the writer is a lonely hunter

writing by Gail Aldwin and other Dorset writers

The String Games: what’s with the title?

I’ve used rainbow strings many times in my teaching career with adults and children. It’s a good form of kinaesthetic learning where students make string figures as a way to generate stories. The idea to use The String Games as the title for my novel came from the characters. There were instances where characters were strung along, they were puppets on a string and there was a need to cut the apron strings. String became a controlling metaphor for the novel and the title embedded within the story.

When the novel developed into three parts to reflect the development of the protagonist from child, to a teenager and then into an adult,  I decided to name each of the different parts of the novel after a string figure. This post considers the significance of the title of the first part of the novel, ‘Cat’s Cradle’. Following posts will consider the other two parts of the novel.

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This illustration of Cat’s Cradle by Fiona Zechmeister appears in part one of The String Games

Cat’s Cradle is one of the oldest games in recorded human history, and involves passing a loop of string back and forth between two players. As part of the game, different figures are produced including diamonds, candles (straight strings), and an inverted cat’s cradle called a manger. Cat’s cradle is played in cultures throughout the world including Africa, Eastern Asia, Australia, the Americas, and the Arctic.

In using Cat’s Cradle as the title for the first part of my novel, it expresses the intimacy of a  relationship enjoyed by a child in close proximity with a caring adult. In The String Games it represents the relationship my child protagonist develops with her mother’s lover, Dee. When Jenny (Nim’s mother) is too traumatised by the abduction of Josh to care for her ten-year-old daughter, it is Dee who steps in to offer support. The idea of a cradle is indicative of the love Dee offers at a time of crisis.

You’ll have to wait until May 2019 to read The String Games when it will be published by Victorina Press. In the meantime, if you’re interested in short fiction you could always try reading Paisley Shirt

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Pass it on

I have enjoyed so much support from other writers with the forthcoming publication of my debut novel The String Games so it is a pleasure to be able to pass this support on. My publisher asked me to review Nasrin Parvaz’s extraordinary memoir, One Woman’s Struggle in Iran and this I was pleased to do, partly because I travelled through Iran in 1981. (You can read the review here.) Imagine my delight to find an extract from this review used as an endorsement on the back cover of Nasrin’s memoir. It is a real privilege to find myself in this position and I truly hope this book finds the readership it deserves.

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Well done, Nasrin, for writing this powerful memoir where we can all learn from your tenacity and resilience.

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The FABULOUS wider writing community

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Credit: Grafik Mekanik, Flickr

My novel The String Games will be published by Victorina Press in May 2019. It is a psychological drama that focuses on the legacy of loss for the protagonist when her four-year-old brother is abducted and murdered during a family holiday in France. The cover is being designed by Fiona Zechmeister and it is exciting to be part of the process from initial ideas to the final product. One of my roles has been to secure endorsements for the novel to support with marketing and promoting the book. From a study of novels which use child characters and child protagonists, I drew up a list of authors to approach. For my blogs each week this December, I will focus on the authors who have kindly offered their support. 

Nina Killham came back to me quickly with a positive response to my request. Nina is the author of three novels including Believe Me which is a wonderful book with a thirteen-year-old narrator called Nic. It is a funny and moving story about a boy who challenges his mother, an astrophysicist and atheist, by turning to the Bible for ways to understand contemporary life.

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I was first in touch with Nina a few years ago when she offer to give feedback on the first three chapters of a novel and the synopsis as a donation to the Authors for Refugees charity auction. I was lucky to win the lot and benefitted greatly from Nina’s feedback. We stayed in touch and she recommended several further novels for me to read so that I could learn how published authors develop stories around child characters. It was at Nina’s suggestion that I read Out Stealing Horses by Per Petterson. This is a great book that considers the lifelong repercussions from the accidental death of a child.

Without further ado, please let me unveil Nina’s full endorsement of The String Games:

Gail Aldwin excels at creating characters you care about. The String Games, her story of a child lost on a holiday to France, avoids melodrama and leaves the reader hoping the best for her characters as they move beyond the last page.

I’d like to thank Nina for her support, encouragement and of course, that lovely endorsement.

If you can’t wait until May to read my novel, you could always dip into my short fiction collection Paisley Shirt which is available from Waterstones in Dorchester and Bridport, The Bookshop in Bridport, Gullivers in Wimborne and Serendip in Lyme Regis.

 

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Blog Tour: F J Morris, This Is (Not About) David Bowie

I was delighted to meet F J Morris in Bristol where she shared one of her fabulous stories with an attentive audience. I’d seen Freya’s name on many competition announcements for winners and attached to stories in quality journals, so it was a real treat to attend the reading. She is a great supporter of flash fiction and assisted the organisers of the first flash fiction festival in 2017. Now, I’m thrilled she has agreed to join me on The Writer is a Lonely Hunter, to celebrate the launch of her debut collection of flash fiction. With the intriguing title This Is (Not About) David Bowie, the imaginatively presented collection contains thought-provoking stories that gave me the chance to take another look at modern life, and rethink a thing or two. Shrinking Giants was one of my favourite pieces, full of poignancy yet with an ending that gives hope.

 

Thank you for joining me, Freya and congratulations on your new publication. Here are the questions I’ve posed which I think will be of interest to readers and writers.

Do you write with your audience in mind? Who is your ideal reader?

My ideal reader is one that is living. I was going to say a human being, but to be honest, I’m not even that fussed what they identify as. I grew up in an old mining town on the outskirts of Bristol where my mum grew up. People didn’t really read. And so I’ve been asking myself a lot of big questions about fiction and why we should bother. Why should people read?

There are a lot of studies out that that explain how art helps us to understand ourselves and humanity better. Artists deal in feelings better than any other discipline. In the days we live in, it’s so important that we recognise the importance of feelings and how they influence us. Society doesn’t encourage us to be okay with them. They’re considered second-rate. But they have such a big influence on us. I read a study once that a judge’s decisions became more harsh depending on the time of day and his eating patterns (ie – if he’s hangry then you’ve no hope in hell). So it doesn’t matter how smart you are, or how aware you are, your feelings are more in control of you than you know.

We are not machines. We are not products. So I think it’s vital that we value artists, and that artists recognise their own worth, their own power. What people are consuming right now is influencing them in ways they don’t even realise. And we need to write, sing, dance, paint our way out of it. We need a new story to tell ourselves. Stories that have peace, hope, joy, magic. Stories that make you glad to be alive. Stories that bring us together. But ultimately, we need more people reading, and that’s a challenge I’m interested in taking on. So I guess they’re the ones I want to reach out to.

What do you hope readers will take away from your collection? 

That anything is possible. That we are the writers of our own story. That we can be who we really are. A few people have read my collection and told me which stories were their favourites, and what I love the most is that they all chose different ones. I really wanted to cover a range of people, a spectrum of identities, ages, genders, backgrounds – that felt true to Bowie, and what he stood for. I wanted the collection to reflect his essence. Bowie in himself is a powerful idea. He reached out to everyone who didn’t fit in, and it turns out, that’s a hell of a lot of people. Like many, he gave me permission to be as outrageous as I wanted. He allowed me to take risks. To be true to myself. I hope people reading my collection will feel that too.

Can you describe the process of putting together a flash collection?

The initial idea only came when someone asked me to write a collection. I had wanted to put one together for a while. But every theme or idea I had to string a bunch of stories together ran out of juice. It was like being in a labyrinth, thinking you’re on the right track, only to find myself at another dead end.

Then Bowie died. It was like watching an explosion. A supernova. A massive star had collapsed at the end of its life, and it sent out these ripples, this burst of energy. His impact on people spilled out. David Bowie was more than a person. He was a feeling. He was an idea. So that’s when lightning struck, and I saw my way through the labyrinth.

But that was just the beginning. There were a whole host of obstacles and riddles to work through after the first draft. The journey to publication was not straight or easy, but the extra time helped me to develop it more. There were a lot of stories that fell short of what I wanted so I ditched them. And then I put the rest together into a larger narrative structured by David Bowie quotes. I wanted people to feel like there was a bigger picture, a journey to go on, but that element came later.

Do you have a favourite flash and what was the inspiration for writing it?

Slush puppies (there’s a reading of it here): it’s about hidden love between two school girls. I wrote it in a Bristolian accent, so I have to read it in one. And it has a sort of musical quality to it. I wanted to write it in such a way that when you read it, you could feel the build-up and overflowing passion.

My stories are a bit like Frankenstein’s monster – some of the story was inspired by something that happened to friends when I was growing up, some of it is my imagination, and a fair bit has been harvested from different poems I wrote when I was in love. This one does it all. It takes me back in so many ways. Nostalgia is a powerful thing, and so is love.

Congratulations on your new appointment as Assistant Editor for fiction at Bare Fiction. What does this role involve?

Cheers! At the moment its: reading, reading, reading. Then deciding with the editor and team, which stories we think should be published. Robert does a wonderful job running the magazine, and his aspirations are amazing, so I can’t wait to help him achieve them. Plans and aspirations are a foot – so watch this space!

Do you have any favourite writing resources you would like to share with readers of The Writer is a Lonely Hunter?

Oh there are lots! When I read Orwell’s ‘Why I write’ in my twenties that basically became my mantra. I try to avoid writing to show off skills or knowledge. I remember a time when I was eight and I learnt this new word and was so excited to use it. But when I finally did, and nobody understood it, I realised how pointless it was. I felt the embarrassment of those around me, and how they withdrew. You lose people when you make them feel stupid – they disengage. So reading Orwell, made me consciously think about what sort of writer I wanted to be.

I’m always telling people to use the ‘Hemingway editor’ website. I’m going to use it on this interview. It helps me to be an editor to myself and to clean up my sentences. Then there’s Grammarly and Scrivener for the tools that make life easier.

What are your future plans?

To write. I know how that sounds. But it’s a constant fight with myself. I started to write a new novel called Burning down the house a few months ago, but with all the fiddling about, I’ve lost track of spending time on it. I want to write scripts, and make this app, and do another collection… So that’s my problem. Too many things, too many ideas, not enough writing.

What in insightful interview! Thank you, Freya. This is (not about) David Bowie is published by Retreat West Books and is currently on pre-order with Amazon. If anyone is in Bristol on 27 September at 7pm and would like to attend the book launch of This is (not about) David Bowie, your invitation is here.

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BridLit Fringe

I’m really chuffed to be sharing a few of my stories at the Bridlit Fringe alongside this talented group of local writers. If you’re in Bridport on the morning of Friday 16 November 2018, do drop into the Literary & Scientific Institute for a chance to hear a fantastic range of poetry and prose. Tickets are a bargain at only £5 and are available here.

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I hope to see some of you in the audience!

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Helen Corner-Bryant at the Dorchester Literary Festival

I was delighted to introduce Helen Corner-Bryant’s session ‘On Editing’ at the Dorchester Literary Festival last Sunday. As Chair of the Dorset Writers’ Network, I worked with festival co-director, Janet Gleeson, to arrange this input. Helen is a wonderful speaker who has substantial experience in supporting writers, firstly as an editor’s assistant at Penguin, and then in setting up the Cornerstones Literary Consultancy. Helen seeks to help writers overcome the creative barriers they encounter and with her team, they offer support that might otherwise take a writer much time to work out for themselves.

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Some top tips offered in the session include:

  • If you don’t feel confident writing dialogue it may be because you don’t know your characters well enough. Try interviewing your character or letting them have conversations in your head.
  • Make sure there is a point of tension on every page of your novel
  • Novels work well using a three act structure
  • When you come to a stop with your writing have a think about what this might mean for the work. Could it indicate a problem with the structure, plot or characterisation?

Did you know Cornerstones welcome submissions of the opening ten pages of your novel with the synopsis for a free evaluation?

Because Q&As are so valuable to writers, Helen has devised an ‘ask a literary consultant’ session where she outlines her role then opens the floor to questions. I am now working with the Dorset Writers’ Network to find a date and venue to offer this input. Follow the Dorset Writers’ Network on Facebook and Twitter for updates and/or subscribe to the newsletter on the website.

Helen’s book On Editing: How to edit your novel the professional way is an invaluable resource and is available from any good bookshop or can be purchased through Amazon.

 

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