MWF 2014, Flashing the Square, Memory Makes Us

Melbourne Writers Festival has been fantastic so far. Stimulating keynotes from Helen Garner and Chris Hadfield, and I really enjoyed yesterday’s panel ‘Crossing Cultures’, about cultural hybridisation. There were some great insights into contemporary China from Zhang Tianpan: contemporary China is very complex, but also very simple. There are many commonalities with the West—’we all love beauty and freedom’. The Chinese are ‘so clever they can make simple things complex’, and there are two Chinas: the real China and the one on the internet. Which is more beautiful? The one on the internet, Tianpan said, as it is ‘vibrant, free, and active’. Tianpan was born the same year as me; I found him informative and also very warm and funny. I’m a bit sad I missed the Beijing panel as well. I’d love to go to China one day.

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But what I meant to come on here and tell you about are two events at the festival next weekend. I’m helping to launch Flashing the Square, which is both a book and an audiovisual project, featuring pieces of microliterature. I helped to judge the joanne burns competition, and the winner and shortlisted entries are included in the anthology. I was also invited to contribute a piece myself. My piece and many others have been made into videos, which are being projected onto Fed Square during the festival. Keep an eye out for them! The audio recordings are available for a limited time for free on the Spineless Wonders website. The launch is on Saturday 30 August at 7pm in ACMI’s The Cube, and I’ll be in conversation with Flashing The Square’s curator, Richard Holt, writer/ critic Cassandra Atherton and writer, A.S. Patrić.

I was on a panel about microliterature yesterday, too, with Oliver Mol, chaired by Samuel Cooney. I was delighted to find a very healthy tweetstream afterwards. Thanks to Sonia Nair and Veronica Sullivan for recording the following quotes from yours truly:

‘I want to be an artist. Not just a writer. Different ideas can take different forms.’

‘I would never tell people which of my stories are fiction or nonfiction, because it doesn’t matter.’

It was great to sign a few books afterwards, too, including one for an author I admire very much, Meg Wolitzer.

I’ll be a guest on The Morning Read session on Friday 29 August at 10am, alongside Lauren Beukes (yay!), Chris Flynn & Mark Henshaw.

And the other MADNESS in which I’m participating is a live-writing event called Memory Makes Us, alongside Paddy O’Reilly and Nicholas J Johnson. My subject is ‘desire’. From 10–4 on Sunday 31 August we’ll be in the Atrium in Fed Square, constructing stories from our imaginations and your prompts. Contribute on the day, and here. Also, bring me whisky and images of Benedict Cumberbatch.

Flash fiction is like a good dram

Cross-posted from the SA Writers’ Centre blog. I wrote this post ahead of my flash fiction workshop at the SA Writers’ Centre in Adelaide (this weekend: 22 June, book here). I also have workshops coming up at Writers Victoria (see also my interview), the Tasmanian Writers’ Centre, and at Byron Bay Writers’ Fest!

Glencairn_Whisky_Glass

On my desktop is a whisky wheel, a device that’s supposed to help you with your tasting notes when sampling single malts. Does your drink have a touch of black pepper on the nose? Or is it orange blossom? Is it lactic or nutty on the palate? Is the finish more toward the end of mint or tobacco? And how long does it linger on the tongue?

Those who know me have probably realised I’d eventually get around to using whisky as a metaphor for writing. Flash fictions—stories under 1000 words—are like a good dram. You savour them, roll them around in your mouth, are left with resonant remnants.

Here’s a little guide to tasting flash fiction:

The nose

The tone, voice or mood is set in the first few lines. Or if it’s a really short one, in the first few words. Some flavours the opening might go for: intriguing, dark, buoyant, amusing, suspicious, arresting. Or, indeed, honey, smoke or cloves.

The palate

We’re into the story now. There’s a character or characters. Something happens, has happened or is about to happen. The flavours (if it’s a good dram of story) are working together to create a cohesive effect. Something could be coming through very strong, like smoke or desire. The flavours are setting off little pings of association in your brain: your childhood, your fears, his garden, her lipstick.

The finish

All good things come to an end. But there’s a lingering in a good, complex dram or story. Did it slide down smoothly? Or is there a hint of bitterness left at the back of the tongue? Are you experiencing a jolt of sweet sherbet? There might be a warming in your chest, a sudden clarity, or a fading melancholy.

How powerful some flavours are: fresh cut grass, wet dog, roses, butterscotch. The flavours themselves, and the associations they uncover, can remain in the memory long afterwards.

With flash fiction, you have so few words to work with – 30ml worth, perhaps. There are many different types of flash stories, though a series of them from one author might take on a certain flavour profile (like single malts from a single region). Reading a range of stories from different authors will help to build your palate, help you to find out what you yourself can do.

Join me in the bar and let’s enjoy a dram or two.

Interviews in The West Australian and Tincture

Picture by William Yeoman for the West Australian.

Picture by William Yeoman for the West Australian.

In the West Australian:

‘I thought of (Captives) as a pillbox of stories,’ Meyer says. ‘There are different coloured pills – a pink one and a blue one and a yellow one—and they produce different effects and maybe you can’t take too many at once. And they’re a little dark and a little strange. But I think they have to be that way to get across those ideas of fear and that we’re captives within our own minds. We can’t escape ourselves. I hope Captives taps into peoples’ fears—but in a good way.’

Read the rest.

And interviewed by Daniel Young for Tincture Journal (where some of my stories have been previously published):

‘[The themes are] definitely something that emerged organically, although I’ve been aware for a while that my best writing tends to emerge from the place where my anxieties lie (which is not far removed from my passions). There’s a knife’s edge between happiness and melancholy, to paraphrase Virginia Woolf, and my writing is attuned to that. The knife’s edge also separates what is considered ‘normal’ from what is not. That’s something that fascinates me and is another theme that runs through the book.’

Read the rest.

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Flash fictions: key words and after-images, on Booktopia

franz-kafka

On the Booktopia blog today, I discuss flash fiction and short fiction; my own and others’ stories, intentions and possibilities. Here’s an extract:

In a short story, every word must count. What is left out is as important as what is left in. The writer must create and maintain a particular tone, or mood, and create a piece that feels whole (not a fragment) but that may evoke much outside its confines. With my own very short stories (also called flash fictions or microfictions), I want the characters, images, themes to live long in the reader’s mind. I want them to have some impact.

You might compare a very short story to a complex painting – a narrative-based painting – where the symbols nestled in the setting and upon the figures work together to not only suggest a particular story but hopefully move you to feel something, something you may not even fully, consciously comprehend.

I hope you enjoy reading the rest.

Signing a contract for an unfinished manuscript, on Writers Bloc

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Click here to read my piece on Writers Bloc about signing the contract for Captives before it was finished, and the ensuing writing process (while travelling). Here’s an extract:

I wrote a few of the stories around sessions at the Edinburgh International Book Fest, including a couple which are postmodern or referential. This reflects the fact that, like the narrator of Rabih Alameddine’s An Unnecessary Woman who knows Lolita’s mother better than she knows her own, I don’t like to separate out my ‘real world’ and ‘cultural’ experiences too much, because I’ve spent so much of my life immersed in fictional spaces. Not only in books, but in places like Terry Gilliam’s Brazil, or the post-apocalyptic glam world of David Bowie’s Diamond Dogs.

CaptivesFCR (1)Captives is available for pre-order from my publisher, Inkerman & Blunt, until 30 April (free postage). And the book will soon be available (or at least available to order) at all good bookstores. The official release is only days away! The ebook will also soon be available…

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Captives available for pre-order!

CaptivesFCR (1)In her first book of fiction, writer and literary journalist Angela Meyer demonstrates her gift for painting vivid pictures with a few adroit, restrained brush strokes.
—Jennifer Peterson-Ward, Books+Publishing 

You guys…

My first fiction book is being published in May: Captives. It’s a petite, dark collection of flash fiction, with a cover and layout beautifully designed by Sandy Cull. Here’s the blurb:

Captives opens with a husband pointing his gun at his wife. There’s a woman who hears ‘the hiss of Beelzebub behind people’s voices’, a photographer who captures the desire to suicide, a man locked in a toilet who may never get out, a couple who grow young, and a prisoner who learns to swallow like a python.

Angela Meyer’s Captives is a collection of shimmering story wafers, each of which hovers at exactly the sweet spot of just enough. Individually piercing, Meyer’s fiction slices fit together like the best poetry does, amplifying what came before and chiming with what comes after. —Tania Hershman.

I’m so excited that some of my fiction has found its way out into the world, thanks to Inkerman & Blunt. You can follow the publisher on Facebook, Twitter and Instagram.

Captives is now available for pre-order! If you order from Inkerman & Blunt directly before April 30, you’ll receive a signed copy (only $14.99)! You can also order it from your favourite local or online bookstore (the ISBN is 9780987540126).

I’ll be doing plenty of events around the release of Captives, which I’ll announce mainly via Facebook and Twitter. I’ve also started a dedicated events page here on the blog.

Thanks, as always, for reading. (Can you believe this blog will be seven years old the month Captives comes out?) 

Enter the joanne burns award: Flashing the Square

flashing_the_square_logoThis year, along with Richard Holt, I’ll be judging the joanne burns award for microfiction and prose poems, tied in with the Flashing the Square project during Melbourne Writers’ Festival in August.

First prize for a microfiction or prose poem is $300. The winning and shortlisted entries will be published in the Spineless Wonders annual anthology along with work by invited writers. A small number of these works will go on to be produced as videos to be screened at Federation Square during the Melbourne Writers Festival (August 21-31).

What are we looking for?

We want screen-sized literature that will stop the festival-goers and Fed Square passers-by in their tracks. How you do it is up to you. Play with story, play with language. Give us writing that has the conciseness of poetry. Give us the breezy vernacular of the prose poem. Lace your microfiction with metafiction. Let your prose pull its punchlines. Give us language that is fresh and brimful of suggestion and nuance.

The maximum length is 200 words, and for $7 you can enter as many as you like.

Closing date is 31 March 2014.

The full submission guidelines and submission portal can be found on the Spineless Wonders website. While you’re there, don’t forget to check out The Great Unknown!

Find out more about Flashing the Square 2013 here.

My own book of flash and microfiction, Captives, will be out with Inkerman & Blunt in May. Why not add it to your shelves on Goodreads?

I’m teaching workshops on flash fiction at Perth Writers’ Festival this month, and at Writers Victoria in July (with more to be announced), if you’d like to come along.