Tag: University (page 1 of 6)

Lessons in Love and Other Crimes – Elizabeth Chakrabarty on the writing of her debut novel

Novel Studio alumna Elizabeth Chakrabarty published her brilliant debut novel Lessons in Love and Other Crimes with Indigo Press  in 2021. She took time out of her busy schedule to answer some questions from Novel Studio course director Emily Pedder about her writing life.

Have you always written?

 

Yes, I can’t remember not writing — stories, poems, a journal.

 

Which book was the first to have a real impact on you as a reader, and which as a writer?

 

I remember reading Villette, at a really young age; I was about nine. I’d got through my library books one evening, and took it down from my mother’s bookshelves. I was aware of reading it, and not understanding it exactly, and yet at the same time it interested me as a reader, this literature for adults; it intrigued me more than books for children. As a writer, so many books over the years, it’s difficult to think of a first, unless it’s that dual creative experience of reading as a writer, being really aware of the writing. Anna Karenina is one particular novel I’ve returned to as an adult, and reread sections very much as a writer, looking at its construction and language.

 

If you could tell your younger writing self anything, what would it be?

 

Just to do what you’re doing: to live and to read, and then to write, and not to listen to anyone at all who tells you you can’t be a writer.

 

Why do you write and what makes it so vital for you?

 

I can’t imagine not writing, it’s what I do every day in some way; it’s like exercise, something I have to do, going for a walk in my mind, taking the characters somewhere interesting to discover things about them and their world.

 

We worked together many years ago on the Novel Studio (then called the Cert in Novel Writing). What do you think of the view that creative writing can’t be taught?

 

Techniques and discipline can be taught and encouraged, and particularly in a group, it is a great way of learning from peers, as other readers and writers. After that though, it’s up to the individual, whether they have something to say in writing, and whether they feel pushed to write — that they have to do it — and if they have the endurance to work at it, despite the immense odds.

 

Can you tell us a bit about your experience of being published? Has anything been surprising, in a good or bad way?!

 

It has taken a long time to get small pieces, and then a novel published. I was first published in translation in Swedish years ago, then in French, and finally in English. I met my agent, and gradually we’ve worked together, and she’s stuck with me, and now my debut novel has been published in the UK, EU, Australia and the US in 2021. What’s surprising has been how many stages there are of the publishing process, after your book has been accepted, such as all the levels of editing, the marketing — all the care and attention. What’s been less surprising is just how non-diverse the publishing industry is in the UK, although that seems to be changing.

 

Which fiction writers inspire you at the moment?

 

Carmen Maria Machado, Sarah Hall, Jeanette Winterson, Bernardine Evaristo.

 

Do you have a particular writing process? Favourite place or time of day to write? Favourite pen or notebook?

 

No, I’ve learnt to write wherever I am, with whatever I have with me. I feel like having things that you have to do, to make writing right, are counter-productive.

 

At what point in the writing of the book did you decide to structure it in the way you have? And what impact did that have on the structure as a whole?

 

I started by writing the novel, that is the fiction, but then gradually realised I wanted to add elements of creative non-fiction, to make clear that I had experienced the specifics of the hate crime I was writing about; that the racism is not fiction. That led to writing about how I thought through how to write about crime and racism in fiction, and became the essays bookending Lessons in Love and Other Crimes. As the book became hybrid, a novel with creative non-fiction essays bookending the fiction, that in turn impacted the fiction, and so I then also intercut the fiction with metafictional author’s notes.

 

What are you working on now?

 

I’m now working on the second draft of a new novel, which I’ve been working on during, and since we’ve come out of lockdown. I’ll be sending it to my agent soon — she is always my first reader — so other than that, I won’t say more, but as they say, watch this space. In the meanwhile, thank you for reading my work!

 

Thank you so much, Elizabeth, and huge congratulations on your fabulous debut. We are really looking forward to welcoming you as our guest alumna at next term’s City Writes.

 

Lessons in Love and Other Crimes is available now. Elizabeth was also recently shortlisted for the Dinesh Allirajah Prize for Short Fiction, for which her story will be published in an e-anthology by Comma Press. Her story ‘Eurovision’ was shortlisted for the Asian Writer Short Story Prize in 2016 and published in Dividing Lines (Dahlia Publishing, 2017). Her poetry has been published by Visual Verse, and her short creative-critical work includes writing published in Glänta, Gal-Dem and New Writing Dundee, and more recently in Wasafiri, and the anthology Imagined Spaces (Saraband, 2020). She received an Authors’ Foundation Grant from The Society of Authors (UK) in December 2018, to support the writing of Lessons in Love and Other Crimes, and was chosen as one of the runners up for the inaugural CrimeFest bursary for crime fiction authors of colour in 2022.

 

The Novel Studio is now open for applications for 2022/23 with a deadline of 29th April 2022. To find out more about the course register for our virtual open evening on March 31st 2022 6-7.30pm. For more on all our writing short courses visit our website.

City Writes celebrates its first non-fiction guest: Ciaran Thapar

by Rebekah Lattin-Rawstrone

City Writes is such a brilliant showcase for all the fabulous writing talent coming from City’s Creative Writing Short Courses and this Autumn’s Event was no different. There are always fascinating submissions from the Narrative Non-Fiction course run by Peter Forbes and this term we were able to celebrate some of the fruit of his teaching labours by sharing the work of Narrative Non-Fiction alumnus Ciaran Thapar whose book Cut Short: Youth Violence, Loss and Hope in the City is an insightful, honest and eye-opening exploration of knife crime and youth violence in London.

As always we began with the competition winners. We went from an exploration of infidelity and class in ‘Salesman of the Year’ by Laurence Kershook all the way to a drunken groom in Grayson Anderson-Brown’s ‘Mum’s Yard’.

Laurence is an alumnus of The Novel Studio and his story set a sinister tone for the evening. As is often the case, a theme seemed to emerge across the winners’ pieces and this time it was an exploration of relationships from people at the end of their relationship journey, through those at the start, towards those whose more intimate relationships are with their art.

We hope Laurence will come back and share his novel, The Broygus, which is due out in mid-2022.

From a jail cell (you read correctly) to a house call, we heard from Pasca Lane next as she read her story, ‘Creature of Habit’. Her main character was desperate to get rid of a fox, to rid his home of the remnants of his ex-wife. A hilariously unself-aware character, Pasca delivered his perspective with aplomb.

Alan Gray, alumnus of the Short Story Writing course, took us on a first date, expertly navigating us through the complications of desire and that human need for connection in his story ‘Nice Meeting You’. There were some great moments of dialogue and a weighty, uncertain end on a sofa.

Another Short Story Writing alumnus, Stephen Kehoe, chilled us with the opening of his novel-in-progress, Defence Mechanism next. A speculative near-future in which the protagonist exploits public officials for some unspecified end, left us all reeling and eager to find out more.

Emily Shammar took us into the world of a blind woman at a picnic next. An alumna of An Approach to Creative Writing this extract from her longer work, ‘The Complicit’ was a thrilling and unnerving ride into uncertainty.

Novel Studio alumnus, Grayson Anderson-Brown gave us some sharply drawn characters next, in his extract ‘Mum’s Yard’ in which two brothers and a cousin try to salvage a wedding day currently not going to plan. They fail to keep the groom’s hung-over dishelvement from Mum, all summoned to her flat for a dressing down.

Mike Clarke was the last of the competition winners to read. A self-confessed City writing course junkie, he read ‘Spray Can Angel’, an extract from his novel-in-progress, Burnt Fingers, in which a female graffiti artist risked serious injury dangling from a fire escape to repair her artwork. Left dangling alongside the protagonist, the audience were hoping to see that novel in print soon.

The evening then took a turn towards non-fiction and the brilliant blend of narrative and sharp political commentary in Ciaran Thapar’s work, Cut Short: Youth Violence, Loss and Hope in the City which was published by Viking UK (Penguin) in June 2021. Told through a mixture of character journeys based on real people and considered research and argument, the book draws a reader into the lives of those living with youth violence, gaining their empathy and understanding in order to help them see a path towards change.

Ciaran gave a short reading from Chapter Five in which Carl, a young school boy, is sitting in an isolation session at school and feeling worthless and depressed. In a Q&A with host, Rebekah Lattin-Rawstrone, Ciaran then spoke further about the themes of the book and his hopes for building more supportive communities for young people. He was an inspirational guest and speaker, providing much food for thought among the audience who were also keen to ask questions. If you haven’t read it, buy it here. Ciaran will also be running a short course at City on Writing for Social Impact, which if his book is anything to go by, will instigate further fascinating and thought-provoking writing.

To experience the event for yourself, watch the full recording now. What a great way to start the festive season with fabulous fireside stories and provocation to think of others.

Novel Studio Scholarship Winner 2021

Winner of 2021 Novel Studio Scholarship Announced

by Emily Pedder

The third  Novel Studio scholarship, set up to support a talented writer from a low-income household, has been awarded to Hawa Maua.

Hawa is now part of  The Novel Studio 2021/22, alongside 14 other selected writers. Speaking of Hawa’s application,  Novel Studio course director Emily Pedder said: “This was an outstanding piece of writing. Distinctive and energetic, there was an urgency to the voice which was compelling.”

 

On winning the scholarship, Hawa said: “For a long time, I dreamt of being heard, giving voice to my thoughts, my hopes, my experiences and the things that I observed. I was dreaming of being a writer and thought someone like me could never get a chance. Now I have a chance to make something more concrete.”

Harriet’s new novel out in 2022.

 

Novel Studio alumna and crime writer Harriet Tyce set up the scholarship in 2019 as a way to help talented writers who might not otherwise be able to take up a place on the course. Lola Okolosie, the inaugural recipient of the scholarship, has said the opportunity was “life changing” while last year’s winner, Janice Okoh, said that without the scholarship she would not have been able to take the course.

Harriet was a student on the Novel Studio in 2009/10 and went on to gain a place on the MA Crime Fiction at UEA, where she received a distinction. In 2017 Wildfire pre-empted her debut psychological thriller, Blood Orange. It was subsequently sold in 19 territories worldwide and became a Sunday Time bestseller. Her second novel, The Lies You Told, described by Sophie Hannah as ‘totally addictive’, was published in August 2020 to rave reviews. Her third, It Ends At Midnight, will be published in 2022.

 

The Novel Studio has been running as part of City’s short courses programme since 2004 and has been instrumental in providing a foundation for emerging writers to go on to successful publishing careers. Taught by professional writers and editors, 15 selected students develop their novels over a year. The course has a  strong publication record, with many alumni publishing novels with major publishing houses, including, most recently, Deepa Anappara, Hannah Begbie and Harriet.

 

Congratulations, Hawa! We can’t wait to see your novel develop over the year.

For more on all our writing short courses, including The Novel Studio, visit.

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.

‘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 Writing Competition

City Writes Summer 2021 Competition Opens

by Rebekah Lattin-Rawstrone

City Writes, the showcase for Short Courses creative writing talent, is back on Zoom this Summer with alumna, Alex Morrall as our professional. Alex’s debut, Helen and the Grandbeeswas published by Legend in 2020 to great acclaim.
Described as ‘Uplifting’ by the Daily Mail and ‘Breath taking’ by Awais Khan, Helen and the Grandbees is a mother and daughter reunion exploring identity, race and mental illness. We’re delighted Alex will be sharing the novel with us on Wednesday 7th July.

Alex is a Brummy artist and writer living in southeast London who took a Freelance Writing short course at City. She has had poetry published in several journals and writes food reviews for her local newspaper. You can find out more about her work on her website.

Alex Morall, author of Helen and the Grandbees

For your chance to join Alex on the online stage, all you need to do is send us 1,000 words of your best creative writing (fiction or non-fiction, YA but sadly no poetry or children’s fiction) by Friday 11th June 2021. Full submission details are here.
If you want to register for the event on Wednesday 7th July, you can do so here and if you are keen to catch up on the online events you’ve missed, check out the blog for links to videos and articles.
Don’t forget to send your best 1,000 words by midnight Friday 11th June 2021. Competition winners will be announced in week 9. We can’t wait to read your submissions.

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!

Novel Studio Scholarship Winner 2020

Winner of 2020 Novel Studio Scholarship Announced

By Emily Pedder

The second  Novel Studio scholarship, set up to support a talented writer from a low-income household, has been awarded to Janice Okoh.

Janice will now join The Novel Studio 2020/21, alongside 14 other selected writers. Speaking of Janice’s application,  Novel Studio tutor Rebekah Lattin-Rawstrone commented: “I was totally gripped by the story that Janice Okoh sent in with her application. Her work is filled with character, pace and a beautiful sense of place. There is an urgency to get across a British Nigerian experience that sings from the page.”

Janice Okoh, winner of Novel Studio Scholarship 2020

On winning the scholarship, Janice said she was “thrilled to be able to  further develop my novel writing skills on such a prestigious course.  I have so many ideas, I can’t wait to focus on one of them and interrogate it for an entire year. Like a lot of people, the effects of the pandemic meant that I lost a substantial part of my planned income so without the scholarship I would not have been able to attend the course. Thank you, Harriet Tyce.”

Novel Studio alumna and crime writer Harriet Tyce set up the scholarship in 2019 as a way to help talented writers who might not otherwise be able to take up a place on the course. Lola Okolosie, the inaugural recipient of the scholarship, has said the opportunity was “life changing”.

The Lies You Told, Harriet Tyce’s second novel

Harriet was a student on the Novel Studio in 2009/10 and went on to gain a place on the MA Crime Fiction at UEA, where she received a distinction. In 2017 Wildfire pre-empted her debut psychological thriller, Blood Orange. It was subsequently sold in 19 territories worldwide and became a Sunday Time bestseller. Her second novel, The Lies You Told, described by Sophie Hannah as ‘totally addictive’, was published in August 2020 to rave reviews.

The Novel Studio has been running as part of City’s short courses programme since 2004 and has been instrumental in providing a foundation for emerging writers to go on to successful publishing careers. Taught by professional writers and editors, 15 selected students develop their novels over a year. The course has a  strong publication record, with many alumni publishing novels with major publishing houses, including, most recently, Deepa Anappara, Hannah Begbie and Harriet.

Congratulations, Janice! We are so looking forward to seeing your novel develop over the year.

For more on all our writing short courses, including The Novel Studio, visit.

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 Literary Agent Competition 2020

Calling all applicants to the Novel Studio 2020!

In a rare opportunity to bypass the slush pile, all applications to the Novel Studio will automatically be considered for our literary agent competition, run in conjunction with Christine Green Authors’ Agency.

The Novel Studio is City’s flagship year-long course for aspiring novelists. Established for over a decade, the course has a formidable track record of published alumni including bestselling crime author Harriet Tyce and debut novelist Deepa Anappara.

Previous winners of the competition include Hannah Begbie, award-winning author of Mother, and the hotly anticipated,  Blurred Lines; and Louise Beere, shortlisted for the Lucy Cavendish Fiction Prize 2019.

The deadline for applications is 30 June 2020.

For full details on criteria and how to apply, visit our competition page.

We look forward to reading your entries!

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