Submit to Cuttlefish

cuttlefish

I’m the flash fiction editor for a new writing and art magazine, Cuttlefish, from Sunline Press in WA. I look forward to receiving your pieces (anonymously) of up to 250 words. The publication will feature one artist’s work and also print poetry, up to 40 lines, and longer pieces up to 1200 words. There will be a payment of $40 for all works.

Here are the details:

All submissions will be selected anonymously so writers should send a hard copy to Sunline Press, 21 Jarrad Street, Cottesloe, 6011, with no name on the work. These should arrive by December 5. Writers should then send an email to rleach@plc.wa.edu.au with their names and the titles of their work after January 7 and before January 14.

Those selected will be notified by late January.

All submissions should be typed in 12 point Times Roman, with 1.5 spacing.

Short Fiction: Sue Midalia
Flash Fiction: Angela Meyer
Poetry Editor: Roland Leach

All the best!

Captives reviewed in Cordite

CaptivesFCR (1)Jo Langdon has written a beautiful and perceptive review of Captives for Cordite Poetry Review.

‘The space beyond the stories is essential, and the words themselves appear with an illusory ease and simplicity.’

Read the rest here.

Captives is widely available, including from the publisherReadingsBooktopiaAvid ReaderFishpond (free worldwide shipping), or your local bookstore. The ebook is available on KindleGoogle Play, iBooks, Kobo & more.

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.

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?) 

The Great Unknown authors: Deborah Biancotti

The Great Unknown w blurbs small imageThis is the eleventh post published in conjunction with the release of The Great Unknown, where authors share their experience of writing eerie stories for the anthology. The Great Unknown is available from BooktopiaReadingsAvid ReaderFishpond (free shipping worldwide) and all good bookstores. You might also want to add it to your shelves on Goodreads.

Deborah Biancotti is a regular on genre fiction award lists, writing across a range of urban fantasy, horror, science fiction and steampunk. Her books include Bad Power and A Book of Endings. Today she answers some questions about writing ‘See-Saw’ for The Great Unknown.

What did you enjoy/find challenging about writing to this particular theme?

dbiancotti_v0202 201108 (2)I love unexplained stuff. Weird stuff, stuff that happens that doesn’t have any kind of logical explanation. I always wanted spontaneous combustion to be real, you know? Also reincarnation. And ghosts, I’d like ghosts to be real. Though not at my place, and not after dark. All those creepy photos of ghosts you see, right before they’re debunked by experts – I love those.

I like to think that the walls of reality could just fall the hell apart and we’ll be left with chaos. Something that would blow our minds into tiny, tiny pieces. And then I want to think that the ones who survive the end of reality will be the people like me, who’ve been reading and writing and living the weird since we were kids.

But, writing something that was inexplicable without being alienating, that was hard. Trying to fashion a world that felt coherent and yet pliable, trying to fit in events that were strange but convincing, trying to hold it all together, that turned my brain into a pretzel. This is where the writer relies on the smarts of the editor to help her fashion just the right balance to intrigue a reader without just, y’know, being annoying about it.

Tell us about your story in The Great Unknown.

For some reason I went with a kind of French influence. In my story, ‘See-Saw’, I built a crowded little city and one loveable rogue of a protagonist, and then I said to myself, ‘well, what would be weird in this world? And what would be awesome?’ And I built something that was weird and awesome for my cigarette-smoking, lazy liar of a protag. I hope she enjoys it.

After all, there’s no telling if it will last.

What memories do you have of watching The Twilight Zone, The Outer Limits or of reading spooky/uncanny stories (or comics) as a kid? 

Some of those stories really stuck in my mind. Like the guy who sees the demon on the wing of the plane. And the guy who is challenged by the Devil while he’s trying to solve a maths problem. And the guy for whom all language falls apart when everyone around him starts to use the word ‘dinosaur’ when they mean ‘lunch’. Those weird, challenging ideas rolled around and around in my head for decades.

And then, oh man, there were the Creepshow movies. A part of my brain is still dedicated to memorising lines like ‘Thanks for the ride, lady!’

Despite her success as a writer of quality macabre and psychological thrillers, Patricia Highsmith was, to her great disappointment, never published in The New Yorker. Has anything changed? What thoughts do you have on the current status of writing genre fiction?

Patricia Highsmith was a consummate writer of believable, psychological horror. I hate to think she was disappointed by anything. Has anything changed? I think the states of reading and writing change so much, so often, that by the time I could fashion any kind of summary statement about it, the world will have turned upside-down and none of what I have to say will be relevant any longer.

Which is just the way I like it.

You might also enjoy reading about stories by Chris FlynnHelen RichardsonA.S. PatricMarion HalliganGuy SalvidgeKathy CharlesAli AlizadehRyan O’NeillCarmel BirdRhys Tate, and Alex Cothren.