It was with great pleasure, not to say humility, that I was asked to judge the 2021 Olga Sinclair Prize for Short Fiction, the results of which were announced this evening. The theme of this year’s competition was ‘Lost’, to be interpreted in any way by the submitting authors, the only limit being the number… Continue reading The 2021 Olga Sinclair Prize for Short Fiction – Judge’s Comments
From the Unthank School of Writing blog, Zoe Bell talks about how our Online Fiction Workshop has helped her grow and shape her novel... Before I attended the Unthank Online Fiction Workshop I thought I could do it on my own: a biology degree and a career at a multinational corporation were adequate preparation for writing historical… Continue reading Student Experiences: Turning an Idea into Reality
I was having had a spot of bother with a rich man’s wife. She was older than me but I didn’t care. I just wanted her, like some strange and terrible drug.
It was the usual story. She’d married young, enticed by the charm of a mature and successful man, and the stability that comes of secure investments. The age gap had not seemed so much when she was twenty and he was fit and fifty.
We were approaching the islands of Madeira, about midway in our journey, the day we lost a man and a horse. The animal belonged to Sheldon-Bond, and he was considerably more put out by its passing than he was that of the human being that accompanied it into the void. The young subaltern remained in a foul humour for the rest of that miserable and ill-omened day, his unfortunate man, Private Dodd, getting the worst of it. I tried to avoid him, as there was already bad blood between us, but this was difficult given the confines of the ship. As he stormed around the deck like a vengeful wraith in a graveyard, I could read the message in his eyes when they connected with my own quite clearly.
It’s one of life’s truisms that reading widely and critically is essential if you're serious about writing. You don’t need a degree in literature to be a critical reader; a lot of it is good, old fashioned common sense, and you’ll have most likely been reading this way naturally for years already, so naturally in fact that you might not be aware that you’re doing it. The next stage, especially if you’re beginning to write your own fiction, is to focus much more consciously on the individual components of narrative structure, and to apply this knowledge to your own writing.
It was the end of the frustrating fifties.
Mary, my mother, heavily pregnant at sixteen, like her mother before her, and just as tragically innocent of the mechanics of her own body, took to the outside toilet suffering from violent stomach cramps. A convulsive eternity later, with a double scream (one of utter terror on Mum’s part and mild surprise on mine), I was born.
‘The thing I love about this job,’ said the soldier, ‘is that you never know where you’ll end up next.’
You and me both, I thought, following him along the deserted seafront. One day you’re doing a bit of freelance journalism, the next you’re on some mysterious Pacific island at the invitation of the owners, all expenses very generously paid. Odd really, given that when I was in the Fleet Street mainstream I was one of their most ardent critics. I shielded my eyes and surveyed a promenade of abandoned cars and looted shops. Off the grid corporate retreats can get pretty weird but I hadn’t seen this one coming.