Tag: literary (page 1 of 3)

City Writes Autumn 2020 Transports the Zoom-bound!

By Rebekah Lattin-Rawstrone
The sun is shining less hours in the day, we’re all straining under the impact of the pandemic, but City Writes Autumn 2020 was a perfect tonic for the blues. Held on Zoom, five fantastic competition winners joined prize-winning author and alumna, Deepa Anappara who read from her debut, Djinn Patrol on the Purple Line and discussed her work with City Writes host and Novel Studio Visiting Lecturer, Rebekah Lattin-Rawstrone.
We began in France with the opening of Nola d’Enis’s novel, Uhtcaere, a work-in-progress currently being written whilst Nola studies on the Novel Studio. Treated to the lingerie draw of a femme fatale, Nola enthralled us with her eloquent delivery and her sensory and sensual detail.
Emma Dooley, a recent alumna of Cherry Pott’s Approach to Creative Writing class, read next, giving us a terse, poignant account of two ex-lovers meeting outside Lidl during the lockdown with her story ‘Fine.’. The economy of her writing really plumbed the emotional depths and awkwardness of a chance encounter.
Novel Studio alumna, Marta Michalowska read her story ‘Grey Curtain’ next, immersing us in the muted tones of loss and longing, a sea landscape where water and sky blend and walking provides the only cure for despair. Such delicate and specific descriptions transported us into the world of her character.
Back to the pandemic, Richard Bowyer, an Approach to Creative Writing alumnus, was the next to read his story. ‘Return of Service’ is his first ever short story and what promise it shows. A hilarious account of a golf sale sign holder needing a new job, this gem of a story gets better with reacquaintance, and got the audience giggling.
We returned to France next with Novel Studio student, Lucy Blincoe, who read an extract from her first novel, We Are Young, called ‘Lessons in Aioli’. In France to improve her French, the main character visits an acquaintance to cheer her up after a break-up, and ends up being forced into an uncomfortable situation with her father. Filled with tension and sexual menace, this minutely observed story was painfully familiar for many.
Suzanne Farg, another alumna of Approach to Creative Writing, read her tense and complex story ‘Ruby’ next. Beginning in a courtroom, we follow Ruby’s perspective as she reveals what really happened to that boy her husband was accused of killing. That should be enough to whet your appetite!
With these wonderful readings from competition winners over, it was time to hear from our professional Deepa Anappara. Her novel Djinn Patrol on the Purple Line, set in a Basti – an overcrowded area on the outskirts of a big Indian city – explores child disappearances through the children’s perspectives, with a brilliantly buoyant and upbeat main narrator, Jai, whose positive exploration of difficult subjects lifts the dark subject matter and gives us an account of a marginalised community who lives are rich with hope and ambition despite their circumstances. It’s an overwhelming generous and thoughtful novel and if you haven’t read it yet, get a copy now.
After a reading from the novel, discussing the significance and power of the djinn, Deepa answered questions from Rebekah Lattin-Rawstrone and audience, contemplating the power and difficulties of the novel to speak from diverse voices and offering wonderful advice to budding writers. She suggested writers’ practice persistence, meticulous research and listen carefully to feedback.
The full interview can be viewed in the recording of the event with all the fabulous readings too. If you missed it, you don’t need to miss out!

City Writes Winter 2020 Competition Deadline

By Rebekah Lattin-Rawstrone

The event that showcases City’s Short Course Creative Writing talent is back on Zoom. After our successful virtual City Writes in the Summer Term, we are delighted to be returning with another City Writes via Zoom this term on:

Wednesday 9th December 6.45-8pm.

Our professional writer this term will be the fabulous Novel Studio and Short Courses alumna Deepa Anappara, whose debut, Djinn Patrol on the Purple Line, was longlisted for the Booker Prize earlier this year. A wonderful novel about child disappearances from the outskirts of a large Indian city, Deepa will be reading a short extract and answering questions from host, Rebekah Lattin-Rawstrone and audience.

Guest author Deepa Anappara
For your chance to read alongside Deepa, you need only send your best 1,000 words of fiction or creative non-fiction by:
Friday 13th November.

Competition and submission guidelines can be found here.

If you’re keen to get ahead do register for the event on the 9th here.

Competition winners will be announced in week 9.

We look forward to receiving your submissions and seeing you in December!

City Writes Returns on Zoom!

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!

Novel Studio alumna Ali Thurm publishes debut novel

Novel Studio alumna Ali Thurm on the enduring group of friends she made while on the course, and her path to publication.

“In 2012 I’d been working on One Scheme of Happiness for about a year; I could tell a story with a beginning, middle and end but what I had wasn’t a novel. I’ve always read a lot and studied literature at university so I knew what a novel could be like. I knew I could write but I didn’t know how to structure a novel, how to write effective dialogue and many things I didn’t even know I didn’t know (voice, point of view, first person or third person…)

Then I saw an open evening for the Novel Studio (arts council website). By the end of the course I not only had a structure I was happy with, I also knew how to write a letter to an agent and how to submit my work. I also had a group of friends who would give valuable, objective feedback on my work. Seven years later we still meet regularly to write, share work and celebrate successes. Even in this time of self-isolation we’re Zooming together. It’s been amazing to be friends with other writers who are also balancing writing with work and childcare.

After the course I kept going until I had a draft of my novel that I was happy with, then started:

  1. Choosing agents and sending the first few chapters out.
  2. Enrolling on short courses.
  3. Entering novel competitions.
  4. Building up an author profile on Twitter.

It’s a lot of work and a lot of rejection and costs money (some courses and competitions have subsidised places).

But it all helps, and in 2015 I was taken on by Emily Sweet Associates; it was wonderful for a professional to ‘get’ my novel and to validate my writing. Emily suggested editing and redrafting – more work – but the new draft led to some long and short-listing in national competitions. To minimise the angst of waiting for more rejection from publishers (easier if your agent can soften the blow!) I drafted a new novel and set up a WordPress blog to review new books. I also signed up to NetGalley – a brilliant way of reading new books as digital ‘galley proofs’ before they’re published. For free. All you have to do is write a review after you’ve read them. I’ve read books by Kamila Shamsie, Linda Grant, Kit de Waal and many more. Reading is vital for any writer.

Finally in 2018 an indie publisher, Retreat West Books, wanted to publish my novel. Again I had more work to do on the novel itself as well as promoting it on social media, but Amanda Saint has been a great editor. On 27 Feb 2020 my debut, One Scheme of Happiness was published. Just before lock down, I had a launch and signed copies of my book like a proper author!

I’m now working on my next novel: The River Brings the Sea (third in the First Novel Award, 2019).

Congratulations, Ali!

You can follow her on Twitter @alithurm

Or her blog on WordPress https://alithurm.com

For anyone interested in The Novel Studio, applications are now open for entry in October 2020. Further details here.

 

All you need is love

By Emily Pedder

From Jane Austen’s Pride and Prejudice to Haruki Murakami’s Norwegian Wood, the question of love has long fascinated writers and readers across the world.

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

City runs short courses on everything from novel writing to writing for children.

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.

 

Novel Studio alumna and bestselling crime writer Harriet Tyce supports second year of Novel Studio Scholarship

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.

Lola Okolosie

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

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.

Deepa Anappara

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.

Hannah Begbie

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.

An interview with Deepa Anappara

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

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.

Deepa is also a graduate of City’s Novel Studio programme, of which Emily Pedder is Course Director.

Applications for 2020 Novel Studio students will open on February 1st with a deadline of 24th April 2020.

Bewitched: An interview with Shahrukh Husain

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.

 

City Writes Autumn 2019 Competition Winners Announced

City Writes Autumn 2019 Competition Winners Announced
Congratulations to this term’s winners of the termly City Writes Competition, showcasing the best creative writing talent from alumni and students of City’s Short Creative Writing Courses. The winners are: Harriet Atkinson, Kathrine Bancroft, Helen Ferguson, Bren Gosling, Shabnam Grewal, Andrea Holck, Revati Kumar, Shibani Lal, Natasha Mirzoian and Angus Whitty.
This term we are running a flash fiction extravaganza event to celebrate the Story Cities anthology edited by alumna, Rosamund Davies and tutor, Cherry Potts, as well as Kam Rehal.
The City Writes Autumn Event is on Wednesday 11th December at 6.30pm in the City 125 Suite, City, University of London. Tickets are £10 and include wine/juice. Buy them here now. City Writes Autumn Event 2019 is going to be storytelling gold. There are lots of authors and lots of readings, but they are all short flashes of brilliance guaranteed to scintillate and mesmerise.
We’ll be journeying all over the globe and into childhood memory, falling in love with mattresses, finding a deceased father in the scribbled margins of their old library, seeing snow for the first time, rethinking bonfire night, trying to look after milk and so much more. Don’t miss out, book now.
In the meantime, meet this term’s wonderful, festively large list of competition winners below.
Harriet Atkinson is a historian of design and culture, based at University of Brighton. Currently, she is writing a book about the design of British propaganda in the 1930s and 40s. Her book The Festival of Britain: A Land and its People was published by I.B. Tauris in 2012. She has written for a range of academic and non-academic publications. Harriet studied Narrative Non Fiction with Peter Forbes. Find her on twitter at @HRAtkinson1

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.

Travellers on the Same Road

By Emma Claire Sweeney

I love to hear from Novel Studio students that our conversations have spilled from the classroom into chats over coffee in the campus café, or glasses of wine at The Peasant. It was just these kinds of tête-à-têtes that first fired my friendship with Emily Midorikawa, my former Novel Studio colleague.

We were lucky enough to have chanced upon each other almost fifteen years ago, back at a time when we were both living carefree lives as young English teachers in rural Japan. I have vivid memories of the moment when we first admitted that we were both secretly writing: the bowls of garlicky spaghetti we were eating; the acquaintance who unexpectedly showed up at the restaurant, putting a stop to our conversation; the way we picked up where we’d left off as we wandered through a shopping mall on our way home.

At the end of that formative year, I headed off to South East Asia carrying my notepad from noisy Bangkok hostels to crumbling villas in Laos, while Emily continued to type away in her tiny Japanese apartment surrounded by carparks and convenience stores.

Many messages pinged between the computer in Emily’s Japanese staffroom and the internet cafés I visited in Chiang Mai and Hanoi and Luang Prabang. According to Emily, it was during this time that I sent her a message in which I daydreamed about the two of us writing together one day. It was a throwaway remark – one I can’t remember making. Back then, we were both just beginning to forge our own paths. We didn’t know where we were heading so we could hardly invite anyone else along for the ride.

We would have been delighted and surprised, I think, to see the similar directions in which we’d travel during the years to come: each working away on our own stories, becoming City colleagues, and eventually finding a way to co-write.

The route we could take for writing together became clear during a chat one summer’s afternoon. We got talking about how much we’d come to appreciate our own friendship and wondered whether our favourite female authors of the past had enjoyed similar types of bonds.

We knew about Coleridge and Wordsworth, Byron and Shelley, F. Scott Fitzgerald and Ernest Hemingway. But did Jane Austen or Charlotte Brontë have female confidantes outside their immediate family circles? Could the great George Eliot ever have deigned to single out another female author as an equal? And did Virginia Woolf look for a woman of comparable talent away from the male-dominated Bloomsbury Group?

In search of answers to these questions, we began co-writing literary features for the broadsheets and magazines, and we then set up a literary blog, SomethingRhymed.com. Together we gradually uncovered a wealth of hidden yet startling collaborations, which led us to be commissioned to jointly author A Secret Sisterhood – a non-fiction book about the hidden literary friendships of Austen, Brontë, Eliot and Woolf.

Our book was published simultaneously by Aurum Press in the UK and Houghton Mifflin Harcourt in the USA to coincide with Jane Austen’s 2017 bicentenary. On launch day, we were delighted to celebrate not only the joint road on which we had both travelled but also the trailblazing work of the female writer friends who made our journey possible.

A Secret Sisterhood is available here.  For more about Emily and Emma’s journey, please visit their website.

To find out more about The Novel Studio and its growing list of published alumni, visit.

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