Navigating the Path: Crafting and Publishing Writing about Death

I’d not considered myself as a worthy candidate for publishing until this module, would people besides my university lecturers really want to read my work? With that in mind here’s my reflection of my experience of writing for publication. Specifically a short story, but this wasn’t just any story—this one’s gritty, raw, and packed with emotion. Join me as I share the highs, lows, and everything in between of bringing this piece to life, specifically for Blood and Bourbon.

Embracing the Challenge:

I decided after spending time thinking about this assignment and being conflicted to begin with that I needed to come to a decision about what format I would like my submission to take. I love writing poetry but I wasn’t sure I wanted to stick to my comfort zone and I’d attempted writing longer narratives before but had found it challenging to keep a reader consistently engaged. Friedman’s (Friedman, 2018) emphasis’ on short stories being simpler to write than books gave me the idea to craft a short story, this would all me to step out of my comfort zone of poetry and to practise my narrative skills without having to worry about such a slow burn.

Upon discovering an article listing places for submissions I read through and found that Blood and Bourbon were asking for various different submissions under the theme of death by August the 31st., I sensed an opportunity to push myself beyond my creative boundaries. Their appetite for hard-hitting, gritty work immediately caught my attention. It was a challenge I couldn’t resist—a chance to delve deep into the darkest corners of my imagination and experiences and produce something truly raw and unfiltered. This was a chance to create something entirely new for me, a short story that explored the complex feelings and emotions around death.

Initial Discomfort:

I’ll be honest—the notion of tackling the theme of death initially made me squirm. It’s not the most uplifting topic, after all and as a sensitive person I knew that it could even be triggering at times but as I mulled it over, I realised that discomfort often signals an opportunity for growth. I could take this opportunity to really think about my journey with understanding death so, I made the conscious decision to lean into the discomfort and see where it would lead. Hoping to create work that would be both emotionally charged and reflect personal growth.

Crafting and Editing:

With the theme of death firmly in mind, I set out to craft a story that would resonate on a deep level. Drawing upon personal experiences and weaving in exaggerated truths, I constructed a tale that explored the messy, complicated emotions that accompany loss

Within my first drafts I did find the writing especially hard, I leant more into a third person style which I found, after sharing my piece with a few close friends, did not read as well as I had hoped. The characters were two dimensional and the emotions seemed forced. I considered Baverstock (Baverstock 2006) and Heard’s (Heard, 2018) advice, I needed to consider my audience and keep my characters complex.

After much consideration I decided to ruthlessly edit (Craig 2015) my work and change it to first person leaning towards a balance between fiction and non-fiction, It was tough to make such a big change but I felt the piece would work better if it read like an exaggerated autobiographical recount of my experiences with death. I also found it a lot easier to really make use of  my emotions surrounding significant loss and how I had thought and felt to play into the way the piece read.

However, there was a challenge looming ahead: my initial draft was perfect for the 3000 word count for my assignment but Blood and Bourbon called for a piece that was at a maximum of 2500 words. I had to cut a large 250 word chunk from the beginning and end of the story to make it the correct size for submission, I do think this hindered the depth of the story slightly but not enough that it wouldn’t be suitable to submit.

Submitting the Final Draft:

After weeks of revisions and late-night writing sessions, I arrived at a final draft that I was proud to submit. Raw, gritty, and undeniably real, it encapsulated the essence of what I aimed to convey. I made the unfortunate discovery that Blood and Bourbons submission point on the article I had found was in fact an old submission and they were not seeking stories of death anymore. Determined to still submit my work I found another publisher Months to Years seeking creative nonfiction of 2500 words, I considered if my work would fall into this category and I believed it did, a majority of the experience I had written about was true, I had altered some parts but not enough that it could be considered entirely fictional. I reviewed the fine print of the submission guidelines to make sure my work would be suitable and with that I sent off my piece.

In the end

Although I haven’t heard yet whether my submission will be published I’ve found new confidence in my abilities and what I’m capable of. The journey of creating this piece provided a huge insight into the publishing world and opened my eyes to how many opportunities are waiting for us if we just take them. Don’t be afraid to lean into the discomfort. Embrace the challenge, push your boundaries, and let your words shine!

References:

Heard, W. 2018. Writing Passport: Characters. Scribbler.

Friedman, J. 2018. The Business of Being a Writer. The University of Chicago Press.

Baverstock, A. 2006. Is There a Book in You? A & C Publishers Limited.

Craig. J, 2015. ‘How to win a Creative Writing Competition – Top Tips’, The Guardian. https://www.theguardian.com/childrens-books-site/2015/nov/16/how-to-win-a-creative-writing-competition-joe-craig-tips

Submissions websites:

http://6 Great Places For Themed Submissions – International Writers’ Collective

https://blood-and-bourbon.com/

http://monthstoyears.org/

In Death’s Shadow

From the moment I was born, death surrounded me. The umbilical cord was wrapped around my neck like a natural noose, trying to lull me back into an endless slumber. The frantic movements of the doctors, the bright lights of the delivery room, and the sterile smell of antiseptics were my first introductions to the world. Even then, I seemed to be caught in a dance with death.

As a child, my family took me to church every week, hoping it would provide me with a sense of belonging. Instead, the bright lights hurt my eyes, the hymns pierced my ears, and the incense made me cough. The vastness of the church’s ceiling felt oppressive, pressing down on me like an invisible weight. I began to believe these discomforts were signs that I did not belong, that heaven and hell weren’t for me. I started to think about the prospect of no longer being, fearing the idea of nothingness.

Every Sunday, we’d file into the same pew, the worn wood smooth under my fingers. My mother would straighten my collar and remind me to sit up straight, her voice a soft whisper against the backdrop of organ music. The church was always cold, the kind of chill that seeped into your bones. I’d watch the stained glass windows, the colors muted and dull in the weak morning light, and imagine the saints depicted there coming to life, stepping down to offer some grand revelation. But they never did.

During the sermons, my mind would wander. The vicar’s voice was a distant hum, words blurring together into a monotonous drone. I’d try to focus on the flickering candles at the altar, their flames dancing and casting long shadows but they’d lick at my eyes causing them to water. The scent of melting wax mixed with the sharp tang of incense, created an almost suffocating atmosphere. The congregation’s responses were always ritualistic and synchronised as if everyone was part of a play, I did not know my lines.

I sat with this uncomfortable feeling for years, wondering if my watery eyes were actually in some way the church expelling the devil. Was I a bad person because I struggled to believe? At times I would squeeze my eyes closed so tight they would hurt, hoping that when they opened suddenly God would make sense to me and death wouldn’t scare me every time it crossed my mind.

When I was 10, my mother took me to the doctor, concerned something was wrong. They tried to explain that my anxiety was a response to my dad leaving, a phase that would end. She had caught me crying in the back seat while collecting fish and chips for our tea. The paper bags crackled as she brought them into the car, the smell of vinegar and salt mingling with my tears. It was my first panic attack. “I don’t want to die,” I screamed, my chest heaving. My mother smiled at me, her eyes full of sorrow, and reassured me that I didn’t need to worry about that—it was far off, I was only young. But her words offered no comfort. I wanted her to tell me it was all a lie, that people didn’t die, that it wouldn’t happen to me, that I would be okay. But she didn’t.

As I aged, the fear did not subside. Instead, it grew within me, festering at the back of my mind until it found a moment to emerge. Night after night, I would lie awake, the shadows in my room turning into specters of my fears. My breath would become shallow, my heart racing as if trying to escape my chest. Were the panic attacks causing the fear, or was the fear causing the panic attacks? I still don’t know the answer.

I remember one particularly harrowing night when I was around 12. The darkness felt alive, pulsating with my anxiety. Every creak of the house, every rustle of the wind outside my window was amplified, becoming monstrous sounds that sent shivers down my spine. I could hear my heartbeat in my ears, each thump a reminder of my fragile existence. I tried to focus on the texture of my blankets, the coolness of my pillow, anything to ground myself, but the sinking feeling in my chest wouldn’t go away. I could not comprehend not being alive, the possibility of nothingness.

Desperate for relief, I would count backwards from a hundred, hoping the mental exercise would tire me out. I kept my gameboy under my pillow, using its faint glow to reassure myself that the world was still there, that I was still here. Sometimes, I would sneak into my mother’s room and sit by her bed, drawing comfort from her presence. Hoping for some solace.

By 14, I began to get over these episodes. I almost forgot the true feeling of powerlessness, how scared I’d felt. The fear of losing people or the ending of relationships seemed distant. Perhaps the doctors were right; it was connected to my father leaving. Or maybe I was truly scared of losing people. I just knew that for a time, I felt okay. I felt like I could breathe again, enjoy my time with friends, and focus on school without the constant shadow of anxiety looming over me. The world seemed brighter, and I even started to believe that the worst was behind me but nothing is ever so simple.

When I was 15, my Nan died of cancer. We hadn’t seen her for a while, she didn’t want us to see her frailty. I think this is because she had always been a pillar of strength within our family, she was also an incredible cook. I remember the last Christmas we spent together vividly. The smell of her famous roast filled the air as we gathered around the table, her face glowing with joy as she served each dish. The berries I’m her Eaton mess seemed even sweeter that year. Then, as if overnight, she was gone. The emptiness in the house was  like a void that swallowed the warmth and light, leaving us all unsteady and unsure. We didn’t go back to my grandparents house at Christmas after that.

Not even a year later my Granddad passed away too. We visited him at the hospice before he died. The sterile smell of antiseptic clung to the air, mixing with the faint scent of flowers by his bedside. The hospice was a quiet, solemn place, filled with the soft murmurs of visitors and the hum of medical equipment. I looked at him, trying to keep my tears at bay. I had so many questions, so much more I wanted to say. My parents would escort me out when I couldn’t hold back my sobs, thinking it would make it easier for both of us. It did not. Leaving him felt like abandoning him in his final moments, like I had failed him somehow.

At his funeral, I watched as those who never wept cried floods of tears. The song “Fields of Gold” was chosen for both of my grandparents’ funerals, connecting them even after death. The music seemed to wrap around my heart, squeezing until I couldn’t contain my tears. I felt the crushing presence of death standing in that room, an uninvited guest that none of us could ignore.

At 18, I had a peculiar run-in with death. The weight of my depression had become unbearable, the darkness so consuming that my urge to die surpassed my fear and uncertainty towards it. I felt trapped in an abyss, unable to see any light or hope for the future. In a moment of utter despair, I attempted suicide for the first time. The act itself felt surreal, as if I were watching someone else carry it out. I felt death watching me, taunting me, a cold and relentless presence that seemed almost comforting in my darkest moments.

My family saw the change in me, the lifelessness in my eyes, the emptiness in my actions. They moved all sharp objects to places I did not know, and the medicine cabinet was emptied of anything that could be used to harm myself. My mother held me and cried, her tears soaking my hair as I barely registered anything happening around me. Her pain was a raw wound that mirrored my own internal suffering.

During this period, time seemed to stretch and blur. Days merged into nights, and I drifted in and out of a numb state. Friends reached out, their voices filled with concern, but I felt disconnected from everything and everyone. It was as if I was existing in a different dimension, separated from the living world by an invisible barrier. The love and care surrounding me felt distant, like a faint echo I could barely hear.

When I finally felt better, after what felt like decades, I began to see the full impact of what I meant to the people around me. In a strange way, I had seen what it could have been like if I had passed away. You do not consider how others may feel when you are that ill, but when I felt better, I was profoundly glad that I did not succeed.

When I was 21, my Auntie became very sick. Just the year before, she had inspired me to take charge of my life during a trip to Spain. We wandered through cobblestone streets, visited vibrant markets, and shared endless conversations under the Spanish sun. Her confidence and contentment were infectious. She was beautiful, with a radiant smile and the same curly hair we both cherished. She made me feel like I was enough, encouraging me to pursue my dreams without fear. That trip was transformative, and her words stayed with me long after.

The last time I saw her, we went out for dinner. She barely ate. Her complexion now pale and thin and the lively spark in her eyes that once shone so brightly was dimmed, replaced by a weary sadness. I felt a strange unease seeing her this way, it felt like she was hollow. I meant to see her again over Christmas before my next term at university began but I was so caught up in my own life that I forgot to solidify any plans. I sent a short text, promising I’d see her soon and hoping that she was feeling okay, she told me not to worry about her. I never saw her again.

For days after I found out she had passed, I felt the heavy weight of guilt. Processing the finality of death was overwhelming. The realisation that I would never see her again, that I didn’t make enough time for her, gnawed at me. You can’t go back and say sorry or I love you one more time. You can’t hug them, hear their laugh, or see their smile ever again. I cried as my flatmates comforted me, and we listened to her favorite album. The music was a bittersweet reminder of her, each song a testament to the memories we shared. Before bed, I would look in the mirror at my blotchy red face, skinny little arms, and straightened hair, not recognising myself. It felt like by straightening my hair, I had forgotten how much it had meant to me that we had shared our curls. The guilt in me grew, and my nightly panic attacks came back with a vengeance.

At my Auntie’s funeral, everyone aimed to celebrate her life. The room was filled with stories of her kindness, her humour, and the countless lives she touched. The loss was too much for me and I turned to getting really high. So high that I thought my chest might burst before my heart could beat again. I was the last person awake, unable to sleep. I thought maybe if I got high enough I’d see her one last time or maybe forget that she was really gone, but I’m reality I found myself deeper in thought and alone. The weight of her absence pressed down on me, suffocating in its intensity. The reality of her death settled in, an inescapable truth that left me grappling with profound sorrow and regret.

The following year, after enduring immense pain and grief which had brought on a drug addiction I was finally starting to feel better. I had met a partner who brought new light into my life, I had stopped frequenting drugs and things seemed to be on the up. I had made peace with my Auntie’s passing, finding solace in the memories we shared and the lessons she imparted. I had begun to heal when death struck again, this time more suddenly and swiftly than u could have ever predicted.

I was in my room, listening to music, when my phone buzzed with a message from my cousin’s girlfriend on Facebook. We had never really spoken much before, so I found it odd that she had reached out. I assumed at first maybe my cousins phone was broken or something of the sort and this is what had prompted her to reach out.  When I opened the message, a chill ran down my spine. I thought perhaps I had misread it initially, the time was so casual, as if some minor bad news was being share “Can you get hold of your Dad, Your cousin has found his brother dead this morning :(“

The words didn’t register immediately. I sat there, frozen in disbelief, staring at the sad face emoji at the end of the message. The shock was so profound that I couldn’t even cry. It felt surreal, like a bad dream I was about to wake up from. I simply text back “fuck fuck fuck” which was met with an explanation that my Dad had now been contacted, i didn’t respond again. Autopilot took over, and I went next door to tell my brother. How do you tell someone that someone they love has died? The words felt foreign and heavy in my mouth. He was just playing his Xbox like normal, like it was a normal day, so blissfully unaware of what I was about to tell him. I think he didn’t know what to say, I didn’t even know what to say and it had spilled out of me in a big tangle of words. “Oh really?” Was all he managed before he went back to his game

Next, I called my mum at work. I remember her answering the phone in such a cheerful mood, her voice light and full of energy. Knowing I was going to ruin her day with devastating news was one of the hardest things I’ve ever had to do. When I told her, she burst into tears. I hadn’t even thought to wait until she got home. I was so consumed by shock and grief that I felt an urgent need to say it out loud to the people close to me, as if doing so might somehow make it less real, less final. As if them sharing the grief might help in some way. Like if I got it out quickly, it would go away, and we could all go back to being fine. But it didn’t, and we couldn’t.

We never had a funeral for my cousin. We never got to say goodbye. He wasn’t even 30. The lack of closure left a gaping wound that refused to heal. I knew it was drugs that had killed him and I vowed to never tough drugs again. For the first time since I was a child, I prayed. I prayed that my Auntie and my cousin were together, that they could look after each other wherever they were.
That moment of prayer was a turning point. In my desperate plea for their peace, I realized that I believed in an afterlife. For the first time, I didn’t question that they would be somewhere safe, I knew they were. This belief offered a strange comfort, a sense of continuity beyond the veil of death. I felt connected to them, as if their spirits lingered around me, offering silent support and guidance.

Over the years leading up to today, I have often felt the presence of those I’ve lost at various moments in my life. Sometimes, in quiet, reflective instances, I sense them with me, cheering me on, and proudly watching the person I am becoming. Their invisible support has become a source of strength, helping me navigate both the challenges and joys of life. When I accomplish something significant or face a difficult decision, I imagine their approving smiles and words of encouragement, which bolster my resolve and fill me with a sense of purpose.

Despite the persistent feeling that death surrounds me, I am working on not fearing it. The weight of past losses no longer feels as suffocating. Instead, I am learning to cherish the time I have and the memories of those I’ve lost. Their absence has taught me the value of presence, of living in the moment and appreciating the people around me.
Death is still a shadow that looms large, it still panics me at times but it no longer paralyses me. Instead, each day becomes an opportunity to leave a positive impact. I strive to live in a way that would make them proud, carrying forward the love and lessons they imparted. I live for them.

After all the terrible things I have felt surrounding death,  the uncertainty, discomfort and sorrow it brings it has also taught me about life. With every loss I have learnt to be stronger, death is inevitable but the love we share with others transcends it. The relationships and experiences we build through life become part of our legacy, continuing to influence and shape those who remain. I am beginning to find peace amidst the pain, I realise I am not alone; death surrounds everyone, but it’s how we choose to live in the face of it that defines us.

Publication of Cosy Crime

Publication of Cosy Crime

In-keeping with the Christmas spirit when talking about the publication process of a piece of work I would give these three words: Ho Ho Oh. It appears a daunting process and can be; but you will certainly reap the rewards and learn a lot on the way.

In this blog I will cover my reflections on my personal journey of publishing and submitting. A deep dive into the intricacies that I learnt were involved for creatives in the process of or thinking about publishing their own work.

Short Story vs Novel

“Butor and Todorv have observed, two different stories coexist and interweave in a whodunnit: first the story that led to the crime itself; then the story of the investigation”, “the second story (the inquiry) tries to rebuild the first one (the crime.)”

  • Butor & Todorov (https://journals.openedition.org/sillagescritiques/1554)

Using the form of a short story to create my own cosy crime story originally seemed like the best idea. But the more I wrote, not only was it feeling rushed but I also wasn’t given time to explore things as concisely. This includes character development and having a more complex plot – I wanted a serial murderer. So naturally I pivoted and decided to instead put it in novel form which was a daunting but exhilarating project to undertake.

This did mean I had to browse where I could submit this new form to and the requirements to be successful. I generally liked the Crime Writers Association (CWA) description on their website for the Whodunnit dagger which is an award for cosy crime stories. Their website says that they want a tale that has “intellectual challenge at the heart of a good mystery, and revolve(s) around quirky characters.”

Edit, Edit, Edit

The editing process is the most tedious but also the most rewarding. All the pieces come together cohesively and it’s so satisfying!

Without having an agent as your own editor, you should be (as Penguin Publishing say on their website) “concentrating on the book as a whole, problem solving, guiding the plot, sometimes adding or removing characters, and making the writing its very best.”

Thoughts on Publishing

When first thinking about publishing my mind like many others automatically goes to the traditional route. But despite the lure of not having to wear every single hat and their larger reach this isn’t the only option. If I’m honest; it may be the least realistic option currently.

I would decide to self-publish my work or enter a submission into a competition (one I decided to enter was Arcadia Books – emailing the first 10,000 words or first three chapters). Apart from this in an age where anyone can have social reach; doing it alone is doable.

Author Lloyd Devereux Richards is a self-published author currently going viral. He spent 14 years writing a book which he released in 2012; he had very few sales. That was until his daughter decided to promote his new book on TikTok, within 48 hours more than 100,000 copies were sold on Amazon and he was the bestselling author on Amazon.

(Here’s the link if you want to check out his story: https://www.tiktok.com/@stonemaidens?_t=8mrl6BPyjTN&_r=1 )

Understanding a ‘WHODUNNIT’

Then the preparation stage came and I took William Faulkner’s advice who preached: “Read, read, read. Read everything – trash, classics, good and bad, and see how they do it.”

Ladies and Gentlemen; he’s right!

Reading and studying pre-existing literature and film in the mystery crime genre gives you the framework and understanding the elements needed. I read and watched quite a variety too let me tell you:

Detective television shows were easy to watch in my downtime and come in a variety from heavy watches to easy watches. Shows like Silent Witness, Luther, Lie to me and Murderville were my best picks.

Books gave a lot more to sink my teeth into than television though. The confident narration of Conan Doyle, Gillian Flynn, Alex Michaelides, Lee Child, and Agatha Christie (specifically in Hercule Poirot’s Christmas). I couldn’t forget to mention the godfather of the detective sub-genre Edgar Allen Poe either.

I think it’s important to mention a few classics set in the Christmas period too: Mavis Doriel Hay’s ‘Santa Klaus Murder; and J. Jefferson Farjeons ‘Mystery in White’.

The Recipe

All this reading (and watching!) gave me an understanding of the components of the rigid framework needed to create a successful ‘whodunnit’ story. Here is what I would include in the recipe:

  1. Puzzle – the driving question which is usually the classic ‘Who did it?’
  2. Investigation and Plot Twists
  3. Hero – the Detective
  4. Worthy villain
  5. Clues & Red Herrings
  6. Realism, Logic, and Satisfaction

Contemporary mystery requires readers to put on their detective hat to participate in the solving of the crime. The elements involved pull on readers morality so making sure the detective is likeable and giving them the chance to solve the crime before the writer is a huge factor.

Crime loves Christmas

“You’ve got these seething things going on under the surface. Crime fiction takes that one step further: You bump someone off. Normally, we’ll just have a fight at Christmas, sulk, and not speak to each other for a year.”

– Vaseem Khan

If we’ve learnt anything from the golden age of crime writing it’s that it evokes a festive feeling. In the UK the popularity of this pairing is only going up. Why else do you think Eastenders kills someone off every Christmas special? Even in reality Christmas is one of the peak times for crime in the UK (increases by 33.82%).

Elf on the Shelf – My WHODUNNIT

‘Elf on the Shelf’ is a murder mystery excerpt set at the Christmas season. Student Phoebe was simply at the wrong place at the wrong time when she came across the very first elf on a shelf murder. She wants nothing more to forget it and move on; that is until her best friend becomes a victim. Will she solve the mystery, or will she too become the next elf on the shelf?

A link to a snippet from the beginning of my whodunnit cosy murder mystery…

Elf on the Shelf

 

 

 

 

 

 

References:

Christie, Agatha. Hercule Poirot Christmas . Harpercollins Publishers , 2001.

Crime Writers Association. n.d. CWA . June 2024. <https://thecwa.co.uk/awards-and-competitions/the-daggers/>.

Davis, Eleanor. Atlas Obscura . n.d. June 2024. <https://www.atlasobscura.com/articles/christmas-murder-mystery-agatha-christie>.

Farjeon, J. Jefferson. Mystery in White . The British Library Crime Classics, 1937.

Faulkner, Will. Writers Initiative . n.d. June 2024. <https://writersinitiative.com/education/william-faulkner-a-great-piece-of-advice-for-writers-get-reading-and-get-writing>.

Hay, Mavis Doriel. Santa Klaus Murder . British Crime Classics (Paperback), 1936.

Lie to me. Dir. Samuel Baum. Perf. Netflix. 2009-2011. TV Series .

Luther. Dir. Katie Swindon. Perf. BBC One. 2010. Tv show – Crime Drama.

Murderville . Dir. Krister Johnson. Perf. Netflix. n.d. TV Series – American murder-mystery.

Publishing, Penguin. Penguin. n.d. Penguin. June 2024. <https://www.penguin.com/penguin-press-overview/>.

Richards, Lloyd. Lloyd Richards, Stone Maidens – Tik Tok. n.d. May 2024. <https://www.tiktok.com/@stonemaidens?_t=8mrl6BPyjTN&_r=1 >.

Silent Witness . Dir. John Dower. Perf. BBC. 1996. TV Series – British Crime Drama.

Sipiere, Dominique. “What Hitchcock Taught Us about Whodunnits.” What Hitchcock Taught Us about Whodunnits. Open Journals – https://journals.openedition.org/sillagescritiques/1554, n.d. Online journal .

 

 

My words and where do they belong

A black typewriter set on a white background with a view from it's top and a paper inserted in the typerwriter.

 

On paper and on screens. …Duh!

To leave this blog at this point would be hilarious but the grades wouldn’t be so here is my attempt to break it down.

What type of genre does my writing fall under?

I was raised with Indian mythology, which was often served to me with food, in return Indian mythology ended up serving as a major source of inspiration for most of my short stories and poetry. Typically, the story’s female protagonist provides the perspective for these pieces.

 

According to Ritu Menon, in a Robert Fraser interview, the traditional understanding of feminist writing in the West differs slightly from what feminist writing is. It is the location of the majority of creative pieces’ genres. (Fraser, October 2007)

‘It’s been around for the last twenty years or so. By ‘feminist’ I mean something distinctively so — with a feminist gender perspective, not just a focus on gender studies or women’s studies, which is often the case with mainstream publishing.’[1]

(Menon R. 2007, pg. 11)

 

To find my audience I ended up doing some research:

Types of Publishing Houses and Which one is the best for me?

Perr Henningsgaard {Hennningsgaard, 2020} proposes three models for surveying the many types of publishing firms and determining which mix of houses will allow your writing to flourish. Based on the explanations of each type of publishing firm, I concluded that the ‘Traditional type of publishing house’ was the best fit for my writing and for me to reach t

 

he intended audience. This requires the least amount of financial input from the author, and there are already several well-known authors who have published in the same genre as my writing, but in the form of a novel, which is exactly what I aim to achieve. Authors like Amish with his Shiva Trilogy, Chitra Banerjee Divakaruni’s Palace of Illusions, Forest of Enchantments, and the Last Queen.

The best place for me to begin with the form of an engagement is to submit my work to some competitions and anthologies, either in a physical book or in digital form. For example, The Flight of the Dragonflies accepts submissions for their bi-monthly e-journal, but only for poet

 

ry, flash, and short fiction, and Short Fiction Journal accepts short fiction. Aside from these and many other competition sources.

My writing with challenges and solutions:

Since a lot of my work is emotionally charged, I had to learn to show rather than explain. My creative piece was far less interesting than I had anticipated because of this problem. Even while the plot and the story piqued the interest of my readers, it wasn’t sufficient. That’s when my professor saved the day! They lent me a book called How to Write: How to Write and What to Write if You Don’t Have Any Ideas, which helped

 

me with my telling and showing problems (Tondeur, 2017). This provides a step-by-step writing tutorial whether you are just starting, stuck at a certain point, or just need an outline since everything seems overwhelming. It was helpful to me in dealing with the latter.

The characters I created for my work also presented a challenge. In addition,, a lot of writers wind up making their characters two-dimensional due to an abundance of ideas or a lack of ideas for character development. Writing Passport: Characters was the piece that saved my bacon in this situation (Heard, 2018). One of the clearest ideas for developing your characters that I have ever seen was included in this essay.

“It’s important to remember that no one is all good or all bad. When planning a character, we have to keep them complex.”[2]

(Heard, 2018)

 

To Assess the Assessment:

Speaking of highly emotive content, I grew up seeing both Bollywood and Hollywood productions; the latter had a significant impact on me. By influence, I mean that I began to look for the kind of closeness that they displayed, whether it was between a teenage boy and girl or a mother and her daughter. Its one flaw was that it was implausible to ever exist at that level, not to mention that I lived in a place where depictions of closeness and love like that were never found on the gloomiest street or around the corner. In Ziyad Marar’s book, Intimacy:

Ordinary people (at least in Western cultures) do seem to hold a

 

common prototype of what creates intimacy, and we can recognize common themes in researchers’ definitions that are not unlike laypersons’ understandings. Yet, we do not by any means have a common definition.[3]                                                                                   (Mashek & Aron 2004: 417)[i]

As I got older, my idea of intimacy shifted, and I began to see intimacy in the tiniest, most ordinary things. My publishing module’s final work serves as an example of the same. the items I associate with my hometown. Something that will always bring me back to my hometown is the unique connection I have with even the slightest things. The uniqueness and the emotions I have associated with the objects, rather than the objects themselves, are what make my creative piece relatable, even though the objects I have chosen to use aren’t particularly common or even found in every household. Despite this, the piece is still powerful and emotionally moving.

 

‘… close-up scrutiny (with perhaps a voyeuristic edge), connection, privacy, depth of knowledge, the smallest scale of daily life, heightened emotion, something personal or customized (rather than standardized), friendship and ambivalence, as well as, of course, eroticism and sexuality.’ [4]

 

 

(Marar, 2014, pg.24)

 

And to leave on the note of…

Three published novels that are either related to my writing style or sometimes serve as sources of inspiration are On Earth We’re Briefly Gorgeous, 40 Rules of Love, and Five Feet Apart. These are the books I turn to when I’m lacking creative inspiration, even though they don’t resemble the article I submitted for my assessment.  Creating a poetic rendition of a commonplace idea is where it most benefits me, as I have mentioned in my work. As a reader, these works have succeeded in evoking strong emotions in me regarding everything that is connected to the characters, even when the authors have written about the most unrelatable topics.

 

[1] FRASER, R. October 2007. ‘Half the World is Not so Narrow’: Feminist Publishing in India. Wasafiri, 22, 7.

[2] HEARD, W. 2018. Writing Passport: Characters, Scribbler.

[3] MASHEK, D. J., ARON, ARTHUR 20004. Handbook of Closeness and Intimacy.

[4] MARAR, Z. 2014. Intimacy, Routledge.

Bibliography:

FRASER, R. October 2007. ‘Half the World is Not so Narrow’: Feminist Publishing in India. Wasafiri, 22, 7.

HEARD, W. 2018. Writing Passport: Characters, Scribbler.

HENNNINGSGAARD, P. 2020. Types of Publishing Houses. In: ALISON BAVERSTOCK, R. B., MADELENA GONZALEZ (ed.) Contemporary Publishing and the Culture of Books. London, UK: Routledge.

MARAR, Z. 2014. Intimacy, Routledge.

MASHEK, D. J., ARON, ARTHUR 20004. Handbook of Closeness and Intimacy.

PHILLIPS, A. 2020. The Modern Literary Agent. Contemporary Publishing and the Culture of Books. st Edition ed.: Routledge.

TONDEUR, L. 2017. How to Write: How to write and what to write if you don’t have any ideas, Self-published.

DIVAKARUNI, CHITRA BANERJEE. 2008. Palace of Illusions (Pan Macmillan: India).

DIVAKARUNI, CHITRA BANERJEE. 2019. Forest of Enchantments (Pan Macmillan: India).

TRIPATHI, AMISH. 2013. The Immortals of Meluha (HarperCollins India).

Lippincott, Rachael. 2018. Five Feet Apart (Simon and Schuster).

Shafak, Elif. 2010. 40 Rules of Love (Penguin Press).

VUONG, OCEAN. 2019. On Earth We’re Briefly Gorgeous (Penguin Press).

 

 

The Process of Publishing “The Story of Seraphina:”

a hand holding a pen over paper at a desk lit in bright daylight. there is a laptop and mug also on the desk indicating a home setting

Publishing a short story, especially for an academic module assignment, can be an exciting yet challenging process. When I began on this journey with my story “The Story of Seraphina,” I had no idea of the intricate steps involved in getting a piece ready for publication. Through careful planning, countless revisions, and a deep dive into understanding the publishing world. Here, I share my reflections on this experience, hoping to offer some insight for fellow writers and students.

First things first, I had to wrap my head around what the assignment wanted from me. The module required us to write and publish a short story. Our module leader suggested finding publications that matched our story’s style and themes. So, I made sure “The Story of Seraphina,” with its themes of self-discovery and empowerment, would fit right in.

“The Story of Seraphina” is about a young girl named Seraphina fighting for her freedom in a world that tries to silence and hold her. Seraphina has a supernatural ability, able to create a burning gas from her hands, and is being held captive in a school which functions more like a prison for people who have these gifts. Drawing from my own experiences and those of women around me, I wanted to create a story that felt real and meaningful. My early drafts were all about Seraphina’s inner struggles and how she navigated the small world around her.

Once I had something solid, I joined a group workshop. Sharing my story with peers and getting their feedback was eye-opening. Some pointed out parts where the plot dragged, others spotted inconsistencies in the characters’ behaviour. It was tough to hear, but it made the story a lot stronger in the end. I ended up cutting an entire side character named Leora!

Next, I had to figure out where to send my story. Jane Friedman, in her book “The Business of Being a Writer,” talks about how publishing a short story can be simpler than pitching a whole book (Friedman, J. 2018). This made sense to me, so I started researching magazines and websites that might like “The Story of Seraphina.” I made a list of potential places, like Clarkesworld and Uncanny Magazine. I checked their submission guidelines carefully to make sure my story fit their vibe.

Understanding who might read my story was key to figuring out where to submit it for further publishing. Alison Baverstock talks about figuring out who might want to read your work (Baverstock, A. 2006), and I took that to heart. I looked at past issues of the journals I was interested in to see what kind of stories they liked. This helped me tweak my story to fit their style.

To up my chances of getting published, I entered a few writing competitions. Winning or even getting shortlisted can really boost your confidence as a writer. Dianne Doubtfire says it’s important to research competitions just like you would markets (Doubtfire, D. 1993)., and she’s right. I intend on entering contests like the BBC National Short Story aware, making sure to follow all their rules to a T.

Even though I was aiming for traditional publication, I kept self-publishing in mind as a backup plan. Jane Friedman talks about how online platforms have made self-publishing more accessible, and that got me thinking. Platforms like Amazon Kindle Direct Publishing seemed like good options if traditional routes didn’t pan out.

This part was tough. Joe Craig says you have to be ruthless when editing your work (Craig, J. 2015), and he’s not wrong. I took a break from my story for a while to gain some distance, then came back to it with fresh eyes. It was hard, but I knew every cut and tweak was making my story better.

Looking back on this whole process, from brainstorming to publication, I’ve learned so much about writing and the publishing world. It hasn’t been easy, but every step has been worth it. My advice to other writers and students is to embrace the journey fully. Understand your audience, seek feedback, and don’t be afraid to revise. Whether you go traditional or self-publishing, stay true to your story and keep practicing your craft.

In the end, publishing “The Story of Seraphina” was as much about the journey as the story itself. It taught me that with hard work and perseverance, getting published is possible. So, to all the writers out there, keep writing, keep rewriting, and never give up on the stories you want to tell and share with the world.

 

References:

Friedman, J. (2018). The Business of Being a Writer. The University of Chicago Press.

Baverstock, A. (2006). Is There a Book In You. A & C Black Publishers Limited.

Doubtfire, D. (1993). Teach Yourself: Creative Writing. Hodder Education.

Craig, J. (2015) ‘How to Win a Creative Writing Competition – Top Tips.’ The Guardian.

 

Beyond Brick & Mortar: the opportunity to publish in today’s world by Ife Disu

A photo by Aliis Sinisalu from Unsplash. The photo shows a slightly angled top down view of a dark brown desk, on which sit a white coffee mug with brown rectangles, to its left is a brown and orange notebook upon which rests a pen, a pair of glasses and an e-reader with text on the screen.

Beneath the romanticised allure that getting your work published by the “Big 5” publishing houses that dominate the industry, it can be easy to misjudge our own abundant opportunities to publish fictional, non-fictional, or poetic works through other means. Relinquishing our preconceived barriers to these alternate avenues and broadening the scope of the potential for our work to be shared can help us reach our personal and professional goals for publishing in new, inspiring ways.

This is something I can attest to as I developed my creative piece, “Violets from Astroturf”.

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WRAPP – The Writing, Reading And Publishing Podcast

A desk with a notebook, laptop and coffee on it, ready to work on.

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Museum Del’egal

A museum display of books in glass boxes

(Note in advance – This piece is a radio play, and is therefore structured as such)

MUSEUM DEL’EGAL

By

Roxanne Clark

 

SCENE 1

FX: Day, Museum Del’egal Foyer, the sound of echoed chatter from a crowd. Enter SHELBY and a click of her shoes

SHELBY: Huddle around and settle down folks, we’ll be starting shortly- sir, get closer to the group if you’re gonna go on the tour.

[The room quieting and a small shuffle of feet in one place]

… thank you, sir.

[SHELBY coughs before speaking]

Welcome folks to downtown Amaranthine’s hidden gem – Museum Del’egal! From all of us here, we thank you for simply coming to visit, and a big old thank you from me for keeping me in a job! My name’s Shelby and I’ll be your guide for this exciting tour!
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Publishing Short Story Collections

‘Short stories are the loose change in the treasury of fiction’[1]

J. G. Ballard

You’ve just finished writing your short story, what next?

Do you send it out to endless magazines and competitions, or do you get brave and try and get your first anthology published first? What do you do? After all your favourite authors like Stephen King, Margaret Atwood and Angela Carter all have collections of their own. Shouldn’t yours be up there right next to theirs? For me, I can see myself submitting ‘The Bone Flowers’ to a niche magazine such as Shoreline of Infinity or perhaps Uncanny, both specialise in science fiction and fantasy, with a touch of horror. But be aware, some publications may ask you to edit it to make it suitable to publish. In fact, I had to make several changes to ‘The Bone Flowers’ just so it would make this blog including removing several characters to concentrate on Dave and Daisy’s narrative, taking out a violent sub plot, and adding more realistic emotions; all of which were legitimate changes that improved the storytelling. Author Tobias Wolff is known for constantly revising his short stories as he says ‘These are not holy texts. This isn’t the Dead Sea Scrolls. This is work that as long as it’s available to me to make better, I will.’[2]

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