a seminar without mentioning food or drink. Really? I didn’t set out with that intention. There were no references to food in my lesson plans. But, yes, they were right. A bruise could be the colour of raw liver; the scent of bread heavy with promise. And, of course, if I was teaching around 1st March – St David’s Day, the patron saint of Wales – whichever writing groups I was leading that week got to taste my homemade Welshcakes.

To misquote a popular song, food was all around me!

And there was more. More than I realised. In The Oven House, my first book published in 2004, food is comfort, a metaphor for healing. It appears in my poems in the company of children, an unsettling chip shop owner, a bare-breasted woman striding down the street of a Californian town. And since 2010 it has been the central ingredient in the hungry writer’s weekly blog, a place where I eventually settled to record the moments when food, words and life collide.

Penrhyn railway bridge food cr Lynne Rees

Penrhyn railway bridge food © Lynne Rees

As writers, how do we recognise those compulsions and passions that are worth exploring, the ones that will ultimately feed us and our readers? I’ve come to the conclusion that everything feeds us: the ideas and projects that end up as insubstantial as cappuccino foam as well as the ones that rise like sweet cake and stay risen. I recognise that the process of writing, fully engaging with the discipline and boundaries of our work, is ultimately nurturing, and often delivers in ways we hadn’t planned or anticipated.

The first year of the hungry writer blog, with my self-imposed boundaries of posting weekly without fail, on the subject of food and family, and keeping in mind the idea of simple story telling rather than trying to impress with literary fireworks, gifted me the greater part of my fragmented memoir of home, forgiving the rain (Snapshot Press 2012).

If I hadn’t found that particular story-telling voice, upbeat but not flippant, accessible but with meaning and emotional depth, then I doubt I would have been commissioned to write Real Port Talbot (Seren Books 2013), a psycho-geographical account of my home town in South Wales.

Writing produces writing. It’s that simple. Not always a feast, of course. We have to be prepared for flops and indigestible left-overs. But even they can end up being recycled: our very own writer’s compost.

Food remains my passion on the hungry writer and although the years have seen me expand my original boundaries of food and family to include friends, travel, guest posts, books, social commentary and even jokes, the weekly writing prompts have been a constant. They are obviously formed in response to the specific memory, experience or insight I’m writing about that week but I trust they are universal enough for other writers to use in the exploration of their own lives and imaginations, to assist in lifting the lid on the scents and flavours of their own passions. Dancing, architecture, family history. Music, mountains, mathematical equations. The list is infinite. And if you haven’t identified a passion in your life yet? Don’t worry. Just write and keep on writing. Go deeper. What matters will eventually make itself known.

Hungry writing prompt
Write about a scent that reminds you of home.

 the docks cafe cr Lynne Rees

Lynne ReesAbout the author

Lynne Rees was born and grew up in Port Talbot, South Wales, UK but left in 1978 to work in offshore banking in Jersey, Channel Islands. She moved to Kent, UK in 1985 where she opened and ran her own second-hand and antiquarian bookshop, Foxed & Bound (the inspiration for her novel, The Oven House), for twelve years. She began writing in 1988, obtained her Master’s degree in writing from the University of Glamorgan in 1996 (studying under the celebrated Welsh poet, Gillian Clarke) and was  awarded an International Hawthornden Fellowship in 2003.
The Hungry Writer: Eat, Live Write, a collection of stories, reflections, poems, recipes and a year’s worth of writing prompts will be published by Cultured Llama in Autumn 2015.

A cuppa with writer David H Worsdale

David H Worsdale photo by Michael SlaterDavid H Worsdale has published many children’s poems, and recently brought out his first full-length novel for children, titled Pedro and the Magic Marbles. Today we settle down over a cosy cuppa for a chat about how David maintained his motivations (and retained his marbles) over the novel’s 40-year writing period.

Kettle’s on. What do you fancy?

Strong tea with milk and one sugar, please!

What prompted you to write Pedro and the Magic Marbles?

It was a major idea that came into my head back in 1973. The book’s aimed at children aged eight years and older.

Who were you initially writing it for?

It started life as a short story on three sides of A4 paper when I used to write the Children’s pages for the company weekly magazine while I was working in Saudi Arabia. It was then call The Magic Marbles and was serialised over a period of about six weeks.

Marble cr David H WorsdaleHow did you maintain your energy and interest in the tale over that 40-year period?

Over the years I just added to it now and then. That was before computers and so it was typed using a portable typewriter. When I learned to use a computer then I re-wrote it and was able to save it in the computer’s memory. Sometimes a gap of a couple of years would go by before I looked at it again. During the past ten years or so I joined a couple of websites where likeminded people had the same interests as myself and so that encouraged me to stick at it. We would review one another’s work and comments would be passed about what we had read. Lots of these comments were really helpful.

How much time did you spend re-writing and editing the story?

Whenever I started to write again I always had to read through what I had previously written to keep me up to speed with the story and plot. as well as the characters’ names and how they fitted into the story. (As I get older the ‘personal memory bank’ is not as good as it once was!).

Pedro and the Magic Marbles cover

Once complete, how did you go about seeking a publisher?

I’ve sent emails and letters to various publishers whose addresses I obtained from Children’s Writers’ & Artists’ Yearbook & received a call from Xlibris Publishing and Print on demand company, offering to publish the book for me. They said they could publish it for me and the cost of editing would be included in the price. I decided to give them a chance and sent them a copy of the book. In due course they sent me a copy of the front of the book and asked for my approval. I was very pleased with it and gave them permission to go ahead and publish. It was made available on Amazon from day one, either in book form or for Kindle.

How did it feel to finally see the novel published?

It felt really great. All my family and friends were delighted with the completed version.

David H Worsdale at The House of Marbles Museum, photo by Michael Slater

David H Worsdale at The House of Marbles Museum, photo by Michael Slater

Have you had a book launch?

I have not had a book launch. I suppose really because I could not afford to buy enough books to have one. I did go in to see W.H.Smith and Morrison’s but they were not interested. I had the same response from The Works. I did get it accepted by the Dorset Library and there is a copy in the Weymouth Public Library and the Wyke Regis Library. Equally we did have a low-key launch session at the House of Marbles Museum in Bovey Tracey.

How important to you feel a book launch is for an author, and for a book?

It is probably very important but for me I could not afford a  major one on my own.

What advice would you offer someone embarking on their first novel?

If you have belief in your novel, stick at it. Don’t be afraid of criticism some of it can be very helpful. Beware of people who say they can help you but at a cost, which may be un-affordable for you.

Now that the novel is published and out in the world, what comes next for you?

It would be very nice to have it recognised nationally and for myself to be seen as a credited author. I do have a collection of children’s poems, which I hope one day to have published in the form of picture books.

I look forward to seeing those! Thanks for dropping by, David. Hope you have a very Happy Boxing Day!

Photos of David used in this post were taken by Michael Slater. Thanks Michael!