Writing Competition Runner Up: Nina George

I am a writer. This has been difficult to say and own about myself, submitting my writing to Wild Words is me stepping into this place.

I have followed the blog for some time; the writing intrigues me and, no brainer, anything “wild”. I liked the fact that you were asked to submit at solstice, I am a pagan so this was good for me. I procrastinate so deadlines are also good for me. The best thing was that I loved the prompt/quote. Travelling had long been my “thing” when I was younger, and travelling inward also, now that I am older. I felt claimed by this and knew I would have something to say/write about this.

I always at least start, if not write all, of my first drafts in pen on paper. This way, I can write anywhere and capture those moments the awe (inspiration) strikes and I don’t have to have my computer nearby. Writing on trains, waiting in airports, snatched moments or sitting outside.

I also love the way that I can write really fast – on the edge of the subconscious maybe – and interesting stuff can come out this way.

I write quickly, trying not to overthink things too much, to see what happens. I use an ink pen whenever possible as this means that I can write really quickly. I love the feel of an ink pen on the paper as well.

I don’t edit too much as I am drafting, unless it is very obvious to me or just isn’t working. As this subject “spoke” to me, the words came relatively easily. Editing the word count though, was a whole other issue. When I had typed out my draft, I had nearly 1,500 words. And I liked them all. I determined to use this as an exercise in fearless editing. I know I can use many words to wax lyrical, being precise is not usually my art.

It felt, at times, like slash and burn farming, but I tweaked and pulled at the piece.

Tried to strike that knife-edge balance between brutal and careful. Second draft made it to 1,236. I took a deep breath and went back in. Third time I got to under the 1,000 mark. I took a second deep breath and sent the piece off.

Summer Solstice Writing Competition Winner: Alice Penfold

Alice Penfold. Winner of the Wild Words Summer Solstice Writing Competition 2016

Alice Penfold. Winner of the Wild Words Summer Solstice Writing Competition 2016

I am delighted to have won the summer Wild Words writing competition!

I have always loved creative writing, particularly thinking about how to write different perspectives and how the same characters or settings can be seen in such different ways, depending on the subjectivity of the viewer. In addition, the power that words have to be interpreted in multiple ways has always been at the heart of my writing.

It was whilst reflecting on the impact of homonyms in writing that I was inspired to write ‘Leaves’, a piece drawing on its meaning as both a noun and a verb. I wanted to write an abstract piece reflecting the challenges that change and leaving things behind can bring.

To create my story, I combined my love of word play with my passion for writing in the natural environment.

For me, nature and in particular, a keen and active observation of the world around us – its colours, its details, its changes – can provide the basis of such a range of writing.

Robert Frost’s poem, ‘The Road Not Taken’, has always been a favourite of mine, and I wanted to draw out its ambiguity as both a poem of hope and uncertainty in my writing today.

I took the poem and some blank paper to my local park, to observe the falling leaves in detail and consider the metaphorical implications that I could draw on and describe.

I am feeling even more re-inspired to create further stories – and to frequent more parks with nothing but an inspirational poem and blank sheet.

Competition Runners-Up Story

Climbing Kinder

by Robyn Curtis
 

I head for the gravestone edge

grit-faced, looming

over broad-shouldered hills that hug

the sling of the valley below.

 

past a carcass washed-boned,

 a whorl of sheep's wool on wire

past incipient bilberry, pink and raw

 

I strike out for base-rock; I want to lie

on autumn-warm slabs

before the purple heather darkens

with slick rivulets

of peat-brown age

and crows pick over my white bones;

 

a corkscrew thorn drills the earth

a handhold, a crook for a pilgrim

climbing into the sky.

 

And when at last I lie, pressed

against sun-kindled granite,

I will know

I have been something after all -

one who can keep the darkness warm

and still ride the lark's phrases.

A Writer's Process: Robyn Curtis

My poem Climbing Kimber has been through various incarnations, one a bit too flabby, one too pretty, too gritty ... yet there it has stayed, the sky, the moor, the grey stone and rich heather and peat.

Kinder Plateau is my second home - after the downs of the Isle of Wight - and there it was the sea that fed the steel clouds and wind. But now living further north, limestone gives way to granite and some days only the tops and edges above the Edale valley will do.

I often start poems with an image from nature, usually on a walk which becomes a slow process if it's one of those days when I am stopping to scribble in my notebook every ten steps! I carry a small notebook that slips into a pocket and a soft pencil. I have become addicted to 3B pencils and their feel on the paper so nothing else feels right, though in extremis anything that makes a mark will do.

Images sometimes spark a personal memory - more often provoke a feeling which can take shape in the image. Although the sense in my poems is often of sadness, it is rarely exclusively sad because making an image, especially from nature, both gives the sadness expression and surprises us with a deeper joy, from both being in nature and in the act of creating itself.

I didn't write for many years;  like many of us, not listening to myself in the throes of family and career.

But I careered out of all that a number of years ago and have been coming to terms with health limitations alongside a deep need for self-realisation - said so often but it's so true, that if you are not doing what you feel you are meant to do, or being who you are meant to be, how can you find contentment?

So here I am in a new way of life: kids left home, obliging husband who gives me all the space I need and carries my lunch and camera up the hills; I have the luxury of a room to myself at the moment but that could change soon with enforced downsizing. I feel I could do without almost anything except a big table covered with art stuff that I just play with and my own room, however tiny, for just being alone in.

I don't actually write much in this room. I type things, amend things, play around, lie on the couch, talk to the cats - and I find all that 'nothing' time is vital for any creative process to grind into action somewhere out of awareness.

Then the writing, first draft, amendments, better wording, next level of ideas - all tend to pop into my head on the train, in a cafe, in the bath - I am looking for a waterproof writing set up for making notes in the shower!

So this poem comes after some considerable heartache dealing with the fallout from loss and trauma,

and earlier drafts featured heavily the gravestone/gritstone and running dark streams ... but as it evolved the moorland birds and sky and the great freedom and hope they bring would not be left out and I was so happy to find that I did actually feel I could live in both places -the darkness we must all navigate at times as well as the airy and magical spaces of the world and when you are up high you can really be with the birds there.

Thanks to Wild Words for giving me the opportunity to share with like minded writers - I am quite a beginner tip-toeing into the world. Good luck to everyone. 

Winter Solstice Writing Competition 2015: Runner Up

Black, Red and Yellow

by Karen Lethlean

When she was eight, her father had taken her ‘walkabout’ in the outback. He had taken her by herself, and she remembered the glory of being completely his, and him being completely hers. She did not remember why he had chosen her, and why he had left her sister behind.

They had taken a late night plane. Before too long they were landing in Alice Springs at dawn: she did remember him carrying her off the plane and camera, which he carried as close to his chest as he carried her: he put her down on the tarmac to take a photo of the rising sun He turned to her and said – what had he said?

For you to remember.

As they drove a wide, new highway away from the airport toward town buildings appeared to nestle in a folded hillside, rather than stuck out like in the city.

She had never been anywhere so hot, confusing when she’d left inner Sydney in chilled rain.   Neither could she recall being awake so early in the morning.

Of that trip, all she remembered were scattered moments of joy: meeting cousins who played and laughed in just the same way as her friends at school, yet who sounded truer, more real, and who looked beautiful, despite being brown.

At school class mates had said, ‘you will be the fast runner, you can’t be pretty or smart because you are an aboriginal.’ With an emphasis that made it sound like ab-bow-riginal. As if Jenny might have to bend like a bow for shooting arrows, or be tied in knots like a hair-bow.

In ‘Alice’, and the even smaller towns, settlements, whatever they were called, long legged, straight white teethed girls could easily have strutted down modelling cat-walks. You could play sport just for fun, chase a ball, and run the dry creek beds without straining to be better than everyone else.

True, there were frightening locals who gathered in shouting groups on some street corners. Who didn’t seem to pay attention to rubbish her teachers would have said, ‘needed to be picked up.’ Those people seemed to use words like sharp objects, or were flopping their thin limb around in unfriendly gestures. But even in Sydney there were people like that she knew to avoid.

Everyone seemed to be called ‘Uncle or Aunty’ even if they weren’t. Some were trouble, some could do tricks like making their thumbs disappear, or coins come out of your ears. And all their faces were varying shades of brown – from tan to blue-black-brown. No matter what skin, Jenny stood among them not apart from them.

If she was not playing with cousins Jenny was sitting in her father’s lap as he relaxed on a cool, wide verandas, and gazed out at a shimmering place that was just called “country”.

Safe within this family she would listen to a mix of language that to her ear resembled a jumble of sounds rather than words. Jenny had no idea her father could speak another language.

Sometimes she would doze off and would wake to find everything cloaked in gentle darkness. But no matter, the heavens were alive with Guy Fawkes Night sparklers, ‘they’re what the stars look like away from the city,’ her father had assured.

Out here her father seemed to have gained a straighter, stronger back, more powerful arms, and insights to all sorts of secrets Jenny would never have guessed. Not least of all was how he seemed to know the way across dusty tracks.

A few of the places where they had visited ‘the mob’ were dry and dusty, some houses burnt, graffiti covered, with scabby looking dogs who wandered about aimlessly. Except for fewer dogs, she’d seen worst in Sydney.

Jenny was surprized to find some fridges in the store behind strong wire frames and chained closed with padlocks. Even once, in the town, a policeman near the counter had scoured at her like her father was doing something wrong by getting out a cold drink.

It’s his job to make sure I aren’t buying booze to take into dry settlements, or give to under aged kids. Had been her father’s explanation which, to Jenny, explained nothing.

One night, they were coming home late, and she was talking to him, she remembered, but he was quiet, listened and laughed at whatever silliness she was saying. He looked out of the window into the dark night, and then cried out suddenly. Finally he said, ‘do you like it here?’

Her father then swerved and stopped, leaped out of the car, his hand outstretched to her, and she knew that hand would always be there as an offering. ‘Come darling,’ he said. She slid into the dark, the back of her knees sliding across the sweaty, dusty seat.

He stamped about, bear-footed. His bird like steps lifted dust from the ground. Jenny had never seen her father dance.

See if you can catch the land, keep it inside, and take it up into your heart through your feet, my baby.

While Jenny thought she’d never heard of anything quite so silly. How could you make something go to your heart sucked up from the souls of your feet? Here, she loved him, for those words.

If she’d been able to put it into an envelope and post it to her adult self, anytime in the future when she opened it red dust, dark skies and burning fires would have fallen out. 

The Winter Solstice 2015 Competition Winning Story

Magic Happens in the Dark* 

By Kriss Nichol

(*From The Tree of Knowledge by Eva Figes)

Evening is the time I like best, when the night’s darkness still feels clean. My flat overlooks broken-down shacks that operate as shops during the day. By night the shacks are illuminated with kerosene lamps and smells of cooking fraternize with those of dust and baked earth, licking my nostrils, tantalizingly evocative of closeness and companionship. I scald with longing.

            Some neighbours tether a goat or boar outside before they ceremoniously behead them, the meat sold to supplement family incomes. Each day I see animal carcasses dropped into a cauldron of boiling water then scraped to remove the hair. After, they’re displayed on their backs, legs open to reveal the testicles—only the male of a species is ever killed.

I ask Santosh why.

            ‘Females are sacred, Madam, they are givers of life.’

I almost laugh, but cultural sensitivity prevents me. I know how women are treated here.

            We are joined by Vishnu Kharki, who glares at us from the doorway and Santosh scuttles away. Kharki stands, arms folded, sour-faced, trying to project the impression that I’m his secretary; in reality I’m here to train him. I’ve seen him before, looking at me, his eyes brooding darkness. Each time I catch him he quickly looks away, his documents suddenly needing intense scrutiny.

            ‘The Minister requires a report on the data from the last field trip. I’m going out; have it on his desk in the morning.’ His smile is malignant.

             ‘The data you wouldn’t let me see? The report that you wanted to write?’

            He laughs. ‘You misunderstood me. It is imperative it is on his desk in the morning.’

            ‘Then you have a lot of work to do,’ I say to his retreating back, the buttoned brown jacket straining over his spare tyre, his trousers slightly too short, wafting with each step. He ignores me. I grab my bag and pashmina, leaving the building with fists balled tight.

After a couple of blocks I’m outside the Shangri-la Hotel and beauty parlour. Since I arrived in Kathmandu my hair has grown shaggy. It sticks to my brow in curls and wisps rise in the humidity. My leg, bikini line and armpit hair have also flourished in this new environment. Suddenly I feel indistinct, an undefined, amorphous blob in the shalwar kameeze I wear for ‘decency’. A sandwich board at the entrance boasts special offers for beauty treatments and, deciding on some pampering to re-connect with my feminine side, I go in.

            I’m taken to a screened-off area at the back of the salon where two other women, wives of American Embassy staff, are lying on beds having foot and leg massages. Pop music is playing as I strip down to bra and pants, acutely aware that my functional underwear is showing signs of repeated hand washing and compares unfavourably with the Americans’ sexy, satin Wonderbras and skimpy briefs. The women look away, treating me with all the courtesy of a slammed car door, as I’m led past and positioned on a table next to them. Then the waxing begins.

            After the first strip is wrenched, thousands of tiny red pinpricks appear on the surface of my skin. They sting and itch, and with each application the wax gets hotter and hotter. Afraid my legs will suffer first degree burns before they’re finished, I empathize with the poor beheaded animals in buckets of boiling water.

            When it’s finally over I’m massaged and oiled, small fingers rubbing and soothing my most intimate creases. I grow hot, chest tight, and have difficulty controlling breathing. Oh, God, no. On this table, with those movements, my body is responding, speaking to me in ways I’ve forced myself to forget. I check furtively, my cheeks burning; no-one seems to have noticed. Eventually I relax, surrendering to the wash of eroticism.

            As I’m ushered to a chair positioned beside a window overlooking the exquisite gardens at the rear of the hotel I feel myself floating, my body just a whisper in the draft from overhead fans. Banana trees stand side by side with persimmon, apple and pineapple. Water fountains are being cleared of leaves and the swishing sounds of twig brushes, called besoms back home, hang gauzily in the afternoon sun. Birds and fruit bats wheel in the sky, flirting with the air in their aerial acrobats, rifling fruit on branches. Beguiled by the scene I am only just aware of being asked what hairstyle I want. I reply in Nepali, then drift off, back to the beauty of the garden.

The following morning I arrive early, slipping the scarf from my head as I sit down.

‘So sorry, Madam; has family member died?’

Santosh has brought some lemon tea and he and the other peons are bunched in the doorway, staring at my head.

            ‘No. Why?’

            ‘Madam... your hair.’

            Static between us holds like a web, swaying precariously.

            I start to laugh. Santosh’s worried face only makes me worse. At the Shangri-la I used the Nepali word for ‘shaved’ instead of ‘short’ and the hairdresser used a number two razor. Giggles bubble up from my belly and out my mouth, popping in the sterile, male atmosphere where a shaved head is a sign of respect for the dead.

            At that moment Kharki pushes through to discover the source of hilarity. The sight of his face, simultaneously a picture of horror, disbelief and disgust, sends me off into more gales of laughter. The men in the doorway look at each other with consternation and I border on hysterical.

This is my epiphany, the decisive moment when perspective is finally restored. I feel lighter, more alive; a lot more than my hair has been shed. With new-found awareness I appreciate the privilege of living at the top of the world, in a country of beauty and contradictions, having the experience of a lifetime.

Magic happens in the dark, when you’re not looking.

Being A Better Boss

The editor and writer.jpg

When I write, I divide my inner world in two. There’s the writer, and there’s the editor. Often they have an employee-boss working relationship.


The writer writes from passion, from the whole body experience of the material, from the instinctual.
 
The editor ensures the writer’s health during the immersive process, keeping me on track, despite the many doubts and uncertainties. It keeps me safe when I’m lost from the ‘real world’. The editor is the inner voice that reminds me to get up and go to my desk. It encourages me when my enthusiasm flags. It keeps perspective on what’s being written, so that an authoritative and balanced opinion can be offered. It uses the carrot or stick approach, depending on what is needed to get the job done.
 
Mostly, these days, the editor knows to keep quiet as I actually write. As in any workplace, conversations happen in the kitchen as I (we) wait for the kettle to boil.

Editor: So how did that go for you this morning?
Writer: Not bad. Bit lacking in motivation. But it’s moving forward.
 
 Or,
 
Editor: I see you’re feeling tired. How are we going to manage that? Perhaps a twenty-minute nap now, would, overall, result in a more productive day?
Writer: That’s not a bad idea.
 
Or,
 
Editor:  You’re nervous, because you don’t know where to go with this scene, but how about, instead of a fifth cup of tea, we just get something down, and then make some hot chocolate as a reward?
Writer: Well, if we must. 


The reality of being a writer is that there is often no one else to read and comment on our work.
 

When you don’t have an external boss, then creating a kindly internal boss, has benefits.

 
This is how it came about...As a university tutor of creative writing, I have offered feedback on thousands of stories, poems and biographical pieces. What I’ve found is that, quite often, the receiver of the feedback had already spotted the strengths and weaknesses in their work. But they’d felt they needed an expert to confirm it.
 

The bottom line is that we don’t trust ourselves.


We don’t trust that we know how to tell stories innately and instinctually.
 
I decided, with my own writing, to have confidence that I knew. I saw for myself that when I trusted my whole body sense, my gut instinct if you like (as opposed to a dis-embodied, thinking-mind opinion) that I too, almost always knew what was needed to make it into the best piece it could be.  It was, what I now call the internal editor, who piped up in spirited fashion with those spot-on answers.
 
Generally, I consider my workplace team to be a successful one. We get things done. But this January, the writer has been dragging her heels, and threatening to strike. In response, the editor has come in harshly, in order to keep me at my desk.  They have been reactive towards each other, and that’s resulted in the writing feeling, at best, like trudging through thick mud.
 
The disharmony has not been pleasant. I’ve also been aware that the writer’s behaviour probably represents an organic need that is not being heard. I believe we ignore those messages at our peril. So, with workplace relations turning increasingly sour, I decided, yesterday, to be a better boss to myself. I called the two of them in a room (metaphorically speaking), and we talked.
 

I asked the writer- what do you need that you aren’t getting?


The writer spoke. At my insistence, the editor listened.  She said,
 
The editor is judging, and editing with every sentence. My words are juddering and stilted. It’s cutting off the flow. I want to be told that I’m doing a good job, that I’m doing well, that I’m a good writer. And I want the editor to stay quiet, until the first draft is done. Then, we can look together at how it’s working.
 
The editor agreed to pull back a little, and to be more validating, in return for an immediate return to work. Now, I’m pleased to say, we’re back on track.
 
 

The Monthly Writing Prompt


Write a dialogue between two characters. As I’ve done, you can use your own creative process to inspire this. You might be surprised what comes out!
 
You can also write a fictional story, about a parent/child, or employer/employee interaction.  
 
 

 

A Writer's Process: Adrastos Omissi

Adrastos Omissi was short-listed in The Wild Words Biannual Writing Competition

Adrastos Omissi was short-listed in The Wild Words Biannual Writing Competition

I find that the stories I write that work best are often largely without process or without a conscious goal. They come from long reflection on an idea or a feeling. You think about it, you play with it, you chop it up, and then suddenly, often when you’re doing something else, a story seems to just happen inside your head and you write it down as quickly as you’re able. This was one of those.

 In the Valley of the Shadow was one of many I wrote in the months after the death of my grandfather, and like a lot of these it deals with the theme of death. Confrontation with death is so impossible for the human mind to grasp that we react with panic, fear, and denial. I tried to capture these feelings in my story whose main character, through the concept of his eternal life, finds himself utterly trapped: too scared to die, but too dead to live. The story tries to capture a moment within this endless life he has consigned himself to when real feeling – in this case, of pain and loss – finds him and he can only react the way that he has taught himself to, by retreating from the truth that life and death are – and have to be – sides of the same coin.

For me, a story often revolves around a key phrase or theme on which you try to hang the rest. Within this story, there were two points of focus that I tried to draw. The first of these is the opening word, ‘uncoffined,’ which I hope will draw the reader with its strangeness. I wanted it to evoke the horrible impropriety of a dead body – that feeling that it just shouldn’t be the way it is.

The other is the smell of pine, a smell of childhood for the character. We all tend to ignore smells most of the time, but at certain moments it can be a very powerful sensation and it connects us to our memories in a way that no other sense can. We are all, I think, haunted by smells from childhood that fill us with a bittersweet sense of a lost past, and I wanted that idea of a smell that anchors the character to a life he has lost to be the driving motif of the piece.