One of the things that amazed us about ‘For Hugo’ was how it contained so many rich believable characters and relationships for such a short piece. What’s your process when it comes to crafting characters, both major and minor?
Thank you for the compliment! Characters are the heart and soul of every story, that’s why it’s crucial for me to get them right. I might have an unusual process when it comes to creating characters. When I start writing, I kind of become my characters. It’s similar to acting, which I have always been interested in. I take on a role and go with it. I imagine what this character would say and do in a certain situation. I round it all off by giving everyone something specific to differentiate them from the others. To me, it’s important that they have interesting personalities and traits, be it humor, a vivid detail, the way they speak and see the world, or vulnerability and flaws which make them human and relatable. I love writing dialogue since characters especially come alive while interacting with each other. It’s a fantastic opportunity to show what they’re made of, and I’m glad the result was convincing.
Are you more of a meticulous plotter, or a seat-of-your-pants style writer?
For short fiction I’m more of a pantser, as in I start writing and see where the sories and characters take me. I have a vague idea of what I want to convey, but that’s about it. I found that for flash fiction I write my best work when I don’t censor myself and just let the words flow.
As far as longer fiction is concerned, I need some kind of road map to guide me, otherwise I might get lost and write myself into a corner, which means more work during the revising phase, which I don’t enjoy as much as the drafting or writing part. So I’d say I fall into the famous plantser category.
Your narrator, Xander, is autistic, something you convey very authentically through his way of thinking. Do you have any personal experience with autistic teenagers and did you conduct any further research prior to writing this story?
Thank you. My younger cousin in Greece has Asperger’s. He’s a sweet and very smart kid. I didn’t have any direct experience with autism before I met him for the first time eight years ago. He and his family were facing challenges due to misunderstandings in communication or misreading of emotions as well as prejudice that affected their everyday life.
He inspired me to try my hand at a story with a neurodiverse protagonist. I knew it wouldn’t be easy to believably tackle a sensitive topic I didn’t have a lot of personal experience with. The more important it was to me to do my research, which involved reading many articles and personal accounts on the internet, and to post the draft to my online writing group for feedback.
Your prose has a wonderful sense of humour. Is funny writing something that comes naturally for you, or do you have to work at it?
I do consider myself a funny person, and I try to include humor in all of my stories if it fits the tone of course, so yes, I believe it comes naturally, especially in dialogue. Comic relief in fiction is something I enjoy to read. I suspect adding humor reflects my outlook on life in general, that despite all the negativity in this world, there’s also plenty of hope and joy.
What other writers out there inspire and amaze you?
Tough question, since there’s so much talent out there. I’m a big Stephen King and Joe Hill fan. Their characters are so well-rounded and Hill always comes up with such creative and imaginative plots. Other writers’ work I admire are Neal Shusterman, Brigid Kemmerer, Pierce Brown, Jandy Nelson, Lois Lowry and Laura Ruby, just to name a few.
I loved Xander’s obsession with reptiles and the animal imagery you wove through his narration. What was your approach to the importance of pets in this piece?
Animals are adorable, and the way characters, or people in general for that matter, treat their pets reveals a lot about their personalities. I wanted to explore different sides of Xander. We can see that he cares deeply for Hugo, we sense his affection for his pet lizard, but at the same time he struggles a little when it comes to social interaction with others. It was a nice contrast, showing that there are more sides to autism, that it’s not just black and white, but multifaceted and complex. Moreover, pets don’t discriminate. They accept you for who you are and love you unconditionally. At the end, Hugo brings Xander and his stepdad together, and he even succeeds in transforming an embittered Mr. Sakoulis.
Being a polygot, how many different languages do you speak and how many languages do you use for creative writing?
English is my third language. I was born to Greek parents in Germany, so I speak Greek, German and a little bit of Spanish and French. I used to write in German, especially poems as a teenager, and I have an unfinished fantasy novel I’d love to come back to at some point, but in my opinion English is a more flexible, more imaginative language, that’s why I chose to stick with it for my stories, even though writing in a foreign language definitely has its challenges.
What’s next for you in the writing world?
I’m currently editing my first YA novel. I want to get it ready for beta readers soon, then I can start the exciting and daunting querying process this year. In the meantime, I love distracting myself with flash and short fiction in various genres.
Tonia is currently editing her first novel. You can follow her on Twitter, Facebook and Medium at @toniawrites.
In The Vagabond Stage by Kell Cowley, the reader is introduced to Timony, the new apprentice in Makaydees' travelling theatre. In the first of his picaresque adventures, Timony finds himself on a perilous journey through the Elizabethan underworld, at the same time as he is getting to grips with his role playing the leading ladies in the troupe's tragedies. In The Player's Craft, we catch up with Timony two years down the road. Now that he is confident in his acting ability and has embraced his female roles, we find that a conflict is brewing between the young star and his playwright master over the future aspirations of their company.
Scene Two (excerpt)
“Your hair looks like a bird’s nest.”
I ran a hand through my scraggly curls and it took a moment to pull my fingers loose again. When they came free they brought with them a cluster of twigs and dirt. Makaydees took a comb from his pocket and stroked its bristles like he were testing the sharpness of a blade. I shuffled over to the dreaded seat and he set about raking the comb through my long locks, ripping apart the tangles and wrenching at my scalp.
“If I had a wig, I wouldn’t have to go through this torture every time,” I muttered, breaking the silence between us. “Real actors wear wigs, you know.”
“And what is a real actor, pray?”
“An actor who struts the boards of playhouses and palaces instead of roadsides. An actor who wears dresses with farthingales and furbelows, ruffs and puff sleeves. An actor who has fame, riches and roles that’ll be known through the ages.”
Tears stung my eyes as I took another stroke of the comb.
“Frills, frippery and empty poetry,” Makaydees retorted. ““Players such as that are nothing more than dolls for the rich to set dancing. Their only real talent is for sycophancy, making names for themselves through flattery. For whatever station it might earn them, their plays are worthless. There’s no life blood in licensed theatre these days. It all must be tamed to suit the sensibilities of the Puritans and Privy Council.”
“You don’t know that!” I protested. “Tis over a decade gone since you left London. And the word on the road has it that the city is now home to the best actors and playwrights England has ever seen.” I twisted my neck to meet his stare. “Is that why you won’t go back there, Mak? Because you don’t want to face the competition?”
I held the tears in my eyes a tantalising moment longer. I let them sparkle prettily before I blinked my lids and felt them slide down my cheeks.
“Don’t take on so.” He clasped my chin and turned me away. “I’ll admit that our repertoire has become tired. What I need is time and peace to write a new play. And not just any play. The time has come for me to write my masterpiece before my mind dulls with age and my back can no longer hunch over parchment.”
“I want to write it with you,” I dared to demand.
“I write my plays for you. Be grateful my quill favours the female parts. No city playhouse would allow its boy players to take the leading roles like I do.”
“But my girls never get to speak what they truly wish to say…and why can’t they ever live in the end?”
“Because nobody lives in the end. I won’t sell our audiences any lies. Though I like to think your girls lend a little grace to our collective certain doom.”
Makaydees ceased his brushing and stared pensively at his comb, now twined with the threads of my abused curls. He tapped my shoulder and nodded to the ladder in the wagon’s corner leading up to a poky crawl space where I made my bed.
“Go,” he ordered. “Get your beauty sleep.”
The Players Craft will be released by Odd Voice Out later in 2020. The Vagabond Stage is available now in Kindle and Paperback form through our books page.
The Syrian refugee crisis is a woefully underrepresented event, both in the media and in fiction. For ‘Piano Wire’, what research and inspiration did you undertake to create this very moving tale?
The inspiration for Piano Wire came from a moment which profoundly affected me emotionally. I was running an experiment in my lab whilst watching the BBC News reports of the battle of Aleppo in summer 2016. The reports from Syrian civilians who were caught in the middle of one of the bloodiest battles of recent history (which claimed over 30,000 lives) were devastating. The Professor I was working with came into the lab as I was watching a video call by a young girl trapped in Aleppo. It took me a few moments to compose myself before I could talk to him.
From then on, I wanted the voices of the Syrian people to be heard in the west, but I was in no position to tell their story. Six months later, I met two Syrian students at the University of Surrey, who were both from Aleppo and who had come to the UK to study. It was only then, after listening to their own stories and memories of home, that I started to write.
How long have you been writing, and is ‘Piano Wire’ part of your typical genre set?
I’ve been writing for seven years now and I mainly write realistic fiction (although my first novel is an environmental fantasy adventure novel set on a coral reef and I’ve just finished a story about a talking dog). Most of my stories focus on real-world events and socio-economic injustices. The novel I’m currently working on is about dealing with loss, addiction, social immobility and class issues in the UK, and I often write stories which place my characters in vulnerable situations. These situations emphasise the human capacity to endure, find beauty in and even flourish in difficult circumstances.
The first novel I wrote was essentially a self-help novel, with an environmental aspect to it and I believe mental health and climate change will be two of the most defining challenges my generation will face. I have confidence in the power of literature to educate readers about such issues, on personal and universal scales, but also as a medium for highlighting the beauty which is real and present within any situation, no matter how hopeless it may seem.
The theme of musicians and the power of music is strong within this story. Can you tell us how that thematic choice came about?
Music is a very big part of my life and all my stories have music and the arts as themes within them. But there are many reasons I use music within my stories.
Firstly, for Piano Wire, I wanted people to see the Syrian war not just as a news story but as something which affected people who are just like them in appalling ways. What better way to plant the seeds of empathy and understanding in a story than a mutual appreciation of music between our characters and the reader?
Secondly, I find you can learn a lot about any character by discovering what sort of music or art they might like, if any. When I start fleshing out a character, before writing, I always ask questions like, What would this person have for breakfast? What would they listen to on a Sunday morning, or on a day when someone close to them dies, or on the day a world war was over? What painting would they want to steal from the National Gallery, if they could? Would they like the work of a particular artist, musician or poet if someone introduced them to it? These sorts of questions help me to know a character before I write a word of their story. I feel music reflects the soul in a way that actions sometimes do not. I also find that showing what sort of music/art a person likes or dislikes is a very good way of teaching the reader something about a character in a ‘show the reader don’t tell them’ way.
Thirdly, if we imagine a tune played by the right hand of a pianist, then whatever the left hand does changes the way we experience the tune of the right hand. Using this left-hand note as a backdrop, we can vary the feeling behind the right-hand tune from peace to tension, from joy to sadness. Now we can apply this notion to our writing. If we have a scene which ends with a character who is called to action, and we have our character hear the song ‘Here Comes the Sun’ by The Beatles on the radio, this will leave the reader with a totally different feeling to the same scene ending, than if they heard ‘Hello darkness my old friend’ from The Sound of Silence by Simon and Garfunkel. Thus, hearing and playing music is a useful way of providing motion, light and darkness in a story, and adding texture to it to make it feel multi-dimensional.
What does a typical writing session look like for you?
I go through periods of writing with the Graham Greene method, which is to try to write 500 words a day. But often, because I’m busy with planetary physics or music, I end up having mammoth writing sessions where I turn out ~8000 words in two to three days, whenever I have free time to do so. My favourite place to write is the Radcliffe Camera in Oxford, but I find myself writing pretty much anywhere there is silence. I’m one of these people who cannot write to music or anything else which may distract me, so I must be somewhere quiet. I also always write digitally, using my laptop, as I have all my ideas stored in a huge file called my ‘Mind Bible’ and prefer to be able to access my ideas using a search bar instead of trawling through hundreds of pieces of paper that I’ve spilled tea on. Oh, that’s another thing. Unless I’m in the Radcliffe Camera (no drinks allowed!), I almost always write with tea beside me.
What inspired your decision to also include the perspective of an English teen in your story?
This goes back to the idea of bridging the gap between the comfortable west (i.e. the boy in the UK) and the Syrian war. The Syrian People are not just numbers on a news story. They are real people with lives and loves just like the London teen watching the news. This is why I added the keyring to the story and is also why Rima ends up in London and the father of the house she arrives at is the surgeon of the English teen. These provide tangible connections between the characters. Liam’s almost banal experiences provide a Ying to Rima’s Yang within the story, and his chapter slows the pace before the ending, hopefully increasing the power of the last few paragraphs.
‘Piano Wire’ contains some beautifully penned but also quite stark and shocking images of real life war and conflict, which we don’t often see in YA fiction. Do you think it’s important that we should see more of this in future?
As I mentioned earlier, it is important to portray the realities of situations, so we do not underreact to atrocities, or underappreciate good situations. Most of the young adults I know are very engaged in world events and have a strong sense of justice, which is sometimes diluted as our adult lives progress. Our world is theirs to inherit and I feel it is important for them to keep an eye on what’s happening in the ever-changing world. The news should report facts. But it is the job of writers and artists to engage young people in a longer lasting, emotional way, through fiction or other artistic devices.
You have a Ted Talk on the importance of classical music. How do you bridge the gap between different artistic formats like music, public speaking and writing to get your message across?
My messages are always consistent, no matter the form of communication. This is because day-to-day, I actively try to embody the things I believe in. This is part of who I am and is the root of all my creative endeavours.
More practically, I try to use what I learn from different forms of expression, whether I’m doing public speaking, performing or writing, to help me improve in the others. When you consider the process of writing, it is author to page, page to reader. With music it is musician to instrument, instrument to listener. So, there is a barrier, or a medium which must be considered as part of the process. Both singing and public speaking and more direct processes, with a single step from person to listener. Each situation requires a different approach. For instance, I focus more on aesthetics when writing or playing instruments than I do when singing or public speaking. So that the spell isn’t broken.
What’s next for you in the writing world?
I write because I would find it impossible not to write, and will continue writing the stories I believe in, no matter what happens, whenever I get the time to. I write short stories at a rate of knots and hope to be featured in other competition anthologies over the coming months.
However, my next real goal is to find an agent who will help me to find a publisher for the novel I’m currently writing, which is called Further Down the Vine. It tells the stories of two working-class families in Southampton, UK, and its major themes are addiction, social immobility and dealing with loss. I think this would be the first novel ever set primarily in Southampton. As is the case with Piano Wire, I would like to give a voice to working-class Sotonians, a group of people who have so far not been represented in literature.
For more on Rowan, check him out at: rowanjamescurtis.com
Today was to be Odd Voice Out's first major presentation of 2020. We were all set to showcase our current titles and promote our newly published anthology collection at the Northern YA Literature Festival in Preston, together with pitching our small press to an audience of teachers and librarians. The event was officially postponed two weeks ago with organizers fearing that if they didn't cancel themselves, they'd soon be forced to. At the time, we still didn't quite believe the Covid-19 outbreak would cause so much societal shutdown in such a brief time. Yet here we are. Like everyone else in the world, we're struggling to adjust to the new normal and trying to adapt what we do to the limits imposed by the pandemic.
Sadly we can no longer promote our wonderful 'Odd Voices' collection at the literary festivals, readings and gatherings that we'd been busily scheduling. But we're not going to let that stop us getting these stories out into the world. While it is going to take us all a hot minute to refocus our creative energies, we are already discovering many exciting ways that writers can continue to make their voices heard, even while locked indoors. After all, locking ourselves away in self-isolation is something we writers all do without our governments telling us to. And right now readers have never been more needful of stories. I have witnessed as much panic loaning from libraries, members exiting with heavy book bags, as I've seen from the supermarket hoarders. We'll do our best with the tools we have to left to get our anthology out to a readership who will value it. We'll also spend our quarantines deep in our writing caves, using our craft to make sense of what the world's become.
We never planned it this way, but there couldn't have been a more fitting year for us to be running our 'Teens of Tomorrow' contest for our next YA anthology. As a wise teenager said to me only yesterday, we are now living through a moment in history and that has a way of waking you up. In my own cli-fi novel 'Shrinking Sinking Land' and its upcoming sequel 'Every Day Above Ground' I had my main characters, along with the rest of the world, go through a mass-sheltering period called the 'Global Mandatory Hibernation'. It's been startling to see a world-wide lockdown so similar to the one in my science fiction story, written just four years earlier. With our current future so uncertain, now more than ever we need writers to try and imagine what tomorrow will hold - for all of us, but especially the young.
Please visit our contest page for details of where you can send your future-focused short stories. The deadline of August 31st is still a long way off, as it the end of the current crisis. We eagerly await your visions and voices.
It's Release Day eve! Time to meet the rest of our Odd Voices finalists. Stay tuned for more from our anthology authors as over the next few months we'll be releasing exclusive interviews giving them each the chance to discuss their own personal stories and writing processes. Until then, here they are in their own words!
'Breathe' author Eddie House (WINNING entry)
Eddie House is a 23 year old genderqueer manic pixie daydream. They enjoy writing, roller skating, and complaining about writing. You can find more of their work at http://eddielhouse.tumblr.com, or in Anatolios Magazine.
'Love Makes Everyone (Into Poets)' author Oceania Chee (Finalist)
Oceania Chee is worried about how she, a high school student with zero authorial credentials (as of right now, that is), looks next to the other authors in this anthology. Born in Japan to Malaysian parents, Oceania currently lives in Shanghai. When she isn’t writing, she can be found crying at Chinese films from the 90s, reading Manufacturing Consent for the nth time, or hiking to escape metropolitan life.
'Piano Wire' author Rowan James Curtis (Finalist)
Rowan James Curtis spends his nine-to-five studying the Moon as a planetary physicist at Trinity College, University of Oxford. Aside from physics, he is a poet, an author of realistic fiction short stories and novels, a multi-instrumentalist and a big band vocalist. He engages in public speaking for causes he cares about, and he delivered a TEDx talk titled “Why we need Classical music” in March 2017. He is a devoted collector of first editions of good books, and he is currently half-way through writing his second novel – Further Down the Vine - based in Southampton, UK, about loss, addiction and social immobility. He is a tea lover, a dog lover and a lifelong supporter of Saints FC.
Check him out at: rowanjamescurtis.com
'Oblivisci' author A.Rose (Finalist)
A. Rose is a Creative Writing Graduate from UEA. Her work focuses on reframing disability, as well as the psychology of memories. She recently won first place in the Science me a Story 2019 competition, with her piece ‘The Nodes of Ranvier’. She is fascinated by myths and legends and loves writing about nature. She travels the world in a self-converted van with her fiancé and their Bedlington Whippet.
Check her out at: www.write-a-rose.com
'Shoplifting' author Frances Copeland (Finalist)
Frances Copeland was inspired to write by the works she studied during her MA in English Literature, and she is particularly interested in creating characters who have been previously missed, or marginalized. Frances lives in Glasgow and likes loud punk rock. Her family wear earplugs.
We are now just one month away from the release of our first anthology collection, showcasing the Top Ten entries of our 'Not So Normal Narrators' short story competition. So in these next two blog posts, we're letting our finalists introduce themselves in their own words. These talented writers have been a pleasure to work with and we can't wait to share their stories. But in the meantime, let's share a little about who they are and what they're about. Five more coming soon!
'For Hugo' author Tonia Markou (Second Place)
Tonia Markou is a Greek-German polyglot and globetrotter with an unhealthy obsession for stationery, mugs, pajamas and Chuck Taylors. Her short fiction has appeared or is forthcoming in 50-Word Stories, Dime Show Review, Youth Imagination, Corvid Queen and little somethings press. She’s currently editing her first novel. You can follow her on Twitter, Facebook and Medium at @toniawrites.
'The Silence Rock' author Mary Ball Howkins (Third Place)
Mary Ball Howkins uses her experiences as a wildlife volunteer in southern African countries to write stories that herald the daily successes of young Africans against difficult odds. These odds can be resistance to cultural change, snake bite, lions killing family livestock, drought, famine, and forced marriage, among others. She mostly focusses on rural village life while also setting stories in Cape Town and Nairobi.
Mary Ball Is an art historian who has come to writing late in her career and after first volunteering in Namibia for desert-adapted elephants, then in Zimbabwe and South Africa, and after visiting other regions of Africa. She finds delight in the inventive language constructions Africans create when they speak English. Their language structures, a combination of their own dialect and English learned in school and conversation, often verge on splendid metaphor, figures of speech in which she takes great pleasure and adapts in her stories. Her goal as a writer is linked to her life-long role as educator. She hopes to inform non-African readers of all ages about the challenges African youth face in their villages.
'Size of Rice' author Sabah Carrim (Finalist)
Sabah has authored two novels, namely Humeirah and Semi-Apes, both set in Mauritius where she was born.
Her short stories have been shortlisted and published in various competitions organised internationally by Commonwealth Writers, Goethe Institute South Africa, and recently by the Bristol Short Story Prize. Her nonfiction was also a semi-finalist in the Gabriele Rico Challenge for Creative Nonfiction, and is scheduled for publication in an upcoming issue of Reed Magazine.
Sabah was invited to be judge of the African Short Story Award, as well as to deliver the keynote speech on Cultural Stereotypes in African Literature at the African Writers Festival held in Nairobi in 2019.
Sabah is also a law lecturer, and holds a PhD in Genocide Studies and Prevention, with a focus on the atrocities of the Khmer Rouge era.
'Imago' author Jack Bumby (Finalist)
Jack is a writer living and working in Greater Manchester. He studied Creative Writing at Edge Hill University, during which time he won the LoveSexTravelMusik competition organised by author Rodge Glass, with his short story ‘Wouldn’t It Be Nice?’. Since leaving university, he has placed second in a scriptwriting competition at Tyldesley Little Theatre and self-published a collection of short stories with fellow writers, titled ‘The Torment of Thomas Farriner’.
Currently, he is an avid reviewer and spends a lot of time contributing to his blog, ‘My Creative Ramblings’. He is working on a novel and has recently begun a Master’s degree in Creative Writing.
'Anchor' author Colby Wren Fierek (Finalist)
Colby is a third-year student at the University of Worcester, currently attempting a degree in Creative Writing and Screenwriting. Living in rural Shropshire, they naturally like to write about unconventional family dynamics, inner-city class tensions, and contemporary queer teenagers being good and cool. Their favourite things include loud, terrible punk music and hideous pests like raccoons and possums.
When they’re not writing, they like to acquire pointless musical trivia-their favourite Fun Fact being that former lead singer for The Vapors, Dave Fenton, now works as a solicitor for the Musicians Union. Their other Key Skill is being able to recall the location of every Jiggy from Rare’s 1998 platforming classic, Banjo-Kazooie (but not Banjo-Tooie. Please don’t ask them to do that). They’re even attempting narrative design for their own exploration, story-type game, about trains in the early 80s. They promise it’s a lot more interesting than it sounds.
Their next big project is to start writing a historical novel centred around the lives of a group of working-class youths in 1970s London. You might’ve heard of one of them. Some kid called Todd Reynard. Who knows what happened to him?
Get your hands on a free download code of K.C. Finn's fabulous new horror story collection, Sinister Sentiments, only available through Amazon's Audible. To enter, simply engage with any of the options in the Rafflecopter widget below. Ten lucky winners will be announced on January 1st 2020!
For more info on the audiobook itself, see below.
Sinister Sentiments by K.C. Finn
Ten sinister tales to delight the darkest of minds.
Psychological, speculative, and truly thrilling, Sinister Sentiments brings together the best horror and thriller works of K.C. Finn, contributor to the best-selling horror collection Dark Light Four. This edition contains stories from the realms of steampunk, post-apocalyptic, historical, and contemporary horror, plus two exclusive sneak previews of full-length works which are out now.
Whilst there is no explicit content, this volume does contain gore and disturbing situations which may not be suitable for listeners under the age of 14. Parental discretion is advised.
What reviewers are saying:
"The stories are the perfect length to listen to in bite size sittings . There is a brilliant variety with each story being unique." - Selina Ryles
"From futuristic to freed slaves, to the twisting of fate around their feet - every character we meet faces their own, very different challenges within their very own world. I would be hard pressed to choose a particular favourite." - Alex Wight
"A great collection of short stories well written with good narration, Sinister Sentiments was well worth listening to. Five stars for overall, performance, and story." - Mark Mackey
Our First Creative Writing Contest: Closed for Business
On Saturday 31st August, we finished taking submissions on our inaugural short story competition, Not So Normal Narrators. We called upon all participating writers to join us in expanding the boundaries of what a YA hero can be, throwing out stock characters and finding truly unique viewpoints. The best entries will be compiled in an anthology of stories told through underrepresented and unusual teen voices.
Since closing this competition, we've retreated into our respective reading caves and we are now reviewing the many excellent submissions we have received, some from astounding writers who are still in their own teen years. We are honored to have so many weird and wonderful tales sent to our press and pleased to say that you've made our job of selecting finalists and prize winners very difficult indeed!
For those writers who are waiting on results and readers who simply want to know when our first anthology will be available, here's the dates when we'll be making our big announcements. Firstly on October 31st, following our Devil's Night showcase in our hometown of Chester, we will post our initial shortlist of highly commended entries. About a month later, in late November, we will go onto announce the Top 10 stories that will be published in our anthology collection along with our prize winners in first, second and third place. We will then move on to the editing stage, working with our finalists towards the publication of their stories this coming winter. They will also be invited to participate in our launch event for the anthology in early 2020, either in person or via Skype. With what we've read so far, we're really excited for this upcoming collaboration. So many new voices the world needs to hear!
Announcing Catherine Johnson!
More exciting news regarding our upcoming anthology...award winning YA author, Catherine Johnson, will be providing an introduction to our short story collection and providing her own insight into the world of YA fiction for the offbeat writer. As well as being admirers of her work as a novelist and screenwriter, by crazy coincidence, Catherine has also served as a mentor for both Kell Cowley and K.C. Finn. Catherine selected Kell as her apprentice for the Adventures in Fiction development scheme, while K.C. was chosen for the Curtis Brown Creative Programme with Catherine as her mentor. Through these schemes, Catherine has played a big part in shaping OvO publications - The Vagabond Stage and Fallow Heart - for the better. We're thrilled to have her own bold brilliant voice included in this project.
The Odd Voice Out team had to do battle against the July heat wave to make it to YALC 2019 in time. After our train was delayed at the outskirts of Euston station to rescue the passengers of another train that had broken down, we'd missed our time slot for setting up our debuting stall by a good four hours. This meant that we were having to lay out our table in the late shift of a baking hot Thursday evening to be ready for our first morning of YALC as exhibitors.
But we made it! OvO was set up and raring to go come Friday morning. And what a crazy three days of sales, signings and book bantering it was that followed. What we offered on our table was not only glossy paperback copies of our first four titles, but also free samples to take home and games to play daily. Every day at 1pm we had a free prize give away, handing out raffle tickets to our stall's visitors and giving them the chance to walk off with a piece of our exclusive OvO merchandise - be it our owlish note pad and pen, our coaster and bottle opener in one, or our funky red headphones - modeled here by two astoundingly lucky winners in the same family. Thanks to those of you who shared photos of your prizes!
But it wasn't all about the stall. The Odd Voice Team also ran two workshops on the Saturday of the con, which turned out to be really engaging round-table discussions with groups of highly imaginative budding writers who shared in our desire to see greater diversity in YA fiction. We also handed out many flyers for our creative writing contest 'Not So Normal Narrators' and have already seen entries coming in from our fellow YALC attendees. But one of our biggest draws over the three day event was our grand prize to win a bundle of our books and merch. We're happy to say that hundreds of you entered, signed up to our mailing list and answered our query regarding what you would most like to see represented in YA fiction (the rich variety of your answers will be discussed in our next blog!). In the final hours of Sunday afternoon, Rebecca Mace AKA @alwaysbookishbecca was picked as our winner and took home with her a hefty bagful of our swag.
For any of our visitors who missed out on our prize giveaways, we hope you still managed to pick up the free first chapter samples of our current titles. If you did, then all we ask in return is that you now read and share your freebies with other YA fiction fans, either in person or on your social medias (using a #oddvoiceout tag or our author names). Please don't just let them lie at the bottom of your YALC tote bags. And if you like what you've read so far and missed out on buying, then you can still follow links from our books page to buy any or all of our titles in digital form. Paperback copies of our summer releases will be available very soon! And for any fellow writers new to our mailing list, remember we are now in the last few weeks of our first creative writing contest - get those entries in by August 31st to be in with a chance for cash prizes and anthology publication. Good luck all you fellow oddballs! We can't wait to read what you have come up with.
After a few months of radio silence, Odd Voice Out will soon be bursting with news as we gear up for our biggest splash yet. In recently weeks we have been feverishly editing final drafts and preparing new cover art for our summer releases – The Vagabond Stage by Kell Cowley and The Book of Shade by K.C. Finn. Now alongside our well-received winter novels Shrinking Sinking Land and Fallow Heart we are ready to showcase our diverse bookshelf and unleash our OvO brand for an audience of avid YA readers.
From Friday 26th July – Sunday 28th July we will be exhibiting at YALC 2019, the UK’s largest annual YA lit fest at the Olympia in London. Over the three day event we’ll be selling and signing, offering prizes, merch and samplers, and promoting our short story competition Not So Normal Narrators. Not only that, but on the Saturday we’ll be hosting two creative workshops – Be the Change and Let’s Get Dramatic.
We began planning for this event on the train home from YALC 2018. In the time between then and now, we have collectively published four novels. We have completed our first successful Kickstarter campaign. We have hosted our own gala launch night in our hometown of Chester. We have performed readings and workshops for a variety of fairs and festivals, most recently a local author night at the Northwich Literature Festival (pictured above). Our short story contest has been promoted in the UK’s Writing Magazine and we’re currently receiving entries from all over the world for our first anthology collection. Like we said…we’ve been busy! We look forward to bringing you news of our big national debut as we reach the final leg of our road to YALC. Can't wait to meet the readers.