By Rebekah Lattin-Rawstrone
We’re delighted to announce that last term’s postponed City Writes event with the fabulous Shahrukh Husain will now be running virtually on Wednesday 8th July 6.45-8pm through Zoom.
With a brilliant set of competition winners raring to share their work, we will not only be hearing from Shahrukh Husain whose stellar career includes screenplays, plays, fiction and non-fiction, we will also be listening to stories from Novel Studio alumnus Mike Clarke, current Novel Studio students Linda Fripps and Alexandra McDermott, and short course alumni Marina Nenadic and A S Renard.
Come on a journey with us as we breakdown in Kansas, horse ride across Mexico, reminisce about our Swedish grandmother, try out stand up in Hackney and contemplate the mindset of a woman who smacks her child. Different places, different emotions, in our current climate this is where you need to be on the 8th July.
After we hear the competition winners’ stories, we’ll be talking to Shahrukh Husain about the ongoing relevance of witches, myth and the fairytale in general as we celebrate the reissue of Virago’s The Book of Witches, edited by Shahrukh.
This event will be free to attend. But you do need to register for the event in advance.
Please use this link to register.
We look forward to seeing you there!
By Emily Pedder
The American editor Shawn Coyne has a theory about this: ‘Love stories are so popular because people not only go to them for the entertainment value but subconsciously they’re watching a love story and they’re trying to track ways that they can become more lovable and form bonds and relationships…People don’t want to be alone.” Love stories, Coyne argues, like all stories, are ‘metaphors that help us know how to behave.’
Our creative writing short course alumni are no slouches in this ‘story’ department and also happen to know a thing or two about love. In celebration of Valentine’s Day this year, we pay tribute to some of their novels which explore the eternal quest for love.
Rachael’s Gift by Alexandra Cameron
A skillfully plotted, continent-crossing literary thriller which explores a mother’s love for her troubled daughter and the lengths she will go to protect her.
Dona Nicanora’s Hat Shop by Kirstan Hawkins
Doña Nicanora has her heart set on turning Don Bosco’s barbers into a hat shop, but Don Bosco has his heart set on her. A wonderfully warm-hearted comedy of errors set in a backwoods South American town.
Foolish Lessons in Life and Love by Penny Rudge
Join Taras, the hapless hero stuck in a futile job and still living with his overbearing mother, as he tries to win back the enchanting Katya. Brilliantly observed and very funny.
Butterfly Ranch by Remy Salters
In a remote jungle lodge in Southern Belize, a local policeman investigates the mysterious disappearance of a world-famous reclusive author. A masterful tale of obsessive love, self-destruction and unexpected redemption.
Flesh and Bone and Water by Luiza Sauma
A letter delivered to Dr Andre Cabal in London catapults him back to his 17 year-old self in 1980s Brazil and begins the devastating and mesmerizing story of one man’s secret infatuation for the daughter of his family’s maid.
Creative Writing short courses at City
Many of our students have gone on to publish books after completing one of our creative writing short courses. Deepa Anappara published her debut novel, Djinn Patrol on the Purple Line, last month after completing our one-year course, The Novel Studio.
By Emily Pedder
We are delighted to announce a second year of sponsorship for the Novel Studio scholarship, generously supported by Novel Studio alumna and bestselling crime author Harriet Tyce.
The scholarship provides a fully-funded place for one successful applicant to the course from a low-income household and aims to support a student of talent and potential who might not otherwise be able to accept an offer of a place on The Novel Studio.
Last year’s winner, Lola Okolosie, said she was ‘deeply honoured… to receive The Novel Studio Scholarship from City. It is a huge help; without the financial assistance, I would be unable to embark on a course that I know will develop my skills as a fiction writer.’
Applicants to the scholarship go through the same process as all other applicants but will need to also include a personal statement and provide evidence of financial need. The top three applications will be shortlisted and a final winner chosen by a panel, including the course director, course tutors and Harriet Tyce. For more information on our critieria, please visit the Novel Studio scholarship page.
General applications to the Novel Studio will also open on 1st February 2020. For anyone interested in applying, please see our submissions process here.
It’s been a phenomenal start to the year for graduates of the Novel Studio. Scholarship sponsor Harriet Tyce published her debut crime novel Blood Orange in 2019 to critical acclaim, with The Observer calling it ‘Complex and menacing…a very impressive debut.’
Blood Orange was shortlisted for the Dead Good Reader’s Award and selected for Richard and Judy’s bookclub choice in December 2019. Her second novel, Lies You Told – think Motherland meets noir – is due out in July 2020.
Kiare Ladner, also a Novel Studio alumna, will publish her debut novel, Nightshift, in July 2020 with Picador. Associate publisher Ravi Mirchandani described the novel as “an immensely exciting debut.”
Kiare’s short stories have been published in anthologies, journals, commissioned for radio and shortlisted in competitions, including the BBC National Short Story Award 2018. She won funding from David Higham towards an MA (Prose Writing) at the University of East Anglia, and then received further funding for a PhD (Creative Writing) at Aberystwyth University. She was given Curtis Brown’s HW Fisher Scholarship in 2018.
Kiare recently joined The Novel Studio teaching team, bringing a unique blend of experience as a student of the course and as a published writer of serious talent.
Another Novel Studio alumna, Deepa Anappara, will also publish this year. Her debut novel, Djinn Patrol on the Purple Line, has won the Lucy Cavendish Fiction Prize, the Deborah Rogers Foundation Writers Award, and the Bridport/Peggy Chapman-Andrews Award for a First Novel. It is now being translated into 17 languages.
Deepa’s short fiction has won the Dastaan Award, the Asian Writer Short Story Prize, the second prize in the Bristol Short Story awards, the third prize in the Asham awards, and has been broadcast on BBC Radio 4. She has an MA in Creative Writing from the University of East Anglia, Norwich, where she is currently studying for a Creative-Critical Writing PhD on a CHASE doctoral fellowship.
Last but not least, Novel Studio alumna Hannah Begbie will publish her second novel, Blurred Lines, in June 2020. Hannah developed her debut novel, Mother, on the Novel Studio and won that year’s prize for new writing.
Published by HarperCollins in 2018, Mother went on to win the Romantic Novelists’ Association Joan Hessayon Award for new writing and was made Book of the Month on Mumsnet and a pick for Fern Britton’s inaugural Book Club for Tesco. Mother has since been optioned by the BAFTA-winning Clerkenwell Films for adaptation into a television drama.
Ready to join them? Find out more about our The Novel Studio Submissions process. Applications open on 1st February 2020.
Ahead of the publication of her much-anticipated debut novel, Djinn Patrol on the Purple Line, Novel Studio alumna Deepa Anappara took time out of her busy schedule to talk to us about the inspiration behind the book.
Emily Pedder: Can you tell me a bit about the process of writing Djinn Patrol on the Purple Line? When did you know this was a story you wanted to tell? And how long did it take for you to feel you had the voice of the characters, particularly nine-year-old Jai?
Deepa Anappara: The spark for the novel came from a spate of real-life disappearances of children in India, where I worked as a journalist for over eleven years. I used to write on education and human rights, as part of which I interviewed people who lived in impoverished neighbourhoods like the one in my novel. During that time, I used to hear stories of areas where as many as twenty or thirty children had disappeared over a span of two or three years; no effort had been made to find them because they were from poor families that had no voice or political power. I used to wonder what it was like for children to live in such neighbourhoods, knowing that they themselves could be snatched at any moment. How did they deal with that fear and uncertainty? How did they understand the unfairness and injustice they encountered in the world around them every day? Djinn Patrol on the Purple Line is an attempt to answer those questions through fiction.
The children in my novel were very much inspired by the children I had interviewed as a reporter. Many of them were working, or weren’t able to study, because of their difficult financial or domestic circumstances. Despite this, they were often cheeky and witty, if not downright sarcastic. I drew from the memories of those interviews, and from the children I know in my life, to create the voices of my characters.
I first tried writing this novel in 2009, but set it aside, unsure whether I had the authority to write about a marginalised, neglected community. I returned to it in 2016. I had written several short stories by then with child narrators; I had also read a number of books and watched films with child narrators. Added to this were my own personal experiences of loss and uncertainty, and the greater understanding of mortality that perhaps comes with age – all these factors in some way gave me the permission to write Djinn Patrol on the Purple Line, and shaped its narrative.
EP: Jai watches lots of reality TV cop shows and adopts the role of a detective in trying to find his missing classmate. This feels like a brilliant way in to telling this story. How did the cop show/detective strand come about?
Deepa: Jai’s interest in catching the criminal stems primarily from his own fears. He understands at some level, correctly, that as a child, he is in great danger. By constructing a story about being a detective, he is attempting to reclaim the agency he lacks in real life. It is also his way of dealing with a difficult situation.
Reality shows on TV are popular in India as it is elsewhere across the world, and the one about cops that Jai watches called Police Patrol is based on a similar, long-running TV show in India. It seemed natural that Jai would be inspired by what he watches on TV; popular culture in the form of TV and Hindi films do exert an influence on daily lives.
EP: You were previously an award-winning journalist in India. How difficult was it to make the leap from writing as a journalist to writing fiction?
Deepa: I didn’t have any formal grounding in either literature of writing, so I found it quite difficult to make that transition. I had to essentially learn how to write fiction, and I also had to learn how to read fiction much more closely. As a journalist, I had to be impartial and objective and relay opposing points of view to offer a balanced perspective. To write fiction, I had to teach myself how to write from a subjective point of view, to see the world only as a character sees it. But my experiences as a journalist were integral to writing Djinn Patrol on the Purple Line. I often visited neighbourhoods like the one I have written about, and I am indebted to the people who lived there, who invited me to their homes and offered me tea and chatted with me. If not for the generosity they had shown me, there is no way I could have written this book.
EP: You’ve written lots of award-winning short fiction. What do you think are the main differences, apart from length, in writing novels as opposed to short stories? And which do you prefer?
Deepa: I love both forms; I love short stories for how they can distil an entire life into a few pages, for their focus, and I love novels for their expansiveness. There are writers who have experimented with both forms, who challenge what each form can do, and make it much more difficult to describe the differences. In writing a short story, I can often see its shape in its entirety, but this is much more difficult with a novel.
EP: What’s been the most useful thing about studying creative writing?
Deepa: I learnt everything about the craft through these courses. It also gave me a community; I met fellow students whose critiques I trusted, and whose writing I admired. I found critiquing their work, and listening to their feedback, incredibly useful. It also gave me the permission to write.
EP: Do you have an imagined reader in mind when you write?
Deepa: When I am writing, the attempt is to fully inhabit the character and their perspective. The question of readership is something to be considered during the editing stage, but the reader in my head even at that point is amorphous, or perhaps a version of myself.
EP: What are you working on now?
Deepa: I am studying for a Creative-Critical Writing PhD at the moment, as part of which I am working on a historical novel.
EP: Thank you so much, Deepa! We wish you every success with your novel.
Deepa’s novel, Djinn Patrol on the Purple Line, will be published by Chatto & Windus on January 30, 2020.
A partial of her novel won the Lucy Cavendish Fiction Prize, the Deborah Rogers Foundation Writers Award, and the Bridport/Peggy Chapman-Andrews Award for a First Novel. It is now being translated into 17 languages. Deepa’s short fiction has won the Dastaan Award, the Asian Writer Short Story Prize, the second prize in the Bristol Short Story awards, the third prize in the Asham awards, and has been broadcast on BBC Radio 4. She has an MA in Creative Writing from the University of East Anglia, Norwich, where she is currently studying for a Creative-Critical Writing PhD on a CHASE doctoral fellowship.
Applications for 2020 Novel Studio students will open on February 1st with a deadline of 24th April 2020.
After teaching Shahrukh Husain back in 2004, Emily Pedder, Course Director of The Novel Studio, catches up with the successful author and City Short Courses alumna about her recently reissued book, The Book of Witches, and the relevance of the book for feminism today.
Shahrukh Husain is that rare breed: a prolific writer of screenplays, plays, fiction and non-fiction for both adults and children who also happens to be a practicing psychoanalytic psychotherapist. Her adaptation of Anita Desai’s Booker-nominated In Custody for Merchant Ivory productions won the President of India gold medal and received an Oscar nomination; her most recent work was screened on ITV this autumn in the six-part series Beecham House, set in India in the late 18th century. Her books have been translated into 17 languages including Estonian, Turkish and Korean, and in October 2019, Virago decided to reissue The Book of Witches, edited by Shah, for which she was asked to write a new preface.
In 2004 I was lucky enough to teach Shah on City’s Novel Studio (then the Certificate in Novel Writing). You may wonder why such a talented and successful writer would choose to go on a writing course. But Shah is unashamed in her lifelong pursuit of learning. ‘My family say I’m addicted to courses,’ she tells me at the kitchen table of her beautiful house in Willesden where we met last week to talk about her latest book and her long and interesting career.
I began by asking Shah how she had come to edit the original incarnation of The Book of Witches, first published in 1993: ‘I’ve always been passionate about fairy tales,” she told me, “and witches in particular…from childhood. I’d corner people and force them to tell me stories and I remember my parents saying: “You can’t just go up to people and ask them to tell you stories about ghosts!” Years later, Angela Carter wrote her book about fairy tales, (The Virago Book of Fairy Tales) and I just loved it. So, I found out who was in charge of the series, it was Ursula Owen at the time, and she told Ruth Petrie who was the series editor, who called back within about 10 minutes and said, (in those days there wasn’t any internet) “we’re commissioning you,” just like that.’ The book became Shah’s breakthrough as a writer, selling in eleven languages, and the first of four subsequent non-fiction books for Virago.
Virago’s decision to reissue the book, 26 years, later was influenced by the rise in interest in witches and their potency, particularly in relation to female anger and the #metoo movement. In her new preface, Shah brilliantly highlights the relevance of the witch today: ‘resilient, edgy, awe-inspiring and potent. She never disappears from our culture for long.’ At a recent sold out Virago Speakeasy event celebrating the book, Shah was joined by award-winning writer and fellow City short course alumna Imogen Hermes Gowar, to explore the power of the witch today.
Storytelling clearly runs through Shah’s veins. Though resident in the UK for most of her life, Shah’s childhood was spent in Pakistan where she spent hours listening to the adults telling stories: ‘my mother’s family weren’t academics, my mother and her mother weren’t even educated…they told stories and everything was embedded in history and culture…if they wanted to tell us off they’d tell a story and then they’d go on to explain or encourage us to ask questions, like ‘was she a real queen?’ It was such fun, I soaked it all up…’
This deep-rooted understanding of the links between stories, history and culture has continued to influence Shah’s work as a writer and her career as a Jungian psychoanalyst. All four of her books for Virago are themed around different aspects of womanhood and illustrate the universality of so many myths: Women Who Wear the Breeches, Erotic Myths and Legends, Temptresses, and The Book of Witches. As she puts it, they are all about ‘women and myths who’ve had a bad press, they’re all themed, so it’s about knowing that these things exist in every culture really…’
Not surprisingly for someone so knowledgeable about storytelling and narratives, Shah is passionate about the value of creativity and imagination in the lives of both adults and children: ‘‘I really want people to have imagination in their lives… I remember when my daughter was six, she came to me and said: “Mum everybody keeps saying there’s no such thing as magic but is there?” So, I said the funny thing about magic is that if you don’t believe it you never find out about it, so you have to believe it, and it’s the same with miracles…and I said to her we’ll go in the garden in the morning and I’ll show you, and I showed her the dew, we see it falling and it looks like a diamond, so that’s kind of a miracle. And she came back afterwards and said “I’ve been thinking about it. It’s not kind of a miracle, it is a miracle because actually that is a diamond…”’
The Book of Witches is published by Virago.
For more about Shah’s work please visit her website.
For more about City’s short writing courses, including the Novel Studio please visit.
For more than 20 years, Kathrine Bancroft’s career has been at the forefront of broadcast journalism, political and not for profit communications. She is currently a Public Engagement Manager for UKRI. An alumnus of City’s workshop and creative writing courses, Kathrine is currently a 2019/20 Novel Studio student and a creative writing volunteer mentor with ‘The Ministry of Stories’.
Helen Ferguson is a translator of Russian and German and writer based in Ely. Her work has appeared in Lighthouse Literary Journal and she is currently working on a novel with City’s Novel Studio.
Bren Gosling’s writing has been performed at The Pleasance, Arcola, OSO Barnes, Rose and Crown E17, Bloomsbury Festival and Brighton Fringe. He is an award-winning short story writer – Exeter, London Short Story Prizes; Highly Commended 2017 Brighton Prize. His play Moment of Grace – inspired by Princess Diana’s handshake on Britain’s first AIDS Unit – sold out at 2018 Bloomsbury Festival. Bren is a Novel Studio alumnus @BrenGosling
Shabnam Grewal is a Londoner who makes Radio and TV programmes. She is also a parent, a partner, a friend and a reader. A big reader. Shabnam studied on Cherry Potts’ Approach to Creative Writing course.
Andrea Holck is an American-born writer and former English teacher. She is currently on the MA in Creative Writing and Publishing course at City. Her writing has been featured in Popshot, Kairos Literary Journal and Run Like the Wind, a literary magazine about running.
Revati Kumar is based in North London, and took the Approach to Creative Writing course in 2017. She currently works full time as a doctor in the NHS and continues to write (non-medical) fiction in her spare time.
Shibani Lal is an alumna of Katy Darby’s Short Story Writing course. Shibani’s short stories have been longlisted for the Bristol Prize, Cambridge Short Story Prize and the Fish Short Story Prize. She was also runner-up in the Asian writer prize, and her work has been published in anthologies in the UK (Dahlia Press, Linen Press). Shibani holds an MPhil in Economics from Cambridge University, and is currently working on a short story collection.
Born in Russia and of Armenian origin, Natasha Mirzoian moved to London when she was a child. While working in book publishing, she completed the Novel Studio at City in 2005. She then went on to gain an MA in Creative and Life Writing at Goldsmiths University. She lives in Kent with her family and is working on a collection of short stories.
Angus Whitty was brought up in South Africa towards the end of Apartheid, schooled in England, and spent his life moving between the two. He started writing at sixteen, and worked as a cub reporter for a newspaper at 19. He has studied journalism and film making and done a Masters in Anthropology. He works as a freelance journalist and invented a product for reading books called “Thumbthing”. Over the past 10 years he has used ocean plastic as a resource in design. Now living in Valencia, Spain, he is part of a weekly writing group who are trying to produce a booklet of language-exchange short stories. Angus studied at City ten years ago on a course called Towards Publication, now Writers’ Workshop. Find him on instagram/anguswhitty
With stories from the competition winners and from the Story Cities anthology, you’ll be getting more than £10 ticket worth. Sign up here while there’s still room.