Competitions to Enter in August

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1000-Word Challenge, All Desires Known, Bench Theatre's Supernova Festival, Costa Short Story Award, Exeter Story Prize, HWA Dorothy Dunnett Short Story Award, Ilkley Literature Festival, Of Human Telling, Writers' block

When is a short story competition not a short story competition? I’ve been entering these things for years, only ever winning two and being short-and-long-listed on a handful of other occasions. HOWEVER, winning isn’t all that’s on offer.

Competitions can be incredibly successful for curing writers’ block. If you’re stuck with your novel, turning your back on it and creating something new, perhaps in a different genre, can help you return to your manuscript with fresh perception.

Writing a short story might also develop a character or set of characters who will take hold of your imagination and inspire something much more significant. Tanya’s two published novels — Of Human Telling and All Desires Known — had their genesis in a short story about people living in the shadow of an English public school. My own novel, currently being edited prior to submission, began life as a short story, but elicited the comment from a judge that she felt the subject matter: ‘really called for a book’.

Competition entries can also help develop the persistence that writers desperately need. A story that failed in the Olga Sinclair Award several years ago served its time in my rejects drawer, was then re-written and re-named, and went on to success in the Hysteria Short Story Competition. It can be seen under Writings on our masthead, together with Tanya’s Across the River, a winner in Writer’s Forum, and Marshmallow Truth, a winner in Writing Magazine. Both stories were entered in a number of competitions over the years without any real success. Persistence pays off.

So what’s stopping you?

Costa Short Story Award. Short stories up to 4,000 words on any theme. Prizes: £3,500; £1,000; £500. FREE ENTRY.  DEADLINE 3 AUGUST. Entry details from: http://www.costabookawards.com

Ilkley Literature Festival Short Story and Poetry Competition for short stories and poetry. DEADLINE 1ST AUGUST. Short story, maximum 3,000 words. Entry fee £5. Prize: £200. Poetry, maximum 30 lines. Entry fee £5. Prizes: £200; £100; £75. Details: http://www.ilkley-literaturefestival.org.uk/join-in/competitions

Exeter Story Prize and Flash Competition. Story: max 10,000 words. Flash: max 1,000 words. Fee: £12. Prizes: £500 plus trophy; £150; £100. Tricia Ashley Award for best humorous entry: trophy plus £200. Deadline 31 August. Details: http://www.creativewritingmatters.co.uk/competitions.html

1000-Word Challenge. Flash: max 1000 words. Entry fee: £5. Prizes: ££100; £50; £25. Details: http://www.1000wordchallenge.com

Bench Theatre’s Supernova 8 Festival of new one act plays will take place at the Spring Arts and Heritage Centre, Havant, Hampshire in February 2019 and if you are resident in the UK, or a British citizen, you have until 17 August to submit a play for consideration for the festival. There is no entry fee and although no payment is made, if your play is performed you will gain all-important performance credit. Submit original plays of a maximum of 45 minutes and no more than six actors. Shortlisted plays will be given feedback. Full details: http://www.benchtheatre.org.uk/supernova.php

The HWA Dorothy Dunnett Short Story Award is inviting entries of unpublished historical short fiction, set at least 35 years in the past, of up to 3,500 words. The winning story will receive £500, publication in The Whispering Gallery and on http://www.historiamag.com, mentoring sessions and tickets to the HWA Crowns ceremony in November, when the award will be presented. Runners-up will receive mentoring and invitations to the awards ceremony. The entry fee is £5 per story and the closing date is 31 August. Details: https://historicalwriters.org/dorothydunnett/

Aesthetica Creative Writing Award.  For unpublished poems of up to 40 lines and short stories of up to 2,000 words. Entry fee for poems: £12; short stories: £18. Details: http://www.aestheticamagazine.com/cwa

The Prague City of Literature Project is inviting applications for 2019 writer-in-residency stays. Six are available, each for a two-month period and writers-in-residence are reimbursed for a return ticket and provided with accommodation and a monthly stipend of 600 Euros. Applicants should have a cultural interest in Prague, at least one published literary work, a willingness to take part in the local literary life and a project they will be working on during their stay. At the end of their stay they must undertake to provide the Municipal Library in Prague with a text inspired by the residency to be used by the Prague City of Literature Project. Closing date to apply is 31 August. Details: http://www.prahamestoliteratury.cz

The C21 Drama Series Script Competition invites entries for a pilot script for an international TV drama series. Six finalists will present their script to a panel of commissioners and broadcasters, including representatives from Amazon, Netflix and the BBC. The winner will receive a $10,000 option from WritersRoom to develop the project. There is no entry fee. Deadline is 31 August and details can be found via: http://www.c21media.net/script/

The John O’Connor Short Story Competition 2018 offers a bursary to attend the John O’Connor Writing School and Literary Arts Festival in Armagh between 1 and 4 November, plus £250. The prize includes accommodation, but not travel expenses. The competition is for short stories between 1,800 and 2,000 words. There is an entry fee of £10. Deadline 28 August. Details http://www.thejohnoconnorwritingschool.com

As ever, please let me urge you to double check all competition details on the relevant website before entering.

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Punctuation certainly used to matter…

Noticed this today as I drove past.  The Old Post Office is, of course, no longer a Post Office, but lots of luxury flats.  What are chances that its modern equivalent would take such care to put the proper apostrophe in “Postmen’s”?

Of course, nowadays it would have to be “Postal Workers’ Entrance”.  Or more probably: “Staff Only”.

Punctuation matters

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Cycling, Fenchurch Street, London

Indeed they don’t.

The most hateful character in fiction?

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Fanny Price, George Eliot, Gilbert Osmond, Grandcourt, Gwendolen Harleth, hateful fictional characters, Henry James, Jane Austen, Mansfield Park, Mrs Norris, The Portrait of a Lady

‘Make your nasty characters ten times nastier,’ advised the creative writing tutor. ‘Readers want strong definition so exaggerate the light and dark.’

She had a point. Even if you aren’t writing crime novels, it’s no good running away from the evil side of human nature. But it’s July 18th, the day that Jane Austen died 201 years ago, and I found myself remembering the careful subtlety of the unpleasant characters in her novels, such as Mrs Ferrars, Lucy Steele, General Tilney, Mrs Norris. Jane Austen never goes over the top.

If asked who we hate most, many of us would probably opt for Mrs Norris, the horrible aunt in Mansfield Park, because of the way she bullies Fanny Price, the terrified little girl taken away from her own family and Portsmouth home to live with her grand relations. Her vindictive spite continues to find fresh expression in the years that follow, but it’s the abuse of a defenceless child that we can’t forgive. Mrs Norris is both loathsome and entirely convincing: we know her. If Jane Austen had overdone Mrs Norris’ awfulness, she might have slid into a caricature and become less real.

Re-reading Henry James’ The Portrait of a Lady, I could see the same elegant restraint in the portrayal of the corrupt and manipulative Gilbert Osmond. We shiver because we see the trap Isabel has walked into, but it is not until chapter 42 that we know what she is suffering: ‘… it was as if Osmond deliberately, almost malignantly, had put the lights out one by one … under all his culture, his cleverness, his amenity, under his good-nature, his facility, his knowledge of life, his egotism lay hidden like a serpent in a bank of flowers.’  Her real offence ‘was her having a mind of her own at all. Her mind was to be his – attached to his own …’

In my mind, Gilbert Osmond and the sadistic, chilling Henleigh Mallinger Grandcourt, husband of Gwendolen in George Eliot’s Daniel Deronda (described in the ninevoices post Emotional abuse from a monster husband – and a complex fascinating heroine)  now tie for first place as the most hateful men in literature, while Mrs Norris is still without a serious female rival. But this is perhaps from a sheltered and limited viewpoint. What other fictional characters do we fear and hate?

 

On Being A Pedant

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apostrophes, Ed, George Bernard Shaw, Pedantry, Royal Tunbridge Wells, split infinitives, Tanya, The Oxford Comma

On Saturday mornings my other half and I usually stroll into Tunbridge Wells. It’s a pleasant walk alongside the Common and in spring there’s the glory of the municipal daffodils.

Yet on each journey I am affronted, disgusted even, by the lack of an apostrophe on the sign for Major York’s Road. I expect better from Royal Tunbridge Wells. 

Should such things bug me? My husband doesn’t care about Major Yorks Road, yet mutters darkly about split infinitives whenever he catches me using them. He will also place exclamation marks (plural, notice) in the margins of any drafts of mine where a sentence starts with And. Other people’s blood pressure rises at mention of the Oxford Comma.

You might like to see some of our previous thoughts on this often contentious subject.

• https://ninevoices.wordpress.com/2016/10/19/grammar-gripes-less-and-fewer/,
• https://ninevoices.wordpress.com/2017/03/27/punctuation-can-cost-millions/
• https://ninevoices.wordpress.com/2013/05/02/a-plurality-of-grammars/
• https://ninevoices.wordpress.com/2016/06/07/to-be-pedantic-or-not-to-be-pedantic-that-is-the-question/)

As writers we surely have a duty to defend our wonderful language and how it’s placed on the page. However, knowing what is correct, but deliberately bending the rules, can be excusable, and hopefully creative.

So, on that question of split infinitives, let me share something George Bernard Shaw wrote to his publishers:

There is a busybody on your staff who devotes a lot of time to chasing split infinitives. Every good literary craftsman splits his infinitives when the sense demands it. I call for the immediate dismissal of this pedant. It is of no consequence whether he decides to go quickly, or quickly to go, or to quickly go. The important thing is that he should go at once.

Your views on grammar pedantry are welcome. Don’t be shy, we’d love to hear from you!