The world of Silence

By Maia Mcgovern-fanfair

Silence it’s like an abyss of emptiness. A world without sound it’s something no one could image, as even if no one was to speak you would still hear the sounds the world makes, if only you take the time to sit and listen to the symphony of this ancient earth you’d learn thing no one else would. This planet has a lot to teach and if you listen you would learn the reason why even in the quietest rooms you still hear the pulsing beat of your heart or even the way the trees talk roots connected voices humming.

The reason is there’s something dangerous in the silence. It waits till all sound has vanished to appear. Than that’s when the silentium strikes first they take your ability to make sound so no matter how much you struggle against them no matter how much you try to call for help no matter if you break anything silence is all that remains for sound is the only weapon against them. Next they take your sight for it wouldn’t be good for you to try to cling on to the shadows making it harder for them to take you. And lastly they drag your mind, body and soul to them, no matter if you’re a sinner or a saint. A soul is always a tasty snack for the silentium. With your mind and body the silentium are able to gain human forms there no longer affected by sound, though they are still weary of it.

Who am I? I’m the shadow you see watching you when your asleep, the monster that lurks in your wardrobe, I am everything that is feared yet never remembered. Yet only children see me and understand the rule they must abide by for I can only be seen by a child’s eye. The rules? There simple don’t be seen, don’t be heard, don’t move and the last rule to make me go away you must use light a bright light. Small lights do not work they only disturb the shadows. I am the reason people are afraid of the dark and the quite within it. I am the only one who can fight the silentium for no one else from the Great War survived. I was the lone survivor and I want my revenge.

The last shadow signing out

Imagining writer’s ‘block’

How can we break it down?

by Tyreck Abrahams

As writers I think most of us could agree that one of the most daunting part of writing is… not writing. The moment when your pen begins to feel like a weight that forces your hand to submission. When your keys feel cold and stiff like the joints in your fingers that have become paralysed by the fear of perfectionism. The thing is, this ‘block’ isn’t necessarily a restriction, the fact your mind can ‘notice’ this ‘block’ is testament to your creative mind itself – we can imagine this nothingness, this unknown that restricts us. For instance; nothing is called nothing, a void is a void, a black hole is a black hole. So, as long as we keep on creating words, then we are writing,  and within writing we can create our own images and emotions. I particularly stumble upon this ‘block’, and even now I am typing this out with hammer heads on my fingertips, subconsciously conscious with every word that I type. Yet at the same time, with every word that I type, I am gradually chipping away at the block in front of me. So remember, IMAGINING is a tool you are already subconsciously using. It is the first tool you use when you begin to write, so you should trust the vision that you can’t see and describe the blindness.

 There are also different approaches to getting past writers ‘block’, and one that I particularly enjoy is going on random word generator and creating poetry/short stories from completely random words. This forces you to be creative as your brain is already thinking on how to conjoin unrelated words and make them harmonious, thus exercising your innovative brain. You would be surprised from the creativity that derives from this exercise. It draws out the unfiltered you; you have the chance to dress these words into your favourite clothes and let them express themselves. And even if you didn’t like what you wore, you can look back on it and think, what would I change? Because I know as kids, we all looked back at a certain point in our life and thought, why the f*ck was I wearing that? Or when you finally had that freedom of choosing your own clothes, instead of wearing a suit and some church shoes (alright maybe, I’m getting too personal, but you get the point). Writing is expressive, and I’d like to assume that everyone has a personality (I hope so). There is always an emotion to express, even if you’re a stoic person, so to bring it back to my main point, this writers ‘block’ is just a façade, an illusion, a fear of a perfectionist. And I don’t think writers realise (me included), how damaging the ‘perfectionist’ route is, as you begin to overthink and this causes stagnation. We should be able to think freely, and even if it turns out like absolute trash, first of all – you wrote, secondly – you can always go back to it and edit, as you have already created a foundation. So, I am not saying it is easy to pump out words when your mind feels frozen, but I hope that it’ll eventually defrost before mum gets back home.

Yen, The Word-Bender (our unofficial literary avatar)!

by S H Israel

EXPLORING DIFFERENT AVENUES OF WRITING BECAUSE WRITING AS A CAREER CAN BE MORE. 

Today we had the privilege of listening to a talk by Yen Ooi, a notable narrative director, writer and editor—whose catalogue of work explores cultural storytelling and its impact on identity. She’s a science fiction fanatic who unearths stories exposing and exploring the variations of culture between genres. Yen is an author of profound works such as ‘Rén: The Ancient Chinese Art of Finding Peace and Fulfilment’, ‘Sun: Queens of Earth’ (novel) and ‘A Suspicious Collection of Short Stories and Poetry’ (collection) and she is also a narrative designer on ‘Road to Guangdong’.  

As a person who has only understood writing (as a career) to be limited to specific roles in which one can succeed, this talk with Yen has expanded my perception as to what is possible. Typically, when people ask me what I’m studying these are the responses they dart at my ego; ‘Oh you want to be a teacher, then?’ or personal favourite ‘A writer?! They don’t make much do they?’. 

What Yen did with this talk not only gave us a portal into what is possible for writers, but she also shared a life-changing revelation; if there is something you want to see, create it. 

Yen disclosed the two things she did when she decided that she wanted to be a writer; first, she joined an online writing course run by Oxford University and second, she created a website where she could share her short stories and other pieces of writing. This eventually led to her pursuing a master’s degree in English Literature at the University of Westminster. She stated that this enabled her to explore how “literature and stories come about in a specific time and space and culture” which helped in shaping her focus on the practical aspect of writing, in terms of skills, genre, etc. Moreover, she lists the practical things she did to push start her career, she volunteered, sought internships and other entry-level work in publishing. Yen credits ‘The Literary Consultancy’ (where she began as an intern, shadowing some of the managers) which helped to give her a practical framework for the business of writing.  

The scope of her career expanded when she collaborated with a friend on a trans media story *(is a narrative structure that breaks through both language and media) and mobile games. She explained that writing for games taught her the importance of timing, the quality of your writing, the platform and whether your audience is aware and involved.  

Listening to Yen share the early parts of her career whether it’s her starting out living in Japan where she joined the online writing class or pursuing her master’s degree, collaborating with a friend on writing for mobile games, to being a managing director in publishing, to publishing her novels, short stories and now pursuing a PhD exploring ‘East and South-East Asian Culture Identity and Values, her ever-expanding career incites both pride and jealousy. 

What is very clear is this: Yen is an exemplary writer who has forged her path within the field of writing and applied her talents through different mediums.  

This was not a simple talk about Yens’ career and consequently her successes, no this was a discussion of what is possible. 

To keep abreast of the exciting works by Yen Ooi then, please check out her website and Instagram! https://www.yenooi.com/ https://www.instagram.com/yenooi/?hl=en

Spectacular Science-Fiction: Yen Ooi’s Speaker Session

Image by GooKingSword from Pixabay

By Heide R. Orleth

My favorite guest speaker session this year was Yen Ooi’s talk about her writing journey. She has a fascinating career in the publishing industry, and got her master’s at Westminster! She was a finalist for the 2023 Hugo Awards, and is co-editor of Ab Terra, Brain Mill Press’s science fiction imprint.

I really enjoyed her presentation, especially because of her clear enthusiasm for the science-fiction genre and the projects she has been involved in. Yen even dressed up as a zombie to help develop a mobile game! I have not yet read her fictional prose, but her novel Sun: Queens of Earth is on my to-be-read list, along with the Ab Terra short story anthologies she edited.

I am a big fan of nerdy conventions, so hearing about her experiences promoting her work at WorldCon (a global sci-fi convention) was exciting. I think conventions are some of the best places to express your nerdiness and knowing that I could theoretically display my work in a similar way was encouraging.

Image by Pikurā from Pixabay

In addition to her novels and publishing career, she also has experience in a lesser-known writing form: writing for video games. It is an entirely different beast than ordinary prose writing. The game she writes for is called Road to Guangdong, and it is simulation racing game set in China.

According to Yen, there are key differences to writing for games. Unlike readers, players of a game have agency within the story. They can shape it and interact with the world to variable degrees. However, it is impossible to account for every single decision a player might want to make. Writers must toe the line between letting the player feel like they are in control and making an impact in the story, while also leading them to a finite number of outcomes. I find this to be a really intriguing challenge.

The video games I usually play are more sandbox/simulation types, but thanks to Baldur’s Gate 3 I’ve been obsessed with the sheer volume of writing that goes into a roleplaying-game of its caliber. Constant choices, countless moments that make or break relationships with NPCs (non-player characters), and the ripple effect of every decision can be felt as you make your way through the adventure. It speaks to how I want my readers to feel: immersed in the story and emotionally invested in its outcome.

Perhaps I will try my hand at games writing someday. I can only hope that someday my career is as fascinating and fulfilling as Yen Ooi’s!

Heide R. Orleth is a 2nd year Creative Writing & English Language student at the University of Westminster. She loves to write fantasy & science-fiction, and is an avid reader, anime enjoyer, and occasional cosplayer. Instagram: @aechrwrites.

Perseverence

Hamzeh Ghaderi

This week, on the module, we had Katie Hale. She is a novelist and also a poet. She is famous for her two books, “My Name Is Monster”, which is a novel, and “White Ghosts”, her poetry collection. During the online session, I paid attention well because the information she provided to us was useful. I found her a persistent person. Looking at her face, I recognised her as a person passionate about writing and patient about the journey. She talked about her background and mentioned all about the ways she’d passed to become a writer, which I believe can be helpful for me, as a new writer, to use her experience and find a way to get published.

   She studied at RHUL between 2008-2012 and then at St Andrews between 2012-13. She has worked as an arts admin and a freelance writer ever since and has attended workshops and professional development seminars that have helped her throughout these years to gain more knowledge about the industry while writing. For instance, she said, according to her observations, a writer could earn up to £10,500 per year, which is well below the minimum wage and represents a 42% drop in real terms since 2005. But she also mentioned that a writer should not give up if their earnings are low at the beginning. If they are perseverance and have written something worthy, they may win prizes and make royalties out of their books. Moreover, attending festivals as a speaker and also TV and radio programs can increase earnings.

   The other ways which were mentioned are facilitation, funding and residencies. For the first one, Katie said that the writers can create workshops in schools and for adults, either in person or online, and by charging an amount, they can make money in exchange for teaching people (a private tutor). For funding, the writer can apply for grants on creative projects, asking some specific companies for support. Moreover, for the third way, residencies, the writer can get paid by accepting residents in different places that allow them to focus on their job, writing.

   After this online session ended, I thought about what Katie said. I tried to reconsider my expectations. Before getting to know her, I used to think it could be so easy for a new writer to get published and make big money. I was living in a dream. I used to think as soon as my book became ready, there would be an agent and a publisher waiting for me to sign up with them, but now, I have come to the conclusion that I need to lower my expectations. I have to convince myself that I’m not a famous writer. No one knows me yet, so I can’t be published on day one. I have to keep my morale and be perseverance, because persistence is key.

‘Writing and Space’ by Fleur Bruneau

When I am sitting down to write in creative ways, I find the space I am in to be as important as the subject in which I am writing. 

For example, writing in libraries has never really worked for me, as I feel some Godly judgement cast upon me by others in the library, despite the fact that they aren’t even aware of my existence, let alone care.

However, this external pressure means I can focus on nothing else but focussing, and thus end up not writing anything at all. 

I have tried writing in The Hideaway within uni thinking maybe this would be a helpful place to be. It is not silent, which means that I don’t think I’m going to be thwarted for existence, and has a good amount of coffee that is nearby – which seems to be a crucial point when I work. 

The major downside to The Hideaway, it seems, is the sheer amount of things going on. The bright house lights, the bright colourful lights, the screen that displays the music video of the music being played that is slightly too loud, the consequential shouting as a result of the too loud music.

I often find myself gazing into the blue lights that hang in columns from the ceiling like one would gaze at fish in a tank. Not a single thought passing through my head

For me, I must be in a place that has movement and noise, but not so much that it becomes distracting. There must be some form of overpriced coffee (which I use to bribe my monkey brain into work) and some form of light music being played in the background. I have to be sat next to a window or the lights must be ambient. This particularity means that it consequently means I do very little work. 

I jest.

Starbucks, I have found, seems to be the place that fulfils all these factors. The baristas leave you alone, no one will speak to you, there are outlets that allow you to charge your phone when you inevitably forget to charge your laptop the night before. The wifi is reliable, but not so good that you can procrastinate by watching a YouTube video. 

I have since discovered that doing work in Starbucks allows for me to build the facade that my life is in fact together. This air of assumed confidence means that I can convince myself that I am Okay at writing, that the last 2,000 words I wrote aren’t utter utter shite and that this is my world that others happen to be living in.

For someone with anxiety, this facade of arrogance means I complete work outside the four walls of my flat without having a panic attack beforehand. The coffee, the music and the overall vibes are perfectly conducive for my work.

Space, it appears, is as important as your writing.

‘Facebook arguments, re-connection and the apparent death of the Irish language’ by Bartholomew Brockbank

In my spare time I frequent some of the linguistic and language learning pages on the ever-frothing fountain of knowledge that is Facebook, and this is precisely what I was doing the other day when a certain comment stopped me in my tracks. It was a comment made by a person I happen to know from some of my language groups, who was bemoaning the amount of Gaeltachtaí in Dublin, where he lives, as a way of explaining the uselessness of learning the language.

For those who don’t know a Gaeltacht is a place where Irish is spoken, normally as a first language. There has been some success with artificial Gaeltachtaí (mostly in Leinster, as this is the region without a natural Gaeltacht as opposed to Munster, Ulster and Connaught which still have Gaeltachtaí). This is also where the Popup Gaeltacht gets its name.

The comment irked me, and naturally, being the agent of internet justice that procrastination occasionally deludes me into thinking I am, I responded. Despite the years of Irish grammar hardship burning in my mind, I gave a detailed and clear analysis of how I gained the level of Irish I have done – for the curious among us, my comment went something like this;

‘I started with Rosetta Stone complemented with Duolingo – once I had a better level of the basics and the grammatical functions, I moved onto evening classes so I could practise speaking, listening and all those things that you need to have modelled by a native or high level speaker in order to achieve a good level of proficiency’

This, however, was not what my fellow internet inhabitant wanted – instead of reacting negatively I had, against my deepest desires, given a clear and informative answer. His reply was quick, brutal and effective (at irritating me further).

‘What’s the point though? It’s not like you need Irish to get by here. I would pay for evening classes in French but I think ones in Irish should be free. It’s almost a dead language anyway.’

Such comments intrinsically misunderstand the reasons we learn languages and, while clearly designed with hyperbolic intents, deserve some picking apart. Why should it be that function overrides all other reasoning? This statement makes the assumption that the end goal of learning any language should be so that we can communicate with someone we otherwise couldn’t have – but does this not also apply to Irish?

Living in London, it isn’t often I get the opportunity to speak Irish anymore but it was only last week that in a small pub near my flat I heard a Dublin bhlás and turned around to their party ‘conas atá sibh a leaideanna?’ Instantly I was hit with roars of excitement. ‘Tá Gaeilge aige! Maith an fear!’ I stood at the bar with someone chatting happily I nGaeilge for a good while; ‘Feir plé ort ansin le do Gaeilge a fhoglaim! Sin dochcréidte!’ It was a moment of joy and connection – a pleasure for me to speak Irish again and a happy surprise for the party to meet someone speaking to them in their language in a foreign land.

And isn’t that what language is about? Connecting with people, whether through poetry or stories, whether via an everyday chat or an academic paper, whether living or dead – because that is the miraculous power of language, to traverse even the boundaries of life and death. Within language we see the fossilised thoughts of those who came before us, and through them, we can connect with those at rest as readily as if they were still here.

Language is a blessing – because we are all different, but with language we can begin to understand in what ways we are different, and how those differences shape our realities. Without learning Irish I never would have thought of ‘wearing’ your emotions upon you – which, if you think about it, makes a lot more sense – because we are not our hunger, our anger, our sadness, these emotions are just jackets that we wear for a period of time before moving on, they are transient. Níl mé feargach, ach tá fearg orm – I am not angry, the anger is upon me

Without learning Irish I wouldn’t have enjoyed a quiet moment of peculiar pleasure at the thought of a Ladybird or Ladybug being a Bóín Dé – God’s little cow.

So forget your boulangerie orders, your coiffure is fine – because yes, Irish people can already speak English and you could already speak to them – but could you really connect with them?

And why not study a language that you love instead of one you find useful? We all start as amateurs, but as the Italian origin of that word shows (from amare – to love); there is beauty in doing something for love over practicality.

Because Irish is not dead, she’s not even asleep, she’s just resting her eyes – and it’s about time we started giving her a reason to get back on her feet. 

This article has been adapted from a piece originally written for Letslearnirish.com

Gemma Seltzer’s visit to Westminster by Darcy Morgan

Today I had the pleasure of attending an online Zoom meeting where Gemma Seltzer spoke about the different ways of writing. By the end of the session I came out inspired by her words, encouraged to work harder, and more inclined to get writing.

The session started off with Seltzer telling us all about the original inspiration of her writing, and the events leading up to her writing journey. Seltzer grew up playing with her Grandfather’s ventriloquist dolls, ‘Some were large, some were small. Some were just her their heads!’ We were told about how as a child, these dolls were nothing but fascinating to Seltzer, and this is what she wanted to write about later on in life. Gemma Seltzer was informative, showing us multiple photographs of her Grandfather with the dolls to let us imagine her childhood for ourselves. This initial story that started off the talk was very charming, and I’m sure the fact that Seltzer wanted to include part of her family history within her work inspired others to perhaps look at doing something similar.

Seltzer had so much to tell us all, so many stories regarding her writing and the opportunities it has given her. I felt as though the speaker used her time efficiently, letting her audience know that there are many ways to express a story. Seltzer mentioned different writing projects that she’s completed, ranging from the short 100-word stories that stemmed from real life anecdotes that members of the public would tell her, and expanding to her full-length novel ‘Ways of living.’ According to the synopsis on Seltzer’s official website, the novel explores ‘what it means to be a modern woman inhabiting the urban landscape.’ It was made clear that most of the speaker’s work is set in London because of the familiarity of the setting, and the broad picture that London can provide.

Seltzer showed us that there is no need to limit ourselves to one form of writing, and that change is okay when editing your work. It was even explained that, for example, if a novel isn’t quite working as the characters have too much to say, then maybe the work is better suited for a screenplay or play. This particular piece of advice I’m sure stuck with many listeners, there’s no need to limit ourselves to one form of writing. There’s no correct way to tell our stories, but perhaps exploring the different forms before settling for one in particular could be a more useful way of writing.

Towards the end of the speaker’s event, Seltzer promoted her online presence, including her social media profiles and her website with a direct link to her latest novel. Although I found this useful as her words were interesting and I personally wished to find out more, I was also reminded that writing itself is just a small part of the publishing process, and promoting and knowing the right people can get you that step further.

I really enjoyed Gemma Seltzer’s speaker event, and felt like a lot of information was covered in a short amount of time. Seltzer was to the point, and wasted no time in letting us know that it’s okay to explore other options in writing, there is no perfect writing form.

What is Enough?

By Mia Choudhury

It was that early December morning,
When the sun rose from the clouds
That you told me I wasn’t enough
And that I could never make you happy
Even though you had told me different the night before,
Even though you said you loved me.

But I suppose that was foolish of me,
To believe we’d wake the next morning
And everything would be the same as it was before.
But here we are, smoky grey clouds
In the distant space between last nights ‘happy’
And today’s ‘not enough’

But what is enough?
Because like you said it sure isn’t me.
Even though every fibre of my being was trying to make YOU happy
Despite the fact was falling apart every morning
I still made sure the black clouds
Of my mind were gone before…

It doesn’t matter what happened before.
We’ve screamed at each other enough.
Screamed and screamed until clouds
Of thunder formed over the skies and scared me
Into thinking that maybe the next morning
Would be different and we could be happy

But alas, here we are, our cup of happy
Empty like it was before
And we’ve not a morning
Left to even think about what could have been enough
But for my sake, for my peace of mind, for me
Will you point at the clouds,

Like Adam in the creation reaching for God in the clouds
And tell me which one told you not to be happy
With your life when God gave you me.
Tell me what made you do it before
Our minds, bodies and souls have had enough
Because I spoke to no serpent and ate no fruit that morning.

You tell me nothing clouds your vision on this grey morning.
You tell me everything is as it was before.
That you were never happy. And I was never enough.

 

Post by Mia Choudhury,  15th February 2019

Find your voice with Independent Presses

Post by Marta Sobczak and Fahima Chowdhury

We would like to dedicate and share on this month pages of Write Westminster Blog the subject we have all been introduced to on the recent speaker event lead by Neil Griffiths – a writer and founder of the Republic of Consciousness prize for Small Press.

We all realise these days how much struggle a writer must go through to get published. Big houses must meet their needs of big names, and big money, therefore their interest in helping rising authors, or those with innovative, creative ideas deviating from the generally accepted standard, is rather very small.

But don’t be mistaken, for there is a hope and we all can benefit from the alternative solutions given by Independent press.

We would like to encourage all of you to reach out into the wonderful world of publishers, who will do their best to support and give you a platform to be heard. The Small Press rely on people like you via subscriptions and donations, therefore any contributions are highly appreciated.

Fitzcorraldo is an independent publisher specialising in contemporary fiction and long-form essays. It was founded in 2014 and its main focus is on ambitious, imaginative and innovative writing.

Galley Beggar commits to publishing daring, innovative fiction and narrative non-fiction.

Influx Press publishes books obsessed with places. Funded by a couple of old school friends from Kent in 2011.

Republic of Consciousness  promotes and celebrates small presses in the UK and Ireland, founded by Neil Griffiths.

Marta Sobczak Fahima Chowdhury,  16 November 2018