Saturday, July 18, 2015

The Long Gaze Back

 
The Long Gaze Back, edited by Sinéad Gleeson, is an anthology of thirty short stories by Irish women writers, and its available for pre-order. I'm thrilled skinny to be amongst this group of writers in an anthology as superb as this. Here's what the publishers have to say ...

'Taken together, the collected works of these writers reveal an enrapturing, unnerving, and piercingly beautiful mosaic of a lively literary landscape. Spanning four centuries, The Long Gaze Back features 8 rare stories from deceased luminaries and forerunners, and 22 new unpublished stories by some of the most talented Irish women writers working today. The anthology presents an inclusive and celebratory portrait of the high calibre of contemporary literature in Ireland.

These stories run the gamut from heartbreaking to humorous, but each leaves a lasting impression. They chart the passions, obligations, trials and tribulations of a variety of vividly-drawn characters with unflinching honesty and relentless compassion. These are stories to savour.'

Authors:
Niamh Boyce, Elizabeth Bowen, Maeve Brennan, Mary Costello, June Caldwell, Lucy Caldwell, Evelyn Conlon, Anne Devlin, Maria Edgeworth, Anne Enright, Christine Dwyer Hickey, Norah Hoult, Mary Lavin, Eimear McBride, Molly McCloskey, Bernie McGill, Lisa McInerney, Belinda McKeon, Siobhán Mannion, Lia Mills, Nuala Ní Chonchúir, Éilís Ní Dhuibhne, Kate O’Brien, Roisín O’Donnell, E.M. Reapy, Charlotte Riddell, Eimear Ryan, Anakana Schofield, Somerville & Ross, Susan Stairs.

About the Editor
Sinéad Gleeson is a broadcaster and critic who presents The Book Show on RTE Radio 1. She writes about arts and culture, and reviews books for The Irish Times. In 2012, she edited the short story anthology, Silver Threads of Hope, and is the editor of The Long Gaze Back: an Anthology of Irish Women Writers to be published by New Island in Autumn 2015.

Keep up to date with related events at The Long Gaze Back facebook page

Wednesday, June 17, 2015

North West Words Writing Weekend 2015



North West Words Writing Festival runs in Co Donegal every July. I was thrilled to be invited along to give a workshop as my family is from Donegal (plus its one of the most beautiful places in Ireland.)

My fiction workshop, 'Zooming In' will be held in Carn Lodge, Ramelton at 10am on Sunday July 26th. This should be a good opportunity to get professional feedback on your fiction - whether you're working on a novel or a short story collection. Its a pretty accessible fee - only 30 euro for ms evaluation & the workshop. By the way - please don't think your work has to be perfect -  the point of the workshop is to help and give feedback :)


So, there's just one week left to submitt - as I plan to reading extracts from Monday 6th - Monday 13th of July. I'm really looking forward to reading submissions. You can find out more about booking and submitting HERE

North West Words was established in 2010 and hosts the best of literary and musical talent in its monthly events in Café Blend, Letterkenny, Co Donegal. NWW also organises writing competitions for adults and young writers as well as a Writing Weekend in July. North West Words is a non-profit organisation and is run by a team of writers and enthusiasts.


Friday, June 5, 2015

The Poetry Bus Interview

  
The Poetry Bus is print magazine of international contemporary poetry with full colour illustrations, reviews, articles, graphic stories, flash fiction and very short stories. Each issue comes with an audio CD of poets reading plus two music tracks and its edited by Collette and Peadar O'Donoghue. I was interested in finding out what they, as editors are looking for... 

What are you looking for as editors? What are you definitely not looking for?
Can we start by answering the second question first?  It has a slightly more concrete answer! There is nothing that we are not looking for. Peadar is the president of PAH (poets against haiku) yet PB$ had 13 Haiku in it, because they were interesting, they were good, they had something to say and said it well. So we can never say never. If we don’t like rhyming poems, long poems, form poems, young love poems, then prove us wrong, send us things we cannot deny. 

Which kind of brings us to the first question, we are looking for everything and anything. Anything that hits us, moves us, changes us. We are looking for poems that have something to say, and say it well, poems of the heart as much as the head, visceral poems of anger, of  hurt,  of love, of  joy, of  hate. We dream of a piece that we start reading as one person and are so affected by the words that we are no longer the same person by the end because now you have something new in your head, in your heart, a poem/story/flash fiction that you will never forget. We are hoping to add opinion pieces (about poetry) in future issues and we want those to speak up and speak out!

 What do you enjoy most about driving the Poetry Bus?
Physically, we love addressing the envelopes and stamping them with our logos, we get a buzz from all the exotic and not so exotic addresses, but the smile is soon wiped from our faces by the post office bill!  Spiritually, Peadar loves finding a great poem by an unpublished poet, we both do, and I love the excitement of  finding an amazing image that fits. Which brings us on to the next question!

How important is the visual aspect of the magazine ?
The visual aspect, the visual appeal, is on equal footing with the words, it is an integral component and a very important part of the DNA of the mag. We are looking (well Collette looks, finds, then we discuss) for strong images, visual poems if you like. The front cover image is vital and we try to use striking images that reflect the contents and style of the issue, an image that would compel browsers to pick up the magazine.


What are the most common mistakes writers make when submitting to magazines?  
I used to get tired of editors banging on about buying a copy of their mag before submitting, but now as a co-editor I see exactly what they mean. If you get a copy of a mag not only will you see if your poetry suits and if the mag is the kind of mag you’d be happy for your work to appear in, you will also be reading other peoples poetry and supporting the often precarious finances of the publisher. Which is a round-about way of saying that a mistake writers make is not doing their homework on where and why they’d like to be published. Some editors can be very pedantic about correspondence and correct forms address, manners, etiquette, and multifarious little personal gripes, for us, all we want is your work, your best work. We are not school teachers or the grammar police.


Any more Grimoires in the pipeline?
We are just about (well soon!) to publish ‘This Is What Happened’ by Melissa Diem which started out as a chapbook but rather excitingly has turned into a first collection with DVD (Melissa makes great short films about her poems). This will be followed by a chapbook by S
éamas Carraher called DUB(H)LIN(N) 20 Poems of the City. We’ve shelved the Grimoire name for now as it was chosen for and really suited Fiona Bolger’s book, The Geometry of  Love Between the Elements, if another chapbook comes along that fits the Grimoire mould, we might resurrect it. 

Anything exciting coming up?
We had a very successful and enjoyable PB showcase reading at the Cork Spring Poetry Festival put on by our sponsors The Munster Literature Centre, a more friendly and open festival you will not find. We can’t recommend it highly enough. We had the time of our lives, and we’d love to be asked back.

Peadar is doing a solo reading from his next Salmon collection. The Death of Poetry’ in September at The Gladstone Sessions run by Peter O’Neill. There was mad talk of getting a real bus and hitting the road, but short of winning the lottery or finding a lunatic sponsor that will remain a dream for now. PB6 is the next issue which will probably be out late this winter, look out for a submission call… soon. Take a look at PB$ and see what we like and if your stuff might suit, buy one for all your friends and family, they’ll love you for it!
 

Wednesday, June 3, 2015

Interview with Caitriona Lally

'A fairytale of contemporary Dublin, both edgy and eloquent.
A remarkable debut.' —Declan Kiberd.

Caitriona Lally's excellent debut novel Eggshells is published by Liberties Press. The book is about Vivian, a woman who doesn't fit in, and never has.  'She believes that she is a changeling, left by fairies on Earth, replacing her parents’ healthy human child. Now, as an adult, she’s trying to get back to the 'other world', where she feels she can finally belong. The thing is, Vivian is having some difficulties going back, so she’s forced to go about her Earth life in the meantime.' 

Here, I ask Catriona about setting, voice and writing advice.....

Vivian travels through Dublin, listing place names and tracing the shape of her route till it almost feels like city is woven into the pages of this novel. Was where you wrote, as well as where you lived, an important element in writing Eggshells?
The places I did the actual writing weren't as important as where I went to research the book. I walked my legs off around the city, writing down details of graffiti and unusual street signs and encounters with eccentric people in a notebook, but I saw the note-taking and the novel-writing as separate activities. When I finally came to write Eggshells, I had several scrawled notebooks and hundreds of paper-scraps, so the main work was putting some sort of shape on the notes. I'm not so organised as to have actually created a structure before I started the novel, so there was a lot of sifting through notes and scratching out. Having said that, I wrote a lot of Eggshells in the National Library on Kildare Street, and I spent so much time staring around me when I was supposed to be writing that I ended up setting part of a chapter in there.

Do you think it will be a factor in future work?
Where the character is located is hugely important to me – voice and setting would be the two main things I need in my head before I start. Once I can hear the character and see where he or she is situated, it all falls into place from that. That makes the rest of it sound easy, and it's not – it's just that I'm more character-driven than plot-driven, so maybe the setting is more important if I don't have a very structured plot to fall back on.
The novel I'm currently working on is set in Hamburg, but this happened totally by chance. After I finished Eggshells, I had the the characters of the second novel in my head, but no location. I felt I was all Dublined out, but I didn't know where to set the next book. Then I went to stay with a friend in Hamburg, and I was drawn to an old part of the city, so I decided to set the current book there. Again, I'm working from notebooks of stuff I saw and heard in Hamburg, but I'm doing the actual writing in Dublin.

Vivian Lawlor places huge importance on names. How did you come by hers?
You're right – names are massively important to Vivian, but I wrote the entire novel without a name for Vivian or even a title. When I started Eggshells, I had another untitled document open on my laptop, so this one was called “Untitled 2” and that's how it remained until just before submission. I didn't have a name for Vivian in the first couple of drafts; I was using the first person, and also Vivian isn't hugely sociable, so her name doesn't come up in conversation a lot. I gave her the same name as her older sister, and maybe that partly explains Vivian's obsession with names; she isn't unique within her family.
The main characters in the book I'm working on now still aren't named – they're “G” and “R” and I may not even stick with those initials.

The voice of Vivian is original and convincing. How did that voice come to you? Was getting under her skin something you enjoyed, and how was it to leave her behind?
Ah thanks! I have no idea where that voice came from. I mean, there are parts of me in her, but she has a completely unfiltered approach to life which was very refreshing to write. Most of us reign in our thoughts, but Vivian says everything that comes into her head and acts on it. I really enjoyed writing her, and seeing the world through her eyes – but there was a sadness to it as well. Vivian is quite lonely and is desperately trying to connect with the world, and when she fails, I felt for her.
I also got used to looking at Dublin through her eyes, and even now, it's hard to stop myself noticing street signs or graffiti that Vivian would enjoy. I was happy to leave her behind, though, I felt I was done. Maybe because I was writing in the first person, it got fairly intense reinterpreting my own version of the city as Vivian's.

We know a lot about Vivian’s immediate inner life, and we can guess some of the things she doesn’t tell us by her encounters (which can be very funny), yet there is little information about her personal history. This worked really well; I enjoyed how much you decided to leave out. The balance between what we know and what we don’t, are perfectly judged. Did you decide from the beginning to leave these gaps, or did they evolve naturally from following her voice? How do you feel about writing advice that emphasises plot, hooks and so on? 
 It wasn't a conscious decision from the beginning to leave out the details of her personal history. I started with the voice, and the story grew from there. I had no idea what was going to happen next or what kind of an ending Vivian faced. As the story developed, I realised there was some unhappiness in her background, but I wanted her to refuse to acknowledge or deal with it, and just sort of muddle through in her own way. I found that more interesting to write than painstakingly going through every childhood trauma. I think it becomes clear from the few details she offers throughout the book what has happened in the past, but I didn't want it to become a therapy novel with lots of gut-spilling and weeping and heart to hearts - that's not Vivian's way.
I think writing tips that emphasise plot and hooks can be really useful for people who write more plot-driven books. I suppose you write what you like to read, and I'm drawn to character-driven books so I don't prioritise hooks and cliffhangers. When it comes to TV and movies, however, I'm a total plot junkie and a sucker for cliffhangers, and I have to stop myself binge-watching whole series back-to-back.
It was fascinating to meet with some of the other Novel Fair winners after reading their work, and to find out about their writing processes. Some were motivated first and foremost by plot and had mapped out the exact plot of their novel before they began. That's completely different to the way I write – I haven't a clue where my character is headed - but I don't think either approach is better.

Any advice for writers working on their first novel?
 Keep at it. I had very little confidence that I could write a novel, let alone one that was publishable, so it's important to persevere in spite of what the negative voice in your head is saying.
And don't wait for the right mood or the right weather or the right pencil; just write.
And know that some days your writing will be complete muck and you'll have to delete almost every word – that's when it feels like two steps forward, three steps back – but in general, as long as you keep pushing forward, you're doing grand.
The other thing I'd say is to read hugely. Don't just read books by white men writing in English; read beautifully written books by writers from different genders, ages, races, languages. There is a world of fiction in translation that is pure magic.


About the author:
Caitriona Lally studied English Literature in Trinity College Dublin.  She has had a colourful employment history, working as an abstract writer and a copywriter alongside working as a home help in New York and an English teacher in Japan. She has travelled extensively around Europe,  Asia,  the Middle East, and South America. Her essay about Grangegorman appeared in a recent issue of We Are Dublin.  Eggshells was selected as one of 12 finalists in the Irish Writers Centre Novel Fair 2014

To Purchase - Liberties Press or Amazon

Wednesday, May 6, 2015

Juniper in Mountmellick

This beautiful image arrived in my inbox - the work is that of Shona Shirley Macdonald, and her exhibition titled “Juniper” will run from 5th -29th May in The Library Gallery. Mountmellick. Co Laois.



Originally from Aberdeen, Shauna, is currently based in Co. Waterford, and works as an illustrator.Past projects include illustration for comics, poetry, short stories, murals, textile design and concept art. Her first solo show was in the Roe Valley Arts and Cultural Centre in Limavady in August 2014. She is also a member of the Illustrators Guild of Ireland.

See www.shonashirleymacdonald.com/ for more details.

Wednesday, April 29, 2015

What News, Centurions?



Colm Scully's poetry collection "What News, Centurions?” will be launched on Monday May 4th at 7 pm in The Workman's Club, Wellington Quay, Dublin. It should be a fantastic night, guest readers will include - Erin Fornoff, Angela Carr, Fióna Bolger and Anne Tannam, Sue Cosgrave, Rab Urquhart. And, there will be music from Aidan Murphy.

Colm Scully is from Cork, he won the Cúirt New Writing Poetry Prize 2014, and was selected for the Poetry Ireland Introductory Series 2014, and commended in the Gregory O’Donoghue Prize 2014.


"Humour and imagination are Colm Scully’s defining qualities. Not simply confessional, his poems often reflect modern life in snapshots that incorporate dramatis personae from wider mythical or historical contexts. This is a welcome new Irish voice – one that is observant, balanced, humane.”
– Afric McGlinchey

“A serious narrative artist as well as an authentic wearer of poetic masks, Colm Scully marshals his characters towards subtle feats of telling and singing, mining an original creative ore as he does so, and offering his readers a dream of Irish experience which, again and again, works deep enough to arrive at a vision of truth.”– Martin Dyar

Friday, April 24, 2015

On Purpose


Have you lost touch with the reason you began your novel? An interesting post from Jan Morrison could help - its about Purpose, and as ever with Jan, its wise and insightful. She says - 'I do think when we are attempting something with such a broad scope - like writing a novel or book length memoir or non-fiction - we need to constantly go back to our purpose.' 

Her words remind me that sometimes the work to be done is off the page, not on it. Jan's post is HERE.

Wednesday, April 15, 2015

Launch of Novel Fair 2016 - Any Questions?



The Irish Writers Centre are launching the 2016 Novel Fair tomorrow Thursday 16th of at 7.00pm in their centre in Dublin. It is a free event, but you need a ticket, which you can book by following this LINK

The launch will allow aspiring novelists to gain the inside track about how the Fair works. At the Fair twelve emerging writers will have the opportunity to bypass the slush pile and pitch directly to a selection of publishers and agents. The submissions period will open tomorrow, and remain open for six months. The Fair itself will be held in February 2016.

Here's what they have to say -
Former Novel Fair winner Niamh Boyce (The Herbalist) will share insights on this unique opportunity to connect with publishers and agents, and Dan Bolger, Commissioning Editor of New Island Books will reveal how the Fair benefits publishers through discovering new authors. A must for anyone who has ever dreamed of getting a novel published.


Monday, April 13, 2015

The Patrick Kavanagh Poetry Award 2015.


Do you have a batch of poems? The Patrick Kavanagh Poetry Award for a first unpublished collection of poems in English is open to poets, born in the island of Ireland, or of Irish nationality, or long term resident in Ireland. The award is now in its 45th year. Previous winners include Eileán Ni Chuilleanáin, Paul Durcan, Thomas McCarthy, Peter Sirr, Sinead Morrissey, Conor O’Callaghan, Celia de Freine and Joseph Woods. Deadline Friday 24th July 2015. The winner of this year’s award will receive €1,000.

Rules and entry form from the Patrick Kavanagh Centre, Inniskeen
Tel. 00353(0)429378560, Fax 00353(0)429378855
E-mail: infoatpkc@eircom.net www.patrickkavanaghcountry.com

Wednesday, April 8, 2015

The Hennesssy Anthology 2005 - 2015

'These are the early – and, very often, the first – stories written by an exciting new wave of writers: an extraordinary, vibrant and dynamic explosion of talent that is changing the face of Irish fiction.'

A story of mine appeared in the New Irish Writing Page of the Tribune newspaper in 2009 and was shortlisted for the Hennessy Awards. Being nominated encouraged me to keep writing, (and I really needed the encouragement at that point.) It was my second story to be published, (my first was in Crannog) and it was called Steps Of Stairs. In 2011, I was nominated again, and won overall New Irish Writer of the Year. It has had a huge postive impact on my writing life.

The Hennesssy Anthology 2005 - 2015 was launched last week, it features a selection of twenty-five stories shortlisted for the Hennessy Awards over the past decade. The third in a series, the Hennessy anthologies are edited once a decade by Dermot Bolger and Ciaran Carty. I'm delighted to have my story included in it. The other contributers are Sara Baume, Alan Jude Moore, Jennifer Farrell, Thomas Martin, John Murphy, Michael O’Higgins, Nicola Jennings, Colm Keegan, Selina Guinness, Kevin Power, John O’Donnell, Oona Frawley, Eileen Casey, Kevin Doyle, Andrew Fox, Pat O’Connor, Maire T. Robinson, Monica Corish, Carmel McMahon, Brendan McLoughlin, Sean Kenny, Chris Connolly, Elizabeth Brennan, Sean Coffey.

‘(These) are often the first stories, or the newly struck note, of a voice that will go to new horizons. Just being shortlisted for the award gives a needle-shot of confidence and a sense of breadth early in a writer’s career.’
Colum McCann

The Hennessy Anthology 2005 - 2015 can be ordered HERE. An ARENA interview from April 2nd with myself and Dermot Bolger can be listened to HERE.

Monday, March 30, 2015

Hallelujah for 50ft Women


This beauty arrived through my letter box this morning! My advance copy of Hallelujah for 50ft Women poems selected by Raving Beauties and printed by Bloodaxe. My poem The Beast is Dead, Long Live the Beast is in there, amongst some knock me down inspiring poetry... much needed refreshment for my muse - after a year of novel writing, the process has begun to feel like wading through mud :)

'This new anthology is inspired by a passionate desire to celebrate our bodies in a fully realised way, leaving Barbie’s grotesque silent pliability in her box for good. Instead of pouting, our mouths have the power of language, our romantic fluttering hearts give and receive compassion, skin ages with grace when we see beauty in everything, a pierced belly button connects us to our ancestors and a belly needs to be strong before it's flat.

This book has been selected from over a thousand submissions. New poets published here for the first time are proud to share this anthology with established writers such as Selima Hill, Kim Addonizio, Jackie Kay and Helen Dunmore. By revealing the complex depths of our relationships with our bodies Hallelujah for 50ft Women makes a much needed contribution to a compassionate understanding of our evolving selves.
'



Friday, March 20, 2015

By The Light of Four Moons






Some news! I will be launching John MacKenna's new poetry collection By the Light of Four Moons published by the ever exciting Doire Press. So come along to Carlow Town Library, this Sat night, March 21st, at 7.30 pm. Everyone is very welcome - there will be readings from the book and refreshments.

Winner of the Hennessy Literary Award, the Irish Times Fiction Award and the Cecil Day-Lewis Award, John is a brilliant novelist, playwright, short story writer and poet, and this collection is really something to look forward to.


Monday, February 16, 2015

Arkyne, A Vampire Tale

Caroline Farrell has just published her first novel Arkyne, an atmospheric gothic vampire tale set on the island of Inis Mor. I'm really delighted that Caroline popped over to answer a few questions...

1. You've set your story on Inis Mor, can you tell us why? Inis Mor is a spiritual place, and Dun Aonghusa is particularly exhilarating. I remember the first time I visited the cliffs, the wind was blasting and swirling with such power, it could have literally swept me off my feet. There is an 'other worldly' quality to the landscape. If magic exists, as I am inclined to believe, it is there in abundance.I didn't write any of ARKYNE while on the island, but the place definitely inspired me to develop it further.I had these characters hanging around in my head, and they settled well to that beautiful, haunting environment.

2. Who is your own favourite writer and why?I don't have one particular favourite,there are so many amazing talents out there. I was influenced by Anne Rice - would you ever have guessed that? -and I like Susan Hill, Alice Hoffman, Neil Gaiman and of course, Stephen King. I like a good mysterychiller, told with some natural magic, the very human kind - so I take inspiration from the aforementioned, and aren't we always told to write what we want to read?

Author Caroline Farrell
3. You wrote your book in a (relatively) unusual way by releasing it bit by bit, can you tell us why, and how you found that experience?I tend to break the traditional rules when it comes to creative stuff anyway. I take my writing very seriously, though I am not precious about it. Why not write online and interact with readers? It worked for me because (a) it helped me to set personal deadlines, and (b) I received honest feedback from readers who liked the genre, but also from writer friends who wouldn't normally touch the genre with a barge pole! I knew I would get feedback that was going to be balanced and truthful, and that was immeasurable in helping me finish it.

Can we have an excerpt?! Very difficult to pick a favourite, but since I have such a grá for the character of Henri, I’ll share my description of him…

Inside the château, amid sumptuous though somewhat decaying antique splendour, Henri de Rais sat by an open fireplace, engrossed in the pages of a small, dense volume on his lap, an ancient French Grimoire, bound in calf-leather and gold-leaf.

Coco’s father was a beautiful man, far more youthful looking than his forty-three years. And yet, to look into his dark eyes was to see wisdom of a very old soul, and heartache, so profound that the beholder might shudder with sadness. With unruly hair that fell across his serious expression, he carried on reading, his eye drawn to an incantation…


And thrice I hear thee, dark-winged harvester
Eater of souls
With thine hollow caw of malaise

…and so caught up between the words, his brow furrowed, that even as his pretty sister-in-law, Anna, entered the room carrying a tray laden with coffee and biscuits, Henri did not tear his gaze away from the page before him.


4. You’re also a film maker Caroline, can you tell me a little about that?A very different style of storytelling, but works for me.My stories generally demand their own medium of expression, so I'll know pretty early on whether they will develop as screenplays or novels, though occasionally, they become both, as was the case with ARKYNE.I've written and co-produced two short films so far, ADAM,2013 and IN RIBBONS, 2014. Film is primarily a visually driven, collaborative venture, whereas, writing a novel is a solitary business.I really don't prefer one over the other, and it's lovely to move between the two. Producing takes a lot of energy, from the physical to the intellectual and everything in between. There are a lot of managementand problem-solving skills that need to be tapped into, and it is imperative that you mind your most vital resource, the people who help you to make your film.I project-manage all the time through my day job, so I don't find any aspect of it particularly stressful. And there is nothing as satisfying as seeing your work on the big screen, so even the tough days are worth it.

5. What’s next for you?Later this year,through my own business Ninnyhammer Productions,I will direct my third short film, HUSHAWAY.I also have a number of feature scripts that I should really start pushing out there. In terms of novel writing, I am constantly working on something, mostly supernatural stories. The success, or not, of ARKYNE will determine what I put out next, but I also have a 'Lady Killer' drama that I have long had a love affair with, which is already in feature script format, so there is a possibility that I might jump genres and finish that one first. Time will tell - and I just wish I had more of it.

Thanks Caroline, you can find out more at... Caroline’s Blog: OR  Facebook Page:

And you can buy the book HERE

Wednesday, February 4, 2015

Short Story Prize

The Bristol Short Story Prize is open for entries, all the lovely rules are here

Max Word length is 4,000 words.
Entry fee is £8 per story.
Closing date: 30 April 2015.

Prizes....1st £1000 plus £150 Waterstone's gift card
2nd £700 plus £100 Waterstone's gift card
3rd £400 plus £100 Waterstone's gift card
17 further prizes of £100 for shortlisted writers.
All 20 stories will be published in the Bristol Short Story Prize Anthology 8.

Nice to see a competition with a max word length longer than the usual 2,000. Good luck if you enter, and don't forget the People College Competition, click here for more about that... the deadline is february 28th, I'm judging and really looking forward to reading the short stories...

Saturday, January 31, 2015

Large Print Edition 'The Herbalist'

Came across this on the Internet a few weeks ago. A large print edition of my novel The Herbalist. It's quite a shock to see the cover, but I like it a lot. So, the book is available in large print, it seems :)