Friday, 21 December 2012

'Stop' - a #FridayFlash


Everyone in the office looked shocked to see Mike when he walked in. He knew he wasn’t looking his best, but he also knew that wasn’t the reason for their look. He had sat in the car for ten minutes, wondering if this was the right thing to do, but was unable to think of anything else. He was awake, he was dressed, and it was only Wednesday, so it was time to go to work.
His clothes were rumpled and stained. He had been wearing them since yesterday morning –only yesterday? – and he hadn’t even had a chance to change his underwear or socks. But it was a work day, so he was there.
As he had stared out through the windscreen, hot eyes following the teardrops of rain which ran down the windscreen, he had attempted to gather himself together ready to face the day. He had scrubbed his hands down across his face, hearing and feeling the sandpaper rasp of stubble on his palms. He had known he looked bad, with his hair unwashed and his body reeking of adrenaline sweat, but it was Wednesday, so he had to go to work.
The shocked looks followed him to his desk in silence and gathered around him. No-one left their desk, no-one said a word. They all knew what had happened, but none of them knew what to say. So they said nothing. Mike wasn’t surprised. He was the one it had happened to and he didn’t know what to say either. But it was a work day, so he was here.
He sat at his desk and stared at his computer. He didn’t type anything, or touch the mouse. But when the phone rang he picked it up and answered. His voice sounded normal to his ears, and he asked all the right questions and gave all the right answers. He made no notes, made no move even to pick up his pen, and as soon as the phone was returned to its rest he had forgotten it all. In his mind, all he could see was his wife where he had left her: sitting by Daniel’s bed, still in the jeans and t-shirt she had been wearing yesterday, her knees pulled up to her chest, her hands over her face, and every fibre of her being forcing him from the room, forcing him to leave her alone in her grief. Downstairs in the kitchen the radio had told him it was still only Wednesday morning – the spirits had done it all in one night! – and that it was time to go to work.
At lunchtime he went to the cafeteria. He bought a meal deal without speaking to anyone, enduring the stares and the whispers, and sat at his usual table with the sandwich and the crisps and the drink unopened in front of him. He looked at the food and knew that Daniel would never eat anything again. After ten minutes of sitting, he placed the unopened box, bag and bottle in the bin and returned upstairs for the afternoon’s work.
No-one spoke to him as he sat at his desk, but from time to time one or another of his colleagues approached him. He didn’t look up or acknowledge them, but carried on staring at his blank monitor screen. He was waiting, but he didn’t know for what. He was just waiting. Whichever colleague it was would stand behind him for a time, from moments to minutes, and then would retreat again. Mike heard the whispered conversations that followed these attempts, but the words were meaningless to him. There had been whispering in the hospital, between the doctors and the nurses, but it had also meant nothing. All that had mattered had been his son’s swollen face, the glass-filled gashes on his chest, and the feel of his small hand holding onto Mike’s much larger, but utterly helpless one.
When five thirty arrived, the other people in the office started to pack up and leave. One person placed a hand on Mike’s shoulder as they passed, but still nothing was said. Mike took that as he cue. He stood and left the office with the others. He stood, silently, in the lift with them. He walked out of the building with them and returned to his car.
He sat, staring out through the windscreen, into the dark winter evening, as the car-park emptied around him. The black windscreen played images to him, of his wife dropping the phone and falling to the floor, screaming, of Daniel’s chest rising and falling, rising and falling, hitching and stilling,  and of himself being pushed backwards by a passing doctor as a single tone filled the world and everyone had a job to do except for him.
He watched these memories as they looped, over and over. He wanted to scream and cry, but he couldn’t. His hands tightened on the steering wheel and nothing happened. He thought about driving home. He thought about driving away. He tried to imagine that Thursday might follow on from Wednesday.
He sat in his car as evening turned into night.

Monday, 5 November 2012

What Keeps Us Going - Guest post from Jonathan Pinnock

[As part of the blog tour for his new book, Dot, Dash, Jonathan Pinnock shares his thoughts on how to keep going in writing...]



Back in the day, when I was starting out as a writer (well, not quite, but we’ll come onto that later), I used to stalk other writers. The ones who won things. The ones who were getting their stories published. The ones who were, in summary, more successful than I was. I would devour their blogs to find out where they were scoring hits and why.

Just as I was beginning to clock up a few scores myself, one of my stalkees suddenly went off air in 2008. There seemed to be no apparent reason, because he still seemed to be doing pretty well. I used to wonder if he was OK and if he was, what it was that had caused him to throw in the towel.

Last week, however, his name – or at least the name of a piece of his that I’d particularly liked – popped up again in a new anthology, and I went hunting for his blog. Unexpectedly, it was still there and even more unexpectedly he seemed to have resumed blogging and writing earlier this year. There was no real explanation for the hiatus.

He isn’t the only writer I know of who has suddenly gone offline, although he’s probably one of the more successful ones. And I think this happens more often than we night imagine. You need a considerable degree of determination and sheer single-minded pigheadedness to succeed as a writer.

I wrote my first story since leaving school (actually, my first since O level) in 1986. It was an idea I’d had for ages and I thought it was completely brilliant. I wrote it for a competition run by none other than Rymans (really!) and because you could enter two stories for the price of one, I wrote another. The second one was unfortunately complete bollocks, and I knew it.

Impressively, you got a half-page critique for each story, which basically confirmed that the second story was indeed bollocks, although the first one had some promise. However, as hard as I tried, I couldn’t come up with any ideas for other stories and this basically meant I had one single story to submit anywhere. Which I duly did, a year later, to the BBC. And when this inevitably got rejected, I gave up.

In 1993, after a brief flirtation with writing books for my kids, I wrote another short story, which I submitted to the Ian St James Award (remember that one?). This one was Highly Commended, the significance of which completely passed me by. I wasn’t encouraged at all by this – in fact, I was extremely disappointed that it didn’t win, because I was convinced that it was utterly, utterly brilliant.

I also joined my local writers’ circle at around this time and managed to write another story (my fourth!), which won one of their internal competitions. After a few desultory attempts, I found a home for this at a magazine called Freelance Informer, which had an acceptance rate somewhere slightly above 50%, but never mind.

I wrote a few more stories during this period, but I was painfully aware that they were already dropping in quality and I gave up fiction altogether around 1995. It wasn’t until ten years later that I found my way back, when I joined the circle again. Two years after that, I found the writing communities on the internet and since then I haven’t really looked back.

I often wonder what would have happened if I’d stuck with writing stories in either 1987 or 1995. Did I just give up too easily? And how come I did manage to stick with it in 2005? What kept me going this time? Certainly, this time around, I found some wonderful support groups to help me stay sane, both in real life – where the Verulam Writers’ Circle had become a lot stronger and more fiction-focused – and online.

But maybe it was simply that this time I was ready. And the other thing, of course, is that even when I wasn’t writing fiction, something inside me had never really given up and was always looking for the chance to get going again.

Wednesday, 24 October 2012

Painting by Numbers by Tom Gillespie - Book Review

Painting by Numbers is the new novel from Tom Gillespie, previously available on Kindle, and now out in paperback.

To start off with, I need to say. This is a weird book. Now, that may sound like a criticism, but it's really not. I like weird books.

So, you might be asking yourselves, why did I feel the need to mention this? Well, I was expecting a psychological thriller - and I certainly got one of those. What I wasn't expecting was that it would be so... well... weird.

The book opens in Glasgow where our protagonist, Jacob Boyce has become so obsessed with trying to understand the nuances of a particular painting that he is in danger of loosing both his job as an academic and his wife.

His attempts to understand the picture include quite a lot of convincing mathematics (which I suspect is bogus, but it's a testament to Gillespie's research and writing that it seems to make sense, at least as much as anything does in this book) which is actually something I found hugely appealing. As strange lights start to emerge from the canvas, and the figures depicted within start to move, the grounding nature of the maths gives is a solid reality. And I've always been a bit of a science nerd, so it pushes those buttons for me too.

At about a third of the way through, the book changes location to Spain, and most of the book plays out here. I don't want to go into the plot too much, as I don't want to give anything away, but what started as one man's obsession over a painting becomes a kind of demented road-trip, where things get stranger and stranger.

There are, I think, a couple of mis-steps in the book. The comedy interludes in particular - from a police inspector and a bus driver - seem to have been dropped in, and jar somewhat with the overall tone as you read them. But as the book turns more and more weird, even they seem in retrospect to be completely normal.

This is a well-written and gripping book. The character of Boyce is by turns extremely likeable and sympathetic, and then equally strange and disturbed. The description of it as a surreal psychological thriller is an apt one for a book which includes the degeneration of a man's mind and body, art history, space-bending mathematics and free jazz.

It may be weird, but it's my kind of weird. A great book, and well worth a read.


You can pick it up now on Kindle or paperback from Amazon.
http://www.amazon.co.uk/Painting-By-Numbers-Tom-Gillespie/dp/1908910372/ref=tmm_pap_title_0?ie=UTF8&qid=1351106425&sr=1-2

Friday, 12 October 2012

Free 31 Day!


Hello everyone and welcome.

Today is a special day because from 7am today (Friday) until 7am tomorrow (all times BST), I'm giving away free Kindle copies of my flash-fiction collection, 31.

If you are in the UK, the link is
http://www.amazon.co.uk/31-ebook/dp/B007KCXV5M/ref=sr_1_2?s=digital-text&ie=UTF8&qid=1349960792&sr=1-2

If you are elsewhere in the world, just change the .co.uk to .com, .de or whatever, and you can get it there.

Please share the link to this blog, and to the free e-book, and let's see if we can't get it to top the rankings on Amazon.

If you don't have a Kindle, you can download free programs to read Kindles on your computer or phone, from http://www.amazon.co.uk/gp/help/customer/display.html?nodeId=200995220

I'm giving it away to promote the fact that plans are starting to be formulated for next year's National Flash-Fiction Day (sign up for the mailing list by emailing nationalflashfictionday@gmail.com) and I wanted to give you some incentive to get involved.

I am also hoping that you will read it, enjoy it, click the 'Like' button on the top of the Amazon page, review it on Amazon, and maybe review it on your own blog or website. Reviews really do generate sales, so if you could do this, I would be really grateful.

Along with all of this, and because there are apparently some people who don't have Kindles (though I'm sure Amazon are working to rectify this oversight!) I am also giving away a free copy of the print version of 31.

Rather than simply holding a random lottery, I thought I would make it a little bit harder, by giving you a quiz. So, below are 6 questions for you to answer. Most of the answers are  somewhere on my website at www.calumkerr.co.uk, so get yourselves over there, have a rummage, and you could be the proud owner of only 3 remaining copies of the original printing of the book.

Email your answers to calum AT calumkerr DOT co DOT uk (replacing the words with the symbols) and I shall pick one lucky winner out of a hat once I have all your correct answers.

So, without further ado, here are the questions:

1. When were the stories in 31 written?
2. On what date was the Kindle version of Undead at Heart published on Amazon?
3. When does my next Flash-Fiction Online course start?
4. At what age did I start writing?
5. Which book did I examine for my York Notes study guide?
6. Which publisher produced Braking Distance?

And that's it. Should be easy enough. Find your answers and email them over with '31 Competition' in the subject line, please. The competition finishes at 7 am (BST) on Saturday 13th October (the same time as the 'free' period on Amazon finishes). And I shall announce the winner here on my blog sometime over the weekend.

Good luck, and I hope you enjoy reading and reviewing 31!
Calum

Thursday, 4 October 2012

Happy National Poetry Day

Hello there, and Happy National Poetry Day!

As most of you know, I rarely delve into the realm of poetry, leaving that to the more able, but what with it being the Day for it, and with the theme being 'stars', I thought I would share this poem which seems to fit with the theme.

I wrote it a few years ago in a NAWE workshop, lead by Liz Cashdan, . She managed to help me produce something which I think is not half-bad, and it was the first time I'd been able to write about my father, who was ill at the time and passed away soon after.

So, this is for all you poets out there, hope you have a great day.

And this is for my dad.



An Echo

"Have you ever looked at the stars?"
He looks away, even as he speaks.
I ask him what he means
but he says nothing more,

simply walks away
adds gin to his glass,
but not tonic,
and leaves me watching him,
waiting for the next pearl to drop,
like waiting for the next train to pass,
the next beat to sound, or
the next breath to draw.

Instead we talk about my work
and his garden,
my life
and his seedlings,
my beliefs
and his tomatoes.
And yet I remember this:
"Have you ever looked at the stars?"

I remember as he falters.
Waiting for the next beat to sound.
Waiting for the next breath to draw.
Waiting for the end

I remember.
"Have you ever looked at the stars?"
and in the silence I turn away
to look at the night sky.

Friday, 28 September 2012

The Potential of Crowd Sourced Funding for Writers - Adam Horovitz

A poet friend of mine, Adam Horovitz, has recently used crowd-sourced funding to raise money to help him with his next collection of poetry. I was fascinated by this possible solution to some of the perils of the funding sector, so asked him for his thoughts.



What do you know about crowd funding? It's a pertinent question in these hard times for arts funding, politically and economically. I discovered it thanks to following the musician Amanda Palmer on Twitter, watching with increasing astonishment and delight as she raised an incredible $1.2 million to fund her latest album, having originally asked for $100,000, claiming that this method of funding was the 'future of music'.

As the year progressed it got harder and harder to be a freelance writer - anyone following that career path will surely know what I mean, although no-one in the creative industry or the job market in general can be finding things that easy at the moment - I began to think that crowd funding might be a useful way to help get myself to the Hawthornden Fellowship I had been offered last year, when things were a little less financially constrained.

I got the fellowship on the back of my first book, Turning, which was published by Headland Publications last year. It offers unconstrained time and silence in a castle in Scotland to write. Trouble was, I was beginning to think that I would have to pass on the opportunity because work was so fragile and hard to come by. Who'd want to sit in silence in a castle not writing because of mortgage worries, after all?

So I went to Sponsume, one of a number of crowd funding websites that have sprung up in the last few years, and set up a campaign to try and buy myself time to work on my second book of poetry.

The beauty of crowd funding is that it takes the funding of artistic ventures right to the heart of the audience who are interested in the art. One is encouraged to offer 'rewards' for people who contribute - in my case, I am offering anything from limited edition postcard poems to a very limited number of private readings to people who contribute.

I have agonised about the naked-making feeling that such an open form of money-raising engenders, and the risk of making oneself look foolish, greedy or just plain arrogant, but have been gratified by the response from many people, some of them friends, some family and some (and this is the most wonderful part for any artist) people one doesn't know who either like the art in question or like the idea of supporting an artist. It is also a wonderful feeling to be able to offer them all something in return.

I don't think crowd-funding is the best way of raising really large amounts of money, unless one has the social networking nous, fanbase and reach of someone like Amanda Palmer, but I do believe it is an excellent way of creating small but potent amounts of money for individual projects and (and this is important) creating publicity for them that is not mired in corporate profit-mongering.

At the Free Verse Book Fair, I had an interesting discussion on the ethics of this sort of fundraising with Adele Ward of Ward Wood Publishing. There was some concern that raising funds for, say, a new anthology of poetry via a company like Sponsume would smack of vanity publishing.

There is a telling difference between crowd funding and vanity publishing, however. With crowd funding, poets included in an anthology can promote it to friends and family via Facebook, email, Twitter and so forth without ever having to fork out a penny, alongside the publisher who should be equally hard at work promoting it, and the people supporting it will get copies of the book as 'rewards' when the funds are raised. If they want to put more money in, these 'rewards' can be increased in desirability by adding limited editions, signed copies and more. What could be better in small press publishing than a publicity-generating pre-ordering system?

Even projects like mine, which are more personal, are viable if it is clear that there are goals in sight. In my case, when I was offered the Hawthornden Fellowship, my publisher perked up and said: "Oh, good! I look forward to seeing the next manuscript!". Without that in mind, I would have felt much more uncomfortable about setting up the campaign.

I also equivocated early on about the ethics of such a project on Facebook and was gratified when the poet Jon Stone fired back with the comment (and I'm paraphrasing a little, as it's hard to find the exact comment immediately on Facebook's clumsy Timeline): "I'd rather see 100 poets funded for a month's retreat than one poet funded for a lifetime's career".

It's this attitude that makes crowd funding exciting for me - the possibility that many people who might not find it easy to get a creative project off the ground, given the bureaucratic hoops one is expected to jump through with big funding bodies, could find that they suddenly have the time (with a little careful thought and a fair amount of work sat at the computer gritting their teeth and promoting it) to do something marvellous with the support of family, friends and people interested in their art.

As my campaign draws to a close, I realise that the process has been somewhat akin to the feeling I get when I test a new poem out on front of an audience for the first time. There are nerves, palpitations, the worry that it might not be liked. I have noticed and edited out flaws as I have gone along, and made the campaign stronger. It seems to have gone down reasonably well this time. I might try it again some time, but not for quite a while.

Before that, I want other campaigns to come to life. I want to see more writers and creators of all sorts getting their ideas out there and promoting them. Crowd funding may not be the future of arts funding (joyous though Amanda Palmer's hyperbole was to watch), but I think it could and should play a large part in that future.

I will certainly be looking out for good campaigns to support as and where I can when I get back from Hawthornden. More power to your crowd-funding elbows!

To take a look at Adam Horovitz's Sponsume campaign, or even donate if one of the 'rewards' tickles your fancy, click on this link: http://www.sponsume.com/project/help-send-poet-hawthornden-fellowship-0



Adam Horovitz is a poet and journalist. Born in London in 1971, he was raised in Gloucestershire. He was poet in residence for Glastonbury Festival's official website in 2009, was voted onto the Hospital Club 100 as an 'emerging talent' in 2010 and is a 2012 Hawthornden Fellow. His first collection, Turning, was published in 2011.

Tuesday, 25 September 2012

An interview with Joel Willans - Pangea Blog Tour

In support of the recent release of the fabulous anthology, Pangea (http://www.amazon.co.uk/Pangea-Anthology-Stories-Around-Globe/dp/toc/0857284630), I am interviewing one of the writers included in the book, Joel Willans:



So, Joel, you’re a writer. In case my readers don’t know who you are, can you give us a potted biography – what you’ve written, what you like writing, etc?

I’m a Brit living in Finland who writes lots of different things depending upon which hat I’m wearing. I’m a partner at a communications agency called Ink Tank, so one day I might be doing copywriting, the next blogging, the next scriptwriting. As for fiction, I’ve been into short stories for about six years, though there’s been a lot less time dedicated to that pleasure since the arrival of two little Willanses, Eliot and Lotte. Despite their wonderfully energetic presence, I’ve managed to write stories for about two-dozen anthologies and had a couple broadcast on BBC radio.


You’ve recently been putting together a collection of stories for Route, called Spellbound. Can you tell us about that and how it came into being?

It came into being from another collection, which got shortlisted for the Scott Prize in 2010. I was very pleasantly surprised that it made that list and, after it lost out on gold, I decided to try and polish it up, take some things out, write some new stories and send the new improved version out into the wild. Route had a call out for manuscripts at the end of 2010, so I sent it to them. I eventually met up with Ian Daley of Route in September last year and we sat down and went through the manuscript over a beer or two.

It was a fascinating experience to have someone really dissect the stories, and after a few hours it became clear that they weren’t linked by the themes I’d thought, but by the way women weave their magic, both good and bad, over men. After some more editing and some more new stories added and some others taken away, there are eighteen stories all together. The main characters include everything from pimps, janitors and music journalists to old sailors, composers and bricklayers. The one thing they all share is that women are messing with their minds.

It’s taken quite some time to get everything ready, mainly because my daughter was born the month Route agreed to publish the collection. I discovered very early on that sleep deprivation really isn’t conducive to editing. Thankfully Route were really patient with me and Spellbound is now due out at the end of October.

  
You’re here as part of a blog-tour for the Pangea anthology. How did you get involved with that, and what is it all about?

To be honest, it was mere good fortune. A few years back, I was a member of Writewords. It’s a fantastic online writing community full of really supportive people. During that time I shared a lot of my stories with people to critique and a couple caught the eye of Rebecca Lloyd, a great writer who really helped me out at the time. Her and another Writewords member Indira Chandrasekhar wanted to put together an anthology to showcase some of the fiction that comes out of the community. Pangea is the result. It includes thirty-four stories from writers from all over the world and is, even if I do say it myself, a fine read.


What’s your writing process? How do you go from idea to finished piece?

It really depends what I’m working on. For short stories one of my favourite ways of writing is from prompts. This is great to do with a group of like minded writers, a list of random words or phrases and a time limit, normally an hour. Sometimes I can knock out a complete story like this, more often I conjure up a thousand words of rubbish. Yet in the cold light of day even this can be useful. The first draft of one of the stories I have in Pangea was written like this and maybe half of those in Spellbound. The great thing about using this writing technique, for me at least, is that I don’t have time to self edit as I write and the stories are totally different to those I’d write if I sat down at the keyboard with a plan in mind. I know some writers who call this “writing drunk” because you give the creative right side of your brain the freedom to go crazy. I think it sums it up perfectly.


What’s your next project?

The novel that’s been sitting on my hard drive since last May is waiting to be edited. I haven’t read it since then and this week I plan to print it out and see how it sounds. Now I’ve finally finished everything to do with Spellbound I’m more enthusiastic about novel writing than I’ve been for ages. I love short stories, but I really want to finish a decent novel and get it out there. I hope this one has a shout. It’s a very modern adventure – a road trip story, which takes the main characters from London to Peru to Finland. A friend who read it said it was like Bright Lights Big City meeting The Beach. Not sure I totally agree, but I took it as a compliment nonetheless. It was great fun to write the first draft. Hopefully, when it’s finished, publishers will find it great fun to read, too. 



Thank you for that, Joel, best of luck with Spellbound, Pangea and all your other endeavours!
For more information about Joel, go to http://fictionaut.com/users/joel-willans.