London Culture Shocks from an Irish Perspective

by Megan O’ Reilly

I’d always had a feeling that I’d love London. From the bustling tourists to the stuffy Tube, every element contrasted with the small Irish town Id called home for 23 years. Despite feeling ready for my move across the Irish Sea, I didn’t anticipate the culture shocks Ive come to know so well.

 

Adjusting to life in a new environment can be difficult for the best of us, and perhaps I was a bit naive when I gathered my belongings and headed to a city of ten million, coming from an island with a population of half the amount. I’d lived abroad two years before – in Bologna for my Erasmus year – and thought myself well versed in new experiences. 

 

Stepping off the plane at Stansted was something I’d envisioned since I’d left school, and after settling into my new house in Twickenham and getting to grips with the trains (who knew tapping in and out could cause such grief!), I started to see the small differences between my Galway and London lives. This was in 2019.

 

London

Galway

 

 

 

 

 

 

 

 

 

 

 

I started working at Fortnum and Mason as a Retail Host. The considerable gap between social classes soon made itself apparent in the 300-year-old luxury establishment, something that isn’t as obvious in Ireland. I found it difficult to understand how such wealthy people could live and shop only a few roads away from a growing homeless population finding shelter in Green Park Tube station.

 

I noticed how much more diverse London was – a very positive aspect which I admire a lot. My colleagues and customers came from a range of backgrounds and cultures. They made working there not only refreshing but extremely interesting. While Ireland is slowly becoming more culturally diverse, theres still a long way to go.

 

As Irish twangs go, the Galway accent is on the softer side, and when I first started working in the capital, I was asked what part of Canada I was from! I wouldn’t consider my accent particularly strong, but of course, I received affectionate comments from my London friends on how I pronounce certain words.

 

Two years on, I’ve adjusted some of my slang. I now say “trainers” rather than “runners”, and when asking hypothetical questions I’m conscious of using “Shall we?” not Will we?”. You’d be surprised how quickly people pick up on the smallest of differences.

 

As much as I miss Ireland, I’m glad I left. London has so much to offer, and Im ready for even more new friends and new excitement! I’ve started making a list of at least 20 new restaurants to try out, and have given Soho’s bustling bars great business since the end of lockdown. And yet there’s a reassurance in knowing that I’m never far from another Irish person.

 

I often think of a time when I was on holiday in Spain with an English friend, and we bumped into a lovely lady from Dublin. It was St. Patrick’s Day and any and every Irish person was celebrating. My friend couldn’t believe I’d stopped to talk for five minutes with a stranger. Apparently, she’d never do this if she met someone British abroad. This sense of community across the globe is in our Irish blood.

 

For anyone thinking about taking the leap to pastures new, I cant recommend it enough. Diving into a new place in which to discover yourself and flourish is a fantastic experience, and something I believe everyone should strive for. As scary as it may seem, you might just find yourself in your new home. By being in a new environment you allow yourself to escape your comfort zone. Just expect a few surprises along the way!

 

Megan completed our Introduction to Copywriting masterclass with Maggie Richards. For more information on our writing short courses visit our home page here.

If At First You Don’t Succeed…

The Road Less Travelled: City short course alumnus Simon Culleton’s long journey to publication

By Simon Culleton

‘I know a literary agent,’ said my opponent as we passed at the net. I tried to act casual to disguise my eagerness so waited until we had played two more games and passed again. I feigned breathlessness.

‘Perhaps,’ I said still catching my breath, ‘Perhaps you might want to put in a word for me.’ He sucked the air through his teeth and looked as though I had just asked for one of his kidneys. He waited until we were stood in front of a crowd of people on the clubhouse veranda before counting off three fingers.

‘One, I’ll need a letter of introduction, he said. ‘Two, a brief outline of what the book is about and three…’ he now had the complete attention of a gathering crowd, ‘And Three, I’ll need the full manuscript with no spelling mistakes.’

‘What, no spelling mistakes?’  I didn’t say that of course, I just accepted his request with a subservient bow of my head. I’m a writer, and like all writers am desperate to get published.

I’d love to tell you that I let him win the tennis match, but he far outranked me and was always going to win. I had only agreed to play with him because I heard he had a friend who was a literary agent.

It had been three years since I’d first walked into the classroom at City University of London’s ‘Novel writing’ evening class. One of the first tasks that our tutor, Martin Ouvry, had set for the class was to document why we wanted to write our chosen novel. It was a telling exercise.

My answer was honest; I didn’t want to write this novel, I wrote. It was too personal and raw. More accurately, I continued, ‘the last thing I wanted to do was remember. Yet inevitably, almost fatally, whenever I attempted to write a different storyline, all my characters were either divorced or battling in some way for their children. So eventually I submitted. It was always going to be ‘Shadows of Fathers’ first.

I remained with City and progressed to their year-long Novel Studio course. I enjoyed the twice-weekly structure and the twelve-thousand word, deep critique was a particular landmark in my novel progress.

The Novel studio course paid particular attention to obtaining an agent worthy to champion our book. Emphasis was put on presentation, catchy letters to attract an agent:

“Dear Madam, I respectfully submit… Dear Sir would you please consider…  or   Dear Michael I read in your bio that you enjoy stories that surprise you…  Hey Sarah, like you I play tennis (badly) …

I sent over fifty, all of which got nowhere, most didn’t bother replying. I even tried some of the foreign literary agents. A reply email from Hamburg went something like this:

Thank you for your story, Simon. Everyone in the office really enjoyed it although the literary agency no longer owns these premises, we are boat engineers.

I stayed with City University and enrolled in a further three workshops with Katy Darby as well as travelling to Greece for the Athens international School Of Creative Writing. One particular highlight was attending a flash fiction class taught by the excellent writer Heidi James.

I quite literally immersed myself in the writing world. Although I had yet to find representation; a nagging doubt that was always with me. One of the hardest things I found about writing a novel is that you have to finish it before knowing whether it will be a success.

During the first lockdown, I became despondent until a chance text conversation from an old friend I had not seen since my school days. (When we were young teenagers she had let me hold her hand at the bus stop). ‘I know someone who is a publisher’ she texted. A sudden vision of the man standing on the tennis club veranda came into mind. But this was Bernadette, I thought. I had missed a bus for her when I was fourteen.

As it turned out, my tennis friend didn’t

Author Simon Culleton

know an agent, after all, he only knew the father of the agent and had subsequently fallen out with him, (possibly over a spelling mistake).

So once again I sent off my synopsis and the first fifty pages. After a few weeks, I received a request to send the rest of my novel. I was on top of a wobbly tower scaffold laying heavy blocks when I received an online zoom invitation. Rose Drew of Stairwell books, an American woman from Florida whose exuberant hand gestures took up the whole of the computer screen, was enthusiastic. She had read my book and could relate to all my characters and recite any passage from my novel. I had found my champion.

It has been a long and arduous road with weekends and evenings spent writing in libraries and coffee shops, London university corridors and crowded Greek restaurants. At work I was forever scrawling notes for my novel on pieces of timber and newly plastered walls; conversations were cut short while I retained a thought later to be added.

It takes dedication and sheer bloody-mindedness to complete a novel and in my case a lot of help and guidance too. City was a wonderful place that helped harness my book idea to the finished debut novel that is Shadows of Fathers.

About the author: Simon Culleton was born and bred in Essex England, where he lives with his two children. His love for writing began when he wrote a short story at age 17, while sat in a derelict car, which went on to be broadcast on BBC Radio 4. He loves to travel and has worked his way around the world, undertaking jobs from snow clearing in Sweden, to construction work in California. Simon has a passion for chronicling everyday people which extends even to himself: he has maintained a personal daily diary for over 40 years.

About the book: When Richard realizes his German wife is not returning to England with their children, the subsequent journey he must take encompasses new geographical and emotional realms. With the help of comic but effective German lawyer Otto Lehmann, Richard’s fight for his family is both heart-wrenching and humorous, in a story that crosses countries and cultures. Shadows of Fathers offers an alternative view of separation: a dedicated father fighting for the right to parent in a new and relevant take on contemporary fatherhood: not only in the mid-1990s setting but also in today’s society.

Simon’s debut novel, Shadows of Fathers

Shadows of Fathers is available for pre-order on Amazon, Google books and many more. Published by Stairwell Books in October 2021, the first chapter can be viewed on the ‘Coming Soon’ page at Stairwell Books.

City Writes Autumn 2021 Competition Opens 

By Rebekah Lattin-Rawstrone

This term’s showcase for the creative writing talent coming from City’s short courses may not be until the 15th December 2021 but we’re delighted to announce that Narrative Non-Fiction alumnus Ciaran Thapar will be our professional writer this term.

Ciaran Thapar is the author of Cut Short: Youth Violence, Loss and Hope in the City, which was published by Viking UK (Penguin) in June 2021. As a youth worker in schools, youth clubs and prisons, Ciaran completed the Narrative Non-Fiction Short Course at City in 2016 in an attempt to tell stories about his work on the ground. Alongside completing mentoring and workshop facilitation with young people, he writes regularly for publications such as British GQ and The Guardian, usually about youth culture, race politics and rap music in the UK.

Cut Short has had a fabulous reception from people as wide-ranging as the writer Nikesh Shukla to David Lammy MP. Exploring the lives of different characters involved in Britain’s youth violence epidemic, Ciaran includes interviews and research that reveal a society fracturing along lines of race, class and postcode. Author Candice Carty-Williams calls it ‘A devastating and beautifully-drawn tribute to the young boys that the media turns into statistics of knife crime’.

For your chance to join Ciaran on the online stage, you need only send 1,000 words of your best creative writing, fiction or nonfiction (though no poetry or children’s fiction) to rebekah.lattin-rawstrone.2@city.ac.uk with details of which short course you took or are taking. Full submission details can be found here. The competition is open until 19th November 2021 and entrants will be informed of the outcome of their submission by the 26th November 2021. We look forward to receiving your work.

In the meantime, those of you keen to hear Ciaran read from Cut Short, can register for the City Writes Autumn event on the 15th December 2021 here. There will also be a short Q&A with Ciaran so get a head start and buy his book in advance here. City Writes Autumn 2021 will be a fabulous way to start your festive season, thinking of others and sharing some wonderful stories. We can’t wait to see you there!

Ciaran Thapar

Ten questions about Ten Steps to Us

Ahead of the publication of her debut YA novel, Ten Steps to Us, author and Novel Studio alumna, Attiya Khan, kindly found time to answer some questions from Novel Studio Course Director, Emily Pedder.

  1. How did the idea for Ten Steps to Us first come about?

The opening scene started as a simple writing exercise in a creative writing workshop that I was part of. It got really good feedback in the class and the story just blossomed in my mind. The characters of Aisha and Darren and their forbidden love developed over time into a full novel.

  1. Did you always know you wanted to write a Young Adult novel?

    Attiya Khan, author of Ten Steps to Us

I have three teenage kids and I remember my daughter saying there were so few books that she could relate to because there were so few BAME characters. This really spurred me on to write such characters. I also think the angst and the pain you feel as a teenager, when you are learning who you are as a person, are so interesting to write about as there is so much conflict.

  1. Which writers or books have inspired you?

I love all kinds of books: thrillers, crime, romance and literary fiction. At the moment I am a little bit obsessed with Elif Shafak and am working through all her books. I recently finished The Forty Rules of Love which is about Sufiism, and I thought it was a masterpiece.

  1. Your novel deals with complicated issues of religion, race and class in an accessible and entertaining way. Was that important to you when thinking about writing this novel?

It was very important to me. The book is not an autobiography but there are elements of myself in Aisha. As a Muslim girl growing up in Kent I often felt very isolated and that I didn’t quite fit in. I am very interested in the angst that people feel when they are caught between two cultures. I wanted to play with the idea of being stuck in the middle and the confusion and pain that brings, when you don’t quite know which way to turn. I wanted to convey that it’s okay to be confused about who you are and to feel torn. You don’t have to be perfect to be a Muslim. Religion is a very personal thing, and it really is between you and God. Everyone finds their own way.

  1. What’s your writing process? Do you plan first, or do you write to find out what you want to say and how you want to say it?

A bit of both to be honest. With this book, I wrote the beginning and then the end. I got stuck in the middle so did a chapter plan and worked out what was going to happen and then wrote it.

  1. You’re a graduate of City’s Novel Studio. Can you tell us a little about your experience on the course and how it fed into your novel?

The plan that I just talked about was suggested by the Novel studio in one of the tutorials and it really helped. I probably wouldn’t have completed the first draft of the novel if it wasn’t for the Novel Studio. We did a showcase and following this an agent contacted me saying she wanted to read the rest of the novel. This motivated me to complete the novel.

  1. What was your path to publication? And how has the experience been so far?

The agent who contacted me following the showcase didn’t actually sign me, but her interest led me to believe in myself a little more. I completed the first draft of my manuscript after she showed interest and shortly after this was selected for David Higham’s Open Day for Underrepresented Writers and then longlisted for Undiscovered Voices 2020. I really started to believe in my novel after this. I got picked up by Hashtag Blak, a publishing house for underrepresented writers at the start of the pandemic. It has been a great experience so far. We have been through several rounds of edits and the book is out for publication 9th September. Exciting times!

  1. Amazingly, you’re not just a novelist but you’re also a GP and a mother of three. How do you find time to write?

It has been very challenging, especially with the pandemic when work became very, very busy. However, for me, writing is an escape from the stress of day to day life. I also got a lot of support from the critique groups that I was part of. It is hard but I love it and I guess that’s what kept me motivated.

  1. What advice would you give your younger writing self?

Believe in yourself! Listen to constructive feedback and take it on board but also develop a thick skin. Other people’s opinion is very subjective, what one person hates another person may love. Tell the story that you want to tell.

  1. What are you working on next?

I am in the middle of writing a GP thriller. (Again, I must stress this is not an autobiography!) It’s about a doctor with mental health problems who is working with another doctor who she suspects is a murderer. Is she losing her mind or are her suspicions correct – and if they are correct how will she get anyone to believe her?

Thank you so much, Attiya! And huge congratulations on your brilliant debut. We wish you all the success in the world with it.

Ten Steps To Us will be published by Hashtag Blak on 9th September 2021. Pre-order the book here.

‘To Write is Human, to Edit Divine’: Why it’s Essential to Edit Your Copy

By Hannah Boursnell 

Stephen King’s tribute to his ‘divine’ editor – from his book On Writing: A Memoir of the Craft – is a creed all writers should live by. Yet when I recently turned my red pen on my own writing on a City short course, I was reminded that even professional editors need to keep their words in check.

Words are seductive.  You select one ‘perfect’ adjective, add it to your carefully constructed sentence and put down your pen, satisfied. But then another flutters its eyelashes at you from over by the thesaurus.

You know you shouldn’t, but the temptation is too strong. So you add another. And another… Before you know it, you’re drowning in description and your word count is out of control.

Over the course of my 15-year career as a book editor, I’ve seen this problem rear its loquacious head time and time again. And on City’s excellent Introduction to Copywriting course, I came to the uncomfortable conclusion that even I’m not immune to the come-hither allure of an extra adjective.

My name is Hannah and I’m addicted to words.

The novelist Ernest Hemingway – renowned for his spare, efficient prose – offered this typically pithy advice to writers: ‘Use short sentences.’ He understood that every word must earn its place. Dense, over-elaborate text risks becoming tedious and impenetrable, but when writing is precise and simple, each word shines with a clarity of meaning.

If you suspect your writing might be overcrowded, the answer – always – is to edit. In her memoir Stet: An Editor’s Life, Diana Athill described editing as ‘removing layers of crumpled brown paper from an awkwardly shaped parcel and revealing the attractive present it contained’.

When editing, I do so with Athill on my shoulder. My pen is used to gently clear away anything that might obscure the author’s intended meaning.

But when I’m writing? Sometimes the joy of being creative on my own terms is so intoxicating that I’m prone to forget the editorial truths I hold sacred. One such truth is that a writer should always thoroughly edit their own work. This requires bravery, but you’ll become a better writer if you persevere.

Five steps to self-editing success

  • Take a break before you begin. Even an hour will provide a fresh perspective.
  • Edit on paper – you’ll notice things you overlooked on screen.
  • Change the font to trick your eyes into thinking they’re reading something new.
  • Read the text aloud – especially dialogue. It encourages weaknesses to reveal themselves.
  • Cut as rigorously as you dare, but save previous versions. Just in case.

‘Kill your darlings’… with kindness

I’ve found that the practice of self-editing is both sharpening my writing and making me a more compassionate editor.

When a draft has been loved and laboured over, every cut can sting – whether the edits are made by a professional or with your own red pen. Deleting my own precious words, I’m constantly reminded of the courage and vulnerability that’s required any time a writer puts pen to paper. It is a privilege to be entrusted with another writer’s work.

I’m not sure if I’ll overcome my addiction to words, but they say that admitting you have a problem is the first step. In the meantime, I’ll continue to pack my first drafts full of delightful, dazzling, delicious words – and seek divine inspiration as I edit them.

 

Hannah Boursnell took City’s Introduction to Copywriting course which is taught by the brilliant Maggie Richards. For more information on all of our short writing courses, visit our website.

 

 

 

City Writes Summer 2021 Event Gives it 110%

By Rebekah Lattin-Rawstrone

On the warm summer evening of the 7th July, when most of the nation was preparing to watch the game that doesn’t need a mention, the fabulous students and alumni of City, University of London’s creative writing short courses were providing entertainment of a literary kind. With a fantastic group of competition winners, many alumni of Peter Forbes’ excellent Narrative Non-Fiction course, the audience were in for a treat that culminated in Alex Morrall reading from, and discussing, her debut, Helen and the Grandbees published by Legend Press in 2020.

Anne Manson began the evening with a haunting and gripping post-apocalyptic tale, ‘Bones’, about a father and child subsisting against all the odds on a small patch of land surrounded by toxic floodwater. An alumna of the Crime and Thriller Writing course with Caroline Green and the Short Story course with Katy Darby, Anne’s superb delivery was spell-binding and thought-provoking.

Susanna Morton – the first of our Narrative Non-Fiction alumni – read her minutely observed domestic drama next, ‘Regrowth’, where a couple struggle to communicate about lost money and time is marked by the slow progress of a dent in a nail growing from the cuticle to the fingertip. Quiet and precise, this unique glimpse into a couple’s life sent a visible hush through the zoom audience.

We heard from another Narrative Non-Fiction alumna next as Jen Metcalf read her fascinating account of a lost place and time in her personal Berlin, ‘Tentstation’. Reminding us of the wonderful ways in which writing can capture places and moments, and of the magical way in which each of us creates a unique understanding of the places in which we live – your city not ever quite being the same as mine – Jen transported us into a swirl of transient lindy hopping.

Alumnus Adam Zunker read next. Having taken both the Introduction to Creative Writing and the Writers’ Workshop courses, Adam shared an extract, ‘Mosquitto Gods’, from his fantasy novel-in-progress, taking us into the afterlife with his character. We tasted the goat droppings and felt the swirling winds of spirits passed on, making us eager to find out what would happen next.

Alex Morrall

Returning to the complex world of dating and relationships next, Helen Ferguson, Novel Studio alumna, read an extract from her novel, End Cuts. Poignant and carefully observed, the extract explored the main character’s relationship with Matthew, a man whose love was more potent and exciting when contained by brief time spans and a boring town rather than the glory of a child-free holiday in the Adriatic.

Glenda Cooper, our final Narrative Non-Fiction alumna, was the last of the competition winners to read and she took us back into the annals of English history with an extract from her novel-in-progress, The Heaven Born, an account of the scandalous life of her great-grandmother. We were skillfully placed right into the heart of a trial in which the woman in question, the ‘slut’ behind the crime, was sitting in the courtroom listening to all the gossip she’d generated. It was a striking end to an outstanding set of readings from the competition winners.

Having heard from the soon-to-be published, we were then treated to a reading from our professional alumna, Alex Morrall. Alex, who took a Freelance Writing short course with Susan Grossman, shared a passage of her debut, Helen and the Grandbees, published by Legend Press in 2020. We were introduced to Helen and learned a little of her history, exploring her need to escape difficult truths from her past and being given the origin of the term grandbees. It was an excellent way in to a discussion about the novel, a mother and daughter reunion that explores identity, race and mental illness.

Alex gave interesting and thoughtful answers to my questions, allowing the audience a chance to investigate some of the novel’s central concerns and the particulars of Alex’s writing practice. Inspired by her voluntary work, we were amazed that Alex is able to write in front of the television and that she has already written another novel and is halfway through her third. Go, Alex! We can’t wait to read the next one!

For those who haven’t read Helen and the Grandbees, you can get access to a 20% discount from Legend Press by going to their bookshop and entering this code at the check out: HELEN20. The offer lasts until the 12th July, so hurry!

If you weren’t able to attend on the night, don’t worry, we recorded the session and you can see it here. Don’t forget to watch out for future City Writes events and competition dates. If the City Writes Summer 2021 event was anything to go by, you can’t afford to miss the amazing talent coming from the creative writing short courses, so do look out for our Autumn event next term.

 

 

 

 

 

 

 

 

Narrative or Therapeutic Non-fiction: does it really matter?

By Raviakash Deu

Doctors, nurses, scientists have all played their roles this past year, but for narrative non-fiction writers, what does it mean to serve on the front-line? I knew, without really knowing, the answer to that for some time. When done well, any writing grounded in the facts as much as in the imagination has a way of inspiring, energising and in some cases healing the minds of its readers. On deciding to pick up the pen, one begins to take control of those transformations not only in others but crucially within oneself.

I experienced this phenomenon in company and in spirit on City’s Narrative Non-Fiction Short Course, which might just as easily be termed ‘Therapeutic Non-Fiction’ – and not just because the group boasted a psychologist. In the wake of artistic absence in the world, City’s virtual offering brings together traditional storytellers, reporters and scholars from across the globe who, while seeking guidance on an outer narrative, inevitably end up fulfilling part of their inner one too.

Creative writing is a soul-bearing business. Setting weekly classes in the digital sphere might present students with additional complexities against the larger editorial goal of stripping them away. Yet this hasn’t stopped City, who’ve plenty of reason to trust in tutor-extraordinaires like Peter Forbes. As one of those under Peter’s stewardship over the last three months, I’ve been glad to convert a fairly demanding hobby into a more thoughtful practice, and beyond that, develop a confidence that had been desperately missing prior to week one. Starting out as a nervy penman amongst some sophisticated scribes, by week eight, I presented my changed state in the following journal entry:

A rare environment. One which appears to value personal growth, indeed community, over competition. In reading aloud our compositions, it’s a unique opportunity to bring alive the material for a bright-eyed audience, of which I too am an avid member. The talents of the group are unlike anything you’d expect. I sink into Roli’’s delicate depiction of makeshift graves on the banks of the Ganges, Monica’s rich reflections on ‘room-travel’ and Roz’s masterful musings on imitation, a lyrical style translated effortlessly into her diction. There’s Imran’s artful sketches on humans in the age of machines, and Robert’s endlessly entertaining travelogues.

The academics, meanwhile, seem to keep us honest. Both Katherine and Claire are as faithful to their subject areas as they are to the business of elegantly unfolding them for us mere mortals. Oh, and amidst all this, I’ve perhaps discovered my own capacity for spinning a good yarn.’

‘Good’ writing is, of course, subjective, and arguably, my hopes going into the programme were of unearthing something ‘real’ rather than ‘good’, a readiness – as spoken by Hesse –  to ‘gaze into the fire, into the clouds and as soon as the inner voices begin to speak… surrender to them’. It’s thanks to City’s new expression of ‘bookbinding’ or a sharp sense of literary unity, I’ve been able to take meaningful strides toward that free and fearless outlook, and all its potentialities.

 

Raviakash Deu is a freelance writer from Birmingham. He holds an undergraduate degree in English Literature from the University of Nottingham and a Master’s in Shakespeare Studies from King’s College London. His regular features appear at ‘The Lipstick Politico’ where he is interested in bringing light to daring South Asian narratives across culture and the arts.

Narrative Non-Fiction runs on Tuesday and Thursday evenings from October 2021.

 

City Writes Summer 2021 Competition Winners Announced

By Rebekah Lattin-Rawstrone
After another bumper month of submissions to the City Writes Competition this term, we’re delighted to announce the winners who will join alumna, Alex Morrall on the virtual stage at 7pm on Wednesday 7th July. You can register for the event here. For those of you who aren’t familiar with City Writes, it is a showcase event for students, tutors and alumna of City’s Creative Writing Short Courses. With a termly competition for students and alumna who win the chance to read their work alongside a published alumna or tutor.
This term’s winners, in alphabetical order are:

Glenda Cooper

Glenda Cooper, who will be reading her story ‘The Heaven Born’. Dr Glenda Cooper worked as a staff journalist for a variety of media organisations including the Independent, Washington Post and BBC. She is now a senior lecturer in journalism at City. Her work has been shortlisted for the Exeter Novel Prize twice, and longlisted for the Grindstone Novel and Yeovil Literary Prizes.  She has won the 2014 Poetic Republic and Writers’ Bureau Short Story Prizes. She is currently taking the Narrative Non-Fiction course at City.

Helen Ferguson, who will be reading an extract from her novel Ghostings. Helen is a translator of Russian a

Helen Ferguson

nd German. She started writing in 2015 and had her first piece published in Lighthouse Literary Journal. In 2020 she completed City’s Novel Studio course and since then has finished writing her novel. She lives in Ely with her daughters. Book tweets @HFergusonWriter

Anne Manson, who will be reading ‘Bones’. Anne has a Masters in Writing for

Anne Mason

Young People from Bath Spa University. Her first novel, Lobster Wars, is a YA thriller about two boys who witness a murder on a small island off the coast of Maine. Her second, The Clockwork Artificer, is a MG fantasy about a stolen pen, a lidless eye, and a girl with a hole in her heart. She was recently awarded the Writer’s Prize from PaperBound magazine for her short story, “Winter”. Anne has is an alumna of the Crime and Thriller Writing course with Caroline Green and Short Story Writing with Katy Darby.

Jen Metcalf

Jen Metcalf is a translator and editor who arrived in Berlin in 2006 and accidentally made it her home. Hav

Susanna Morton

ing spent most of her adult life concerned with foreign languages, she recently decided to focus on her own and enrolled on this summer’s Narrative Non-Fiction course. Jen was an avid lindy hopper for several years and will feel forever lucky that this coincided with the evenings that inspired her text, to be read on the 7th, ‘Tentstation’.

Susanna Morton, who will be reading her story ‘Regrowth’. Susanna lives and works in London, where she has developed her writing habit through creative writing courses at Imperial College London and the Arvon Foundation, and as a current participant in City’s Narrative Non-Fiction short course. Susanna studied English Literature with Spanish at the University of Edinburgh, where she was a contributor to Edinburgh Flipside and Editor of Nomad: a travel, culture and creative writing magazine.

Adam Zunker

Adam Zunker has taken several short courses in creative writing at City University (Introduction to Creative Writing and Writers’ Workshop) and is working on his first novel, a fantasy story about death, faith and hallucinogenic frogs. He has spent far too many years working in politics and journalism, though both have probably provided some grounding in creative writing. He lives in London with his wife and daughter. He will be reading ‘Mosquito Gods’ an extract from his novel-in-progress.

These five writers will join Alex Morrall, reading from her novel, Helen and the Grandbees, published by Legend Press in 2020 about a mother and daughter reunion that explores identity, race and mental illness. We can’t wait to share all these wonderful stories with you on the 7th July at 7pm. Register here for your zoom link to the event. See you there!

Starry night: Novel Studio Showcase 2021

By Rebekah Lattin-Rawstrone

Tuesday 15th June was a beautiful summer evening, perfect for sharing the dazzling work of our 15 Novel Studio 2021 students via zoom. The Showcase is the culmination of a year’s work on their novels and with genres as varied as satire, sci-fi, procedural crime and literary fiction, this year’s cohort promised a varied and tantalising programme of extracts from their work-in-progress.

This is the first year of the Novel Studio which has been run entirely virtually and it has led to a wonderfully diverse group with students joining us from India, France and America as well as the UK. The students have forged a tight-knit group, challenging each other in an incredibly supportive and encouraging manner, leading to some truly fabulous work being produced as we soon heard.

After running through the amazing list of published alumni, that grows year on year with names like Kiare Ladner, Harriet Tyce, Deepa Anappara, Hannah Begbie, Elizabeth Chakrabarty, Attiya Khan, Anna Mazzola and Greg Keen, we heard from alumna Harriet Tyce who introduced and funded the Novel Studio Scholarship in 2019, which provides one successful applicant from a low-income household with a fully funded place. We are delighted the scholarship is running again for the third time this year.

Harriet spoke with fondness about her time on the Novel Studio and all that it offered her in terms of structure and support. She also spoke of her sense of anxiety waiting to share her work at the Showcase and wished all the students luck. Hopefully they will all go on to have writing careers as successful as Harriet’s.

Nana Wereko-Brobby

With some thank yous to all the tutors, Kiare Ladner, Emma Claire Sweeney and Rebekah Lattin-Rawstrone, alongside our director Emily Pedder and the Short Courses team, in particular Laura Bushell, Robert Lastman and Sathya Mathivanan, we were ready to be transported into the various fictional worlds of the students starting with Nana Wereko-Brobby whose novel, Dark Heart explores one British Ghanaian’s journey into boredom, excess and murder. Reading from the first chapter, Nana gave us an insight into her character’s acerbic attitude to his daily life and relationships that left us wondering what else might be in store.

We went from London to a village in Tamil Nadu next as Deepa S. read from her novel, Nivya, a coming of age novel in which twelve-year-old Nivya must come to terms with a more complex understanding of her world and heritage. Narrated by Nivya, Deepa read us a passage that introduced her uncle’s latest business venture, the tuk-tuk Henry.

Freya Sanders

Freya Sanders took us into a young woman’s mind next when reading from her literary anti-bildungsroman, out of the sky. We learnt about the tragic death of Peter Gilbraith, a popular, high achiever whose death is all over Facebook. What will this mean for the character, her friends and the wider social circle? What importance do external achievements have in the face of death?

Michael Lawson

From Cambridge to British Airspace next, Michael Lawson took us into the mind of Blanche, an undead agony aunt and political agitator who died choking on a custard cream in an airplane sitting next to her best friend, Cilla Black. A hilarious satire sending up the British and their political system, Michael’s extract from Biscuits with Blanchehad the audience giggling in delight.

Scholarship winner Janice Okoh

We were dropped right into the action in a large house in Nigeria next as Novel Studio Scholarship 2021 winner, Janice Okoh, read from the beginning of her novel, The Killing Season. Olori’s daughter is missing. She went out with the bosses new British Nigerian wife who Olori does not trust at all. Where is her daughter? Who will help her find her? Certainly not the police, or so it seems. Leaving us on tenterhooks, reeling from the pithy phrases of Olori’s mind, we were transported into an entirely different character’s mind next.

Stephan Schmidt

Delving into the head of a young man who wishes he’d already written the Next Great American Novel, Stephan Schmidt shared an extract from his novel Abscondia in which his second person narrator described meeting a woman at a cafe in France. Seeped in skepticism and nihilism, will this woman mean anything for the unnamed narrator, or will it just be one more in a catalogue of disappointingly mundane events?

Rhiana Gold

We were transported into the near future next as Rhiana Gold read from her speculative fiction novel, Under the Surface. We joined her character, Stevie, at the hospital, there for her dying father, a father no one like her – a lab-born – usually has. What is a lab-born and how is Stevie different? You’ll have to wait for the full novel to find out!

Seema Clear

Seema Clear took a different look at identity and belonging next, as she read from her multigenerational novel, The Refugees, that explores the life of Vidya and her father who were some of the many Asians expelled from Uganda in 1972. Seema read from the opening of her novel in which Vidya is back in the family home in West London, tending to her father on his deathbed.

Lucy Blincoe

From one set of emotional waters to another, we travelled to the Cornish coast with Lucy Blincoe next as she read from her novel, Kernow. Susie is a Met detective on leave, taking time out from London after the death of her colleague ostensibly to spend more time with her teenage daughter, Nancy. Then Nancy finds a dead body washed up on the beach. Susie thinks the young man won’t be her problem to solve, but the audience all knew better.

Grayson Anderson

We were blasted into the distant regions of an alternative galaxy next as Grayson Anderson read from the first in a trilogy of science fiction novels, Until Time Runs Out: The Awakening. We joined Aluz as she attempted to persuade her superiors to let her keep a perfectly preserved body found on a long-dead planet while mining. Drawn in by the sharp dialogue and Grayson’s fabulous voices, the audience was left wondering about Aluz’s discovery and what it might mean for her future.

Catherine Till

Time traveling into the past rather than the future next, Catherine Till took us on a train ride as her character attempted to travel illegally across the border and out of Soviet-controlled Hungary, as she read from her novel, Behind The Curtain. Leaving us with our hearts beating in our mouths, fear sounding loud in our ears, we were left to imagine whether her character made it or not.

Back to London and the world of environmental protest, government cover-ups and organised crime, James Mott read from his novel, The Holloway Men next. He introduced us to his main character, DI Robert Bramadisso, just back from a year’s suspension whose first job is to babysit City boys. How could that possibly go wrong?

Vasundhara Singh

We went back to India next with Vasundhara Singh whose novel, mistress, mother, explores the lives of three women: the wife and mother, the daughter and the mistress. Taking us into a scene of shared memory and food, we followed each bite with careful and lyrical attention.

Nola D’Enis

Continuing the lyricism, we journeyed to a small French town next as Nola d’Enis read from her novel Doulun. We joined her for the opening pages as one of her characters, Judith, explored the treasures of her underwear drawer and revealed a little of the steely femme fatale that lies beneath the frills.

Rhydian Wynn Davies

Finally, we were thrown into a scene of rich drama as Rhidian Davies read from his novel, Role of Lifetime, in which his two main characters, ex-actor Oliver Molyneux and solicitor-agent, August Avery, talk about Oliver’s impending divorce. Both narcissists, the extract from this tragi-comic novel introduced us to a world where these men and their impulsive actions might take them into deeper water than either of them expected.

 

 

 

The readings ended with a fantastic revelation, taking the death knoll high and our emotions higher. With final thanks and reminders about students’ contact details in the chat and in the anthology now available here, the Showcase for the Novel Studio students 2021 was concluded with a marvellous dramatic flourish. Watch this space for news of these students’ future successes. Congratulations Novel Studio Cohort 2021!

 

Short Courses alumnus shares his experience of Python course

We spoke to alumnus Jason Bradley to find out why he chose to take an online City short course with his colleagues and how it has helped him develop the skills required to progress within his career.

What were the main reasons you wanted to join this course?

The entities that we oversee are increasingly making use of programming tools to perform data analytics and we wanted to ensure that we stayed ahead of the curve and developed the skills needed.

Why did you pick to study this course at City?

Reputation of City, University of London and the course was a very reasonable cost compared to other, less well-known institutions.

How have you found the online classes and teaching environment?

The course material was excellent, and although the pace was quite quick (difficult with a mixed ability group) the material was manageable.

What did you learn throughout the course? 

As I had no knowledge of Python prior to the course, I learnt a great deal and it has helped me to understand the processes that are undertaken to build programs.

How will taking this course help you in your professional and personal life?

In my professional life it will help me engage with our stakeholders effectively and personally it has spurred me to look into how programming languages are use in Blockchain technologies.

Would you choose to study another short course at City? 

Yes, I am in fact already doing the follow up course on data analytics and machine learning!

If you or someone you know may be interested in our Introduction to Programming with Python or other related short courses then please visit our website.

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