I started writing poems, very short plays and long letters as a young child. However, I started writing short stories in English about twenty years ago. Sharing and publishing them felt like opening a window to the world from my corner in Brazil.
What drew you to write short fiction/ flash fiction rather than longer works?
I started with flash fiction, when it hadn’t yet been named so. My inner rhythm found its compatible venue in these tiny stories. Over time, I became interested in the possibilities of other genres, and now I write the way I feel that fits certain work best.
Where did you get the inspiration for Life Reflection Over Blues?
The title came to me within a brief moment, but I gave it to a blog, first. But then, I realized it summarized the spirit of this collection. The blues is present in it, because, after all, I’m writing about this life, this world, and it’s one hell of a universe. However, in many moments, the prism of the absurd and the imaginary, of fun or critical humor is here as well. This combination is a way to cope and to write, and the readers are invited into it.
Is it a follow up of your first book, Life In, Life Out?
Light Reflection Over Blues has certain themes in common with Life In, Life Out. It speaks of love, loss, boundaries, belonging and solitude. In a way, the stories written here reflect on the evolution of my understanding of these aspects of life. I try even harder not to blink at pain or shut off vulnerability but include them lovingly.
What differences are there between the two collections?
The first difference you’d notice in Light Reflection Over Blues is an addition of expressive, marvelous illustrations by Revital Lessick to echo and reflect the stories. Light Reflection Over Blues also differs from my first collection in its chronological order, an ongoing narrative that sheds light on age and experience. In addition, this book embraces longer pieces, in which fragments give continuity to one another and complement the whole.
Where is your favorite place to write?
I am lucky to have “a room of my own” as Virginia Woolf named that private, quiet place where a woman can avoid distractions and focus on her writing. Clearly, life bursts in, either called or uncalled, but my little office, full of books, pictures of the women of my family and objects I’ve collected over the years, is one of my favorite corners in the world.
Do you have a writing schedule?
I keep trying to plan my day so it includes a lot of writing, but I frequently stray from the plan. However, I sit at the computer most days, and do my best to write, revise, edit or deal with other aspects of the writing life. The mind flows better when I manage to leave everything else outside. Having said that, breaks from writing are very important to me as well. During times of travel (I hope so much it’ll be possible again!) or other intense activity, I let myself absorb the experience, without putting words to the paper. The words come afterwards, usually unrelated to the fact themselves, as if they’ve been there all along.
Who is your mentor/supporter?
I exchange literary texts with friends from the writing community, and I am open for a conversation with smart, honest, literary-driven people. My friends, members of the writing community in Zoetrope.com, Francis Ford Coppola’s virtual workshop, and within its offices “A Hell of a Universe, Vacancies”, “Hot Pants” and “No Forcing the Sea” have always been a source of inspiration, support and wisdom.
Would you consider writing a novel? If so, which genre would it be?
I have a complete novel called “Baby Harvest” and another one in stages of revision, called “Puzzled.” Both of them are literary, and very different from each other. I also keep writing flashes and stories, and I’d love to have both novels and story collections out.
Have you won awards for your writing?
My work won the Margaret Atwood Studies Magazine Prize, a story was placed first in The Hawthorne Citation Short Story Contest, and my story collections were finalists for the Iowa Fiction award. My flashes have been twice listed in Best of the WEB, Wigleaf. A flash of mine has been chosen for Best Fictions 2020, and another for Norton’s International Flash Fiction. Apart from this, I have been nominated for the Pushcart Award six times.
Where can readers find you on social media/website?
I am on Facebook quite regularly, and I have an Instagram account. I am also trying to put my brain around Twitter. It’s fairly easy to find me.
Is there anything you would like to say to your readers?
I am glad you are reading books published by small presses! I’m honored to be published by Ravenna Press, and after the past tough years, they need you. Also, I am happy for every single reader, who finds something in my book to keep close to heart.
Avital Gad-Cykman is the author of the flash collection “Life In, Life Out” (Matter Press) and the collection of short prose “Light Reflection Over Blues” (Ravenna Press). http://ravennapress.com/books/light-reflection-over-blues/ Her work has appeared in The Doctor T. J. Eckleburg Review, Iron Horse Literary Review, Prairie Schooner, Ambit (UK), The Literary Review, CALYX Journal, Glimmer Train, McSweeney’s Quarterly, Prism International, Michigan Quarterly Review and elsewhere. Her PhD in English Literature focuses on women authors, gender, minorities and trauma studies. She grew up in Israel, and lives in Brazil.
How important are the arts and your creativity to you?
Life is nothing without the arts. Think of what we do to relax: listen to music, watch movies, read books, go dancing. And yet, when it comes down to a budget crisis, these seem to be the things that are cut because they’re considered somehow “non-essential.” I beg to differ. They’re life-affirming and allow us to share the human experience through the eyes and imagination of others. You can’t put a price on that. As for my own creativity, it’s present in almost everything I do.
How did you come up with the idea of the title, Music from a Strange Planet?
The book title for my short story collection is from one of my stories. In that story, “Music from a Strange Planet,” a talented and precocious girl wins an award for her composition called “Music from a Strange Planet,” a contemporary orchestral piece based on the convergence of cricket choruses. I, too, was a little girl who loved insects and nature (still do). There’s an undercurrent of insect references in the collection and small references to music throughout, so I thought giving the book this title would convey a sense of wonder and suggest to readers that they’ll be entering the particular, idiosyncratic worlds of a variety of characters in a particular moment in their lives. The “strangeness,” to me, is not so much weirdness, but points to a sense of mystery.
What drew you to write short stories rather than longer narratives?
In writing, in both poetry and fiction, I’ve always been a minimalist. I like writing and reading works that are succinct, compressed and convey a distinct mood in a few words or pages. I do read novels, but because I’m so attuned to concision, I find them wordy, even if they aren’t! I’m a writer whose problem is not wordiness but a tendency toward spareness. That, however, is why I love to write and read short stories. They’re a leap into a crucial point in a character’s life. We usually meet the character at a turning point and sometimes at the end there’s a sense of closure or development and sometime there isn’t. Some readers dislike short stories for that reason. That’s why I love them.
Where do you find your inspiration?
In many art forms! When writing’s going slowly, or when I’m not writing, I turn to the writing, music, art, dance of others. Or I slip into the garden and merge with the plants. I read critical works or essays about writing, I pore through literary journals. I subscribe to art and décor magazines, and garden design magazines, so I get a dose of creative ideas and people from all angles. A lot of my friends are also musicians, poets and visual artists so they inspire me with their own creations.
What exactly is a short story?
First of all, I wish we had a different term for the short story. These two words sound a bit dismissive to me. Not that long ago, the short story was denigrated as the shorter, lesser cousin of the novel. But rather than saying what it isn’t, here’s my take on what a short story is. It’s compact, it implies, it suggests. It contains subtext that requires the reader to work a little harder to unlock its meaning. Every detail in the story works hard to point the reader to the underlying context: setting, back story, character history, tone, imagery. It’s brief and intense and often does not give the reader closure. A novel is expansive, its narrative, plot and cast ever-widening. A short story goes in the opposite direction: inward and compressed. It doesn’t explain. It allows the reader to experience an intense event in a character’s life which often ends in a moment of awareness.
Your stories and poems deal with deep inner perspectives and emotions – what draws you to these topics/themes?
It’s characters themselves who draw me toward their stories and so unknowingly to certain themes or emotions that are operating in my subconscious.
Does your music influence your writing or vice a versa (or is it a symbolic relationship)?
Yes, it does! I’ve written several flash and poetry pieces that were inspired by musical recordings. And I’m a musician (voice and piano).
With regard to poetry, music does subtly influence my writing. Lots of people have remarked that my poetry is “very musical,” but by that they don’t mean it’s “rhymey.” I simply have an inherent and ingrained sense of melody, rhythm, pacing, and it shows up when I write. In prose, for example, I’m very particular about how a sentence reads and sounds, how it unfolds, whether it needs to race ahead or proceed slowly, how it reflects the character’s voice or emotions. Every sentence, in that respect, is like a tiny musical score that can influence the reader.
You designed the cover of your book. How did this come about?
A few years ago a social media whiz friend of mine told me that as a writer I should be on Instagram. Since I don’t have a cute dog or a photogenic cat, I wondered what I could post about. Because Instagram’s mostly a visual medium, I came up with the idea of collaging my writing. Except that I didn’t know how to collage! So the self-imposed crash course began, and I really started to enjoy dealing with visuals for a change. It was fascinating to choose a very short excerpt from a poem, flash or short story and illustrate it in paper. I continue to challenge myself to try different approaches and now have a small following, which is both surprising and pretty delightful. When my Caitlin Press publisher Vici Johnstone learned about my collages, she asked me if I would be interested in collaging my own book cover! I said yes, and after five or six trials, arrived at the illustration of a woman transforming into a caribou, which seems to intrigue people. It’s also based on a character in one of my stories.
Where do you write?
When cafes were open before the pandemic, I often went for a coffee, took my teeny-tiny Moleskin writing journal with me and found inspiration among the hubbub of chatter and clatter. I always write first drafts by hand and never, ever, at a desk. I prefer to slump on my small sofa in the living room or go out to my back garden studio and write from a low-slung chair while the birds twitter outside.
Just how tiny is your writing journal and why?
There’s a story to this! A few years ago I attended the Disquiet International Literary Program in Lisbon. On the first day, we each got a gift bag from the organizers which contained, among other things, a very compact writing journal. At the time I always wrote in a lined 8 X 11-inch coiled workbook. I scoffed that I would never use such a tiny journal. Off I went that afternoon to a café to write, except that I had forgotten my usual workbook. I wrote in that tiny, unlined book. I loved it. I have now filled over 40 of the compact Moleskin journals. In fact, all the short stories in Music from a Strange Planet were composed in them!
A writer’s not a writer without readers. Thank you, readers, for making my book come to life in your own imagination. And many thanks for the interview, Mandy.
Barbara Black writes fiction, flash fiction and poetry. Her work has been published in Canadian and international magazines and anthologies including the 2020 Bath Flash Fiction Award anthology, The CincinnatiReview, The New Quarterly, CV2, Geist and Prairie Fire. She was recently a finalist in the 2020 National Magazine Awards, nominated for the 2019 Writers’ Trust/McClelland & Stewart Journey Prize and won the 2017 Writers’ Union of Canada Short Fiction Award. She lives in Victoria, BC, Canada. http://www.barbarablack.ca, @barbarablackwriter and @bblackwrites.
Today I welcome a joint interview with Daivd and Cendrine, authors who collaborate to publish a variety of books and a magazine. Welcome to you both.
1.What drew you to poetry?
I grew up trying to write spoof lyrics for a lot of different songs, inspiration would come out of all sorts of places. When it turned out that my lyrical structures became too big and unwieldy for songs themselves to contain, I started turning to writing poetry because I was drawn into the musicality of playing with words and phrases. I was fascinated by how you could treat words as if they were musical instruments. I began reading lots of poetry written by my peers and in doing so, I gained the ability to write on an emotional level that connected with many different people. This is what forged my love of poetry, being able to communicate with like-minded souls and give them hope, inspiration, passion, courage and kindness in their lives.
2.You embrace a variety of topics in your poetry. Can you explain your process in choosing a theme?
Theme for me is pretty easy, in that I am most interested in writing things that are inspirational, romantic, funny or all three combined! I’ve always thought that when it comes to choosing a theme or topic, it should be something that you are passionate about. You should actively try to combine multiple elements to give you enough drive and material to visualize a project. For example, you may choose to write about snow but that on its own is not very inspiring. However, if you were to then combine other elements of an emotional nature (a first romance in the snow, playing in the snow as a child/with your own children, etc) then this will give you the means to flesh out your piece. From then on, you can continue to add whatever details you need to give enough colour to your piece of writing to interest others into reading it.
3.How does writing flash fiction differ from poetry for your writing process?
With Flash Fiction I am usually thinking of a specific scene taking place in my mind. Whilst this can also be true for poetry, stories tend to unfold themselves when I have some characters chatting to each other. Usually my flash fiction pieces consist of dialogue between quirky characters and action unfolding. I would say that a poem can embrace many different angles but a piece of story writing is focused, concise, every word needs to count when it comes to describing the scene/event. With a poem, you can be more vague when it comes to the overall meaning of the lines and still have a deep message that can be conveyed. Whereas with a piece of story writing, it is important to convey to the reader where they are and what is happening (even if the twists, turns and outcomes are a mystery), so that they can quietly imagine being there themselves enjoying the experience.
4.Who are your writer heroes?
I have tons in different genres! My favourite genre is Fantasy, so I will say that my top two literary heroes are Terry Practchett and Neil Gaiman. Stephen King for horror. For poetry, Edgar Allan Poe, Emily Dickinson & Maya Angelou are also but a very small selection. I could literally spend all day and night naming people in the literary, TV and film world who constantly inspire me on a daily basis!
5. How did you come up with the title – “TooFullToWrite – I’ve started so I’ll finish”?
The short answer is that I always thought about the notion how writers and artists start things but struggle to finish them. Maybe they lose their creativity or drive, or some other shiny thing comes along to distract them. My philosophy was born out of wanting to finish things that I start because I am not a fan of loose ends and it is satisfying to complete things (no matter how long they take!) for our own peace of mind.
I actually wrote a humorous origin story about the namesake of my website, so if your readers are interested they can read it here:-
6.You have created workbooks for authors. Can you tell us about them and why you created them?
Cendrine & I created our workbooks series at Auroras & Blossoms because we wanted to inspire artists to create more material, to become more professional and to thrive at what they do best. We focus on a variety of different topics, including writing prompts, inspirational tips/techniques, new poetry and writing forms, social media etiquette, social media marketing, marketing your artwork better and many more. We want to keep expanding and evolving what we offer to be on the cutting edge of what inspires artists to show up and produce the best material of their lives! 🙂
7.How, why and when did you formulate the partnership with Cendrine Marrouat?
Cendrine goes into deeper detail in her interview segment below. We crossed paths years ago when I was interviewing fellow authors and artists. We have an excellent creative partnership that we have built a strong platform on. We complement each other with our skills sets and are both a creative force to be reckoned with. She is an excellent business partner and extremely talented too!
8.You have a wide range of skills, including podcaster, lyricist, humorist – do you feel these are all components of your writer life? How do each of these disciplines aid your writing?
I have never wanted to tie my creativity down to just one single thing. As I learn how to do one creative discipline, I become interested in others by way of association and because of my passion in existing disciplines, this enthusiasm carries over to new things that I try out in the artistic world. I do not feel like they are actually defined by a writer’s life, although to be fair, a writer’s life has led me to all of them and so much more. It’s very true what they say about how being a writer means that you can literally be anything you want to be in life! Being involved in many different artistic outlets gives you a much broader palette to paint from. It is not for everyone, since some people prefer to focus on one thing and get really good at it. I have to focus on many things in my life, otherwise I will get bored doing the same thing over and over – variety is the spice of life!
9.Does living in England enhance your writing – if so how?
This is an interesting question. I definitely have a British sense of humour and it comes out in my jokes, quips, puns and writing style because that is an integral part of who I am. I feel like it gives me a unique perspective on the world, one that is endearing, comical and entertaining to read. I embrace these aspects of my own personal character in that I have manners, am well behaved and professional (plus a bit old fashioned) but at the same time I do have an extroverted side, like to be playful and let my hair down regularly as well!
I want to thank every single one of you for your support and interest in what I do. I hope to inspire you, make you laugh or move you deeply in some kind of profound way that connects with you on an emotional level. We live in tough times right now and I would encourage you to spread as much kindness, help and support that you can. Work hard and bear with your struggles, there will always be better things on the horizon, if you weather the storms.
1.How long have you been writing?
Like many people, I wrote sappy stuff when I was a teenager. However, I only got serious about writing in 2005. So, I’m just counting the last 16 years. 😉
2.What drew you to combining poetry and photography as artistic expression?
Because both art forms work extremely well together.
Most of us are scared of poetry. In school, we are taught to analyze every word and line of the poems we read to uncover some kind of arcane meaning. The adults we then become cannot pick up a poetry book without over-thinking about the way we should respond to it.
As a former teacher to adults, I know that a majority of people prefer visual cues to written ones. Pairing imagery and poems helps redirect the focus towards enjoyment.
The images I use to complement my poems (all mine) have triggered very positive reactions from people. They realize that poetry can also be very relaxing and fun to read!
3.You are the co-founder of Auroras & Blossoms – how did this partnership begin?
A few years ago, I was looking for interview opportunities to promote a new book. I found David Ellis and we instantly connected. I was impressed with his professionalism and personability.
After the interview, we decided to stay in touch. At the beginning of 2019, one of our chats led to sharing our frustrations about the process of submitting work to magazines and journals. We did not like how many of them factored in “who you know” and your number of publishing credits into their acceptance process.
So, on a whim, I suggested we start working on something that would run counter to that status quo. We decided that we would do things differently and give a chance to everyone. And our focus would be on something we did not see enough: positivity, inspiration and family-friendliness.
Within a few days, we had laid the foundations of Auroras & Blossoms. It took us a few months to set everything up properly, and we launched officially in October 2019.
4.What are the benefits of a collaboration with another artist?
In this day and age of fierce competition for visibility, partnerships are pretty much the only chance for artists to be successful.
Collaborations give you the opportunity to tap into other artists’ platforms, build relationships with like-minded folks, and pool resources together to achieve greater things than you ever could on your own.
The key to a great partnership is to find someone who is on the same wavelength as you and shares your values. David and I get along really well because we are both very hard-working, committed to our craft, and professional. We respect each other’s time. Finally, we understand what it takes to build solid projects.
5.Where do you prefer to write and why?
I always write in my office, with very occasional sessions in my backyard. My office is my private space, nobody bothers me there. So I can fully concentrate.
6.Can you tell us about why you created Reminigram, Sixku, Flashku and the PoArtMo Collective?
I wanted to challenge myself and increase my creativity.
The reminigram is a type of digital image that seeks to capture scenes that could have existed in the past. It’s my way to pay homage to early photography (daguerreotypes, tintypes, collodion processes, etc.).
The Flashku is my latest creation; it borrows from the Sixku, Haiku, and Kindku, another poetry form David and I created (along with the Pareiku). I came up with the idea because I love flash fiction but suck at writing descriptions. The goal of a flashku is to write a whole story in 50-100 words inspired by an image, using 7 words taken from another piece. I like to call that poetic prose!
The PoArtMo Collective was one of my long-time dreams. I wanted to bring a group of artists together to create and release inspirational, positive and uplifting art and artistic projects; the goal being to show that good art goes beyond technical aspects to tell memorable stories.
When it launched in 2019, the collective was called FPoint Collective and focused exclusively on photography. But co-founder Isabel Nolasco and I quickly realized that we needed to be more inclusive. Isabel left us last year to focus on other things and there are now three of us. We have recently released our second project, a book titled Seizing the Bygone Light: A Tribute to Early Photography.
French-born Canadian Cendrine Marrouat lives in Winnipeg. She is a photographer, poet, multi-genre author, and the co-founder of several artistic projects. She is also the creator of the Sixku, the Reminigram, and the Flashku.
Cendrine started her career in 2003. She has worked in many fields, including education (language instruction), social media coaching and training, content creation and curation, translation, photography, poetry, theatre, art criticism, blogging, and journalism.
David Ellis lives in Tunbridge Wells, Kent in the UK. He is an award-winning poet, author of poetry, humourous fiction and music lyrics.
David’s debut poetry collection (Life, Sex & Death) won an International Award in the Readers’ Favorite Book Awards 2016 for Inspirational Poetry Books.
David is extremely fond of tea, classic and contemporary poetry, cats, and dogs but not snakes. Indiana Jones is his spirit animal.
The Group of Seven Reimagined: Contemporary Stories Inspired by Historic Canadian Paintings is at once artistic and literary. This anthology is a gorgeous testament to the Group of Seven, through the unique lens of twenty-one acclaimed flash fiction writers. – Each flash fiction story, (a brief, condensed, though fully realized narrative, written in under five hundred words), is paired with a lush full-colour reproduction of the painting that inspired it, showcasing both Canada’s historical artistic oeuvre with its contemporary literary artistic talent.
Where did the idea for this book come from?
The impetus for this book began as a writing prompt. I am always looking for interesting, layered prompts: a phrase, paradox, scenario, image, to inspire and formulate a story around. I happened to be walking my dog along Vancouver’s Jericho Beach early one frigid but bright wintery morning and was struck by the awesome beauty of the snow-peaked North Shore mountains looming across that stretch of ocean. I imagined that Lawren Harris would have wanted to paint that stunning vista, and in that glance, had the inspiration for my story. – It was only later, when conducting background research for my piece that I learned that the one-hundred-year anniversary of the Group of Seven was coming up in 2020. – A light bulb went off! The anniversary presented a wonderful opportunity to celebrate the enduring genius of these painters, in story. I contacted fellow flash fiction writers with the idea of putting an anthology together inspired by the landscape paintings of the Group of Seven and the enthusiasm for this project was immediately infectious. I wanted to put together a book that would both increase the profile and expand the reach of these iconic Canadian painters, while at the same time introduce art lovers to the marvels and delight of flash fiction.
Why flash fiction?
Flash fiction is the hottest rising literary trend in Canada. It is my current obsession. I have been on a maelstrom writing flash for the past three years. Each miniature story (flash fiction) is a delicious morsel, the flavours exploding with each bite. For me, flash fiction (always written in under 1000 words, and usually in under 500) is storytelling at its best. It draws the reader into another world engaging her in an immersive, evocative, and emotionally resonant experience, albeit for a brief moment in time; ‘for a flash’. Each miniature story is meant to delight, surprise and challenge the reader. There is often much hidden in between the lines and white spaces inviting the reader to return again to discover more in the layers of the story. And while each flash fiction takes only a few moments to devour, each story takes much longer to ‘perfect’, requiring a practiced skill in crafting, sculpting, editing, and polishing. I love the challenge writing flash poses, and the sense of satisfaction in completing a layered piece with a beginning, middle, and end, in a relatively short period of time. Relatively short compared to that of the traditional short story of 1500-3000 words, novella, or novel (which can take years to realize). The Flash Fiction community of writers and readers across Canada is exploding. Canadian literary magazines, journals, and anthologies now publish several flash fiction pieces in each issue, and flash fiction workshops and classes, both online and in house, can be found everywhere. I find this so exciting!
Why the Group of Seven?
When I first saw a Group of Seven painting, a Lawren Harris, I was gobsmacked. A stunning mountain carved like folds of butter, light cascading down upon its peak, pure and ethereal. I was immediately transported, somewhere deep, sublime, and otherworldly. My love affair with the Group of Seven began in that moment. As a university student living in Toronto in the 80’s, I had the opportunity to visit the McMichael Gallery in Kleinburg many times. The McMichael Collection even then, was remarkable and awe-inspiring. Over the years as I have discovered more of the Group’s landscape paintings in galleries, museums, books, and on-line. They have captured my imagination and heart for all these many years, transporting me into the story of the canvas and beyond. – I was inspired and driven to realize this book in celebration of their enduring genius.
How did you decide to pair the Group of Seven with Flash Fiction?
For me the match is made in heaven! The paintings are immediately perceived as storied, and the flash pieces are beautifully written, as if a painting. Both image and story invite the reader/viewer into another realm; a place of deep resonance and wonderment. Each read of the narrative, when paired with the layers, shadows, and textures of the landscape painting, becomes an immersive experience.
Each Contributor chose a landscape painting that inspired them, from a selection of Group of Seven paintings. Works by Tom Thomson and Emily Carr, both contemporaries of the Group, are also included in the book.
Who are the Writers/Contributors in The Group of Seven Reimagined and how were they selected?
Most of the Contributors are award-winning short story authors, several times over. They come from all regions of Canada, from coast to coast to coast, and three from the US, the UK, and AU, each with a distinct Canadian connection. I felt it was important to invite writers from across Canada who I thought would present a varied, distinct, and unique voice, and, be expert at crafting a miniature work of fiction. While Canada has so many brilliant short story writers, writing flash fiction presents unique challenges, i.e. excellent editing chops and concision, not every short story writer is comfortable with or interested in exploring.
I am a voracious short fiction reader. I read as many short story collections, journal, magazine, and anthology short fiction pieces as I could find, looking for a range of style, genre, and voice. Above all, I was looking for writing at a level of excellence. And of course, I found brilliant storytellers, and was excited by so many extraordinary works of fiction. It was also important that each person I invited to participate be more than enthusiastic about celebrating the Group of Seven and be inspired by their paintings.
I am thrilled with each of the writers selected. Mike Blouin, Carol Bruneau, Paulo da Costa, Alfred DePew, Tamas Dobozy, Valerie Fox, Travis Good, Mark Jarman, JJ Lee, Brett Loney, Lorette C. Luzajic, Yael Eytan Maree, Michael Mirolla, Isabella Mori, Nina Munteanu, Waubgeshig Rice, Robert Runté, Nina Shoroplova, Mireille Silcoff, Mary Thompson. Each one a consummate professional and joy to work with. Each writer has selected a gorgeous Group of Seven painting to inspire their story and each has contributed a marvellous flash fiction piece. The results and pairing are stunning. In addition to being the editor, I also have a flash fiction piece in the book.
Where did you get your training? How long have you been writing flash fiction? Have you always written, have you always wanted to write?
I think my path to becoming a writer is rather unique. I was sixty-two before I wrote my first story, ever. And I will be sixty-four before this book is published. I have never written fiction before. Never even tried. My writing up until very recently has been academic and analytically focused. I had done some journal writing intermittently as process-writing, but that’s it. Back in high school I wrote my final English exam interpreting a poem about the Tree of Life, referencing photosynthesis/ chlorophyll / life cycle / and the ecosystem. I was clearly off the mark. Words and imagery, conveying personal experience through metaphor or simile was not my forte, comfort level, or inclination.
Since beginning to write fiction three years ago, I have been published in twenty-five international literary journals, magazines, and anthologies, and have more in the queue.
My training is in Psychology. I am a seasoned Family Therapist. Decades of ‘being fully present’ in the therapy session has made the transition into writing surprisingly seamless for me. As Pulitzer Prize winner Robert Olen Butler describes, ‘writing takes place in the Dreamscape’. Being fully present in this ‘Place of Solitude’ is where writing is best explored and fashioned. I enjoy this space. It is where I am most myself. And it is where I create from.
I discovered flash fiction reading journals and magazines online. There is a dynamic global flash fiction community. I read flash fiction journals regularly and enjoy discovering new writers (new to me) – the talent out there is magic. I quickly found online workshops teaching flash fiction and have participated in many three-day, ten-day, and monthly workshops, and continue to enrol in one every month or two. The workshops are lots of fun, generative, and attended by highly creative, respectful, and generous writers. I’m totally hooked.
What do you enjoy most about editing?
Cultivating a relationship with the writer is a must for the editing process to be successful.
Pulling back to the barest of form and arriving at clarity is what motivates me in editing. I love the process. Finding increasing precision in word choice is my kind of fun. I delight in the concision, word craft, play, and intentional word choice used to create imagery that resonates and evokes an emotional response in the reader. My tool is a thesaurus. I clean up a piece to reveal its essence, letting it take center stage and shine. Presenting a re-configured or revised passage to a writer who chooses to accept it, is the ultimate satisfaction for an editor.
I have a lot of ideas, although only two have reached the planning stage. 1. A flash fiction anthology similarly structured to The Group of Seven Reimagined, ekphrastic writing, – flash fiction inspired by visual art. This time showcasing the surrealist and magic realism artists Leonora Carrington, Remedios Varo and Kati Horna. and 2. A collection of flash fiction, all my own pieces.
I am exploring how to approach this next project differently. It has been enormously expensive to put this book together. The cost of permissions and licenses from Art Galleries, Museums and Estates to use hi-res reproductions of the paintings in the book has been almost prohibitive. This expense comes out of the author’s / editor’s pocket; the publisher does not absorb this cost. Having a sponsor/corporate interest would help move this next project forward. It is something I’m looking into.
The Group of Seven will launch in Vancouver in October, and in Toronto in May – details on Vancouver and Toronto launch coming soon – if you would like to receive an invitation to attend either Launch party, send an email to email@example.com with ‘Vancouver Launch Invitation’ or ‘Toronto Launch Invitation’ in the subject line. We are going to celebrate!
Karen Schauber is a Flash Fiction writer obsessed with the form. She has been on a maelstrom writing since she was first introduced to this brief condensed short story form three years ago. Her work has since appeared in 25 international literary magazines and anthologies, including Brilliant Flash Fiction, Bending Genres, CarpeArte, Ekphrastic Review, and Fiction Southeast. The Group of Seven Reimagined: Contemporary Stories Inspired by Historic Canadian Paintings, celebrating the Canadian modernist landscape painters, is her first editorial/curatorial flash venture. Schauber runs ‘Vancouver Flash Fiction’, a flash fiction Resource Hub and Critique Circle, and in her spare time, is a seasoned Family Therapist. A native of Montreal, she has called Vancouver home for the past three decades.
In short, Flash Fiction is a fictional piece of prose in extreme brevity but still offering character and plot development. They can be defined by word count, which includes the six-word story, the 280-character story; commonly known as twitterature’, the dribble or minisaga, 50 words, the drabble or microfiction, 100-words, sudden fiction (750 words), flash fiction (1000 words), nanotale and micro-story. This genre possesses a unique literary quality, in its ability to hint at or imply a larger story. In the 1920s flash fiction was referred to as the “short short story”.
Flash fiction roots go back into prehistory, recorded at origin of writing, which included fables and parables, the best know is of course, Aesop’s Fables in the west, and Panchatantra and Jataka tales in India. In Japan, flash fiction was popularized in the post-war period particularly by Michio Tsuzuk. In the United State early forms were found int he 19th century by such notable figures as Ambrose Bierce, Walt Whitman and Kate Chopin.
There are many internet sites and magazines that accept flash or micro fiction. I have submitted micro stories before and found them to be great fun!