Interview with Author and 1000words Editor, Natalie Bowers

100words

I met Natalie when my short fiction piece, North Norfolk Coast, was published online in 1000words at the beginning of July. 1000words publishes flash-fiction of up to 1000 words in length, written in response to an image. I have been impressed with the site and the quality of the work for a while. Natalie’s response to my submission was really professional and friendly, and I have enjoyed reading some of her own fiction (more on her work at the end of the post). I was thrilled when she agreed to an interview, so thank you for joining us, Natalie, and for answering some questions that I think authors often ask, or want to ask.

When and how did 1000words begin, and what inspired you to start gathering flash fiction?

1000words began in 2012 as part of the first National Flash-Fiction Day. I’d just finished an online flash-fiction course with Calum Kerr, the brains behind NFFD, who’d said he was looking for people to organise events, online and off. I’ve always had a secret desire to run my own fiction magazine, so this seemed the perfect opportunity to start one. I also love photography, so what better way was there to blend my two main interests and fulfill an ambition than by starting 1000words?

 What is flash fiction, for those who are new to the form, and how is it unique?

There are as many definitions of flash-fiction as there are people writing it, but for me, flash-fiction is simply a very short story. Although at 1000words we accept stories of up to 1000 words in length, I actually prefer reading and writing stories no longer than 500 words. When it comes to flash-fiction I like to be punched in the gut. I like flash-fiction to be short, sharp and to take my breath away.

 The idea of using an image prompt from the Pinterest page is very creative. How do you decide which images to use?

I go with my instincts. If I see an image and find myself immediately making up a story, I pin the image. I’ve pinned quite a few of my own photos on our Pinterest boards too, as I always have a camera on me and am constantly on the lookout for story ideas.

pinterest 1000

There is a wonderful range of stories on the site. How do you chose what will be published, and what are you looking for in a piece of fiction?

Again, I go with my instincts. If the opening few lines grab me, I know I’m likely to enjoy the whole piece and will most likely publish it. What I’m really looking for is a consistent narrative voice. It doesn’t have to be a confident voice, but I need to feel as if the narrator is a real person and believes in the story they’re telling. I’m also looking for something special: a surprising simile, a poignant observation, a subverted cliché, an old story told in a new way, or a new story told in an old way. It’s hard to define, but I know it when I see it.

Is there anything that will automatically send work to the rejection pile, and are there any submission tips you can share? 

There’s nothing that will automatically send work to the rejection pile. If I decline to publish a story, it’s usually due to a combination of factors such as an inconsistent narrative voice, unnatural sounding dialogue, cliché imagery or plot or over-explaining (not leaving enough to the reader’s imagination). If a story has a lot of grammatical mistakes and doesn’t look as if it’s been proofread properly then I’ll probably turn it down, as it’ll be too much work to prepare it for publication. One of the biggest turn-offs for me, though, are stories with a twist ending where the twist hasn’t been sufficiently foreshadowed or where it’s been so obviously sign-posted that I’ve guessed it before the end. It’s a difficult balancing act, and one I struggle with myself.

Tell us a little about yourself and your own writing?

I’ve always written stories in my head, if not on paper. I remember writing and illustrating a book for my little brother when I was about ten. It was a complete rip-off of the children’s TV series Jamie and His Magic Torch, but I put my heart and soul into it! In my early teens, I graduated to Star Wars fanfiction, but I didn’t write much at all in my late teens and twenties, I was too busy with school, university, work and then babies – I did science A-levels, a degree in Biochemisty, a PGCE in secondary science education, taught for a few years and then gave it all up to raise two lovely children. I’d had depression and anxiety after the birth of my daughter in 2005, and the doctor advised me to find something with which to occupy my brain. Writing seemed like a good idea, so in 2007, after a bit of dabbling, I took The Open University’s Start Writing Fiction Course, and I haven’t really looked back since. I’ve written quite a few short stories, but flash-fiction is where I feel most at home and I’m pleased to say that I’ve had a fair few pieces published here and there. Right now, I’m working on a collection of summer-themed flash-fictions and in September (if I get enough punters) I’ll be teaching my first ever writing course in the adult education department of my local secondary school. Bit scary!

Are there any short fiction authors who are a particular inspiration? 

Loads! I have a ‘Recommended Reading’ page on my website where I list lots of my favourite authors and stories, but if I had to name just a few, they’d be: Calum Kerr, Nik Perring, Kevlin Henney, Shirley Golden, Cathy Lennon, Lorrie Heartshorn, Angela Readman, Kurt Vonnegut, Raymond Carver, Elmore Leonard, Annie Proulx and Kate Atkinson. These are the people whose work I rush to read. (That was more than just a few, wasn’t it?!)

Friends of 1000words are flashandzoom, Paragraph Planet and Stories with Pictures. Can you tell us a bit about each of them?

flashandzoom is a photography and poetry project run photographer Jaime Hill and a writing pal of mine, Zoe Mitchell. The aim of the project is to provide a fresh perspective to photography and poetry, and to create art that reaches people on a number of levels. It’s been a bit quiet of late, but what they’ve produced in the past has been beautiful.

Paragraph Planet publishes a 75-word paragraph (fiction and non-fiction) EVERY SINGLE DAY of the year, which is an amazing feat. You can also read author interviews and there’s a sister site called ‘Writing Workout’ where writers can do all sorts of writing exercises. I’ve had a couple of pieces published on Paragraph Planet and intend to send more soon.

Stories and Pictures is a site that brings writers and artists together in collaboration. It’s chock-full of beautiful stories accompanied by beautiful pictures. Some of the stories have been inspired by pictures, and some of the pictures have been inspired by stories. I’ve had a story and a photo published there too.

  natalie 2 Natalie Bowers, along with Heather Stanley, is the editor and publisher of 1000words online flash fiction magazine. She lives in Hampshire with her husband, two children and a growing collection of ukuleles. Natalie has a degree in Biochemisty, a PGCE in secondary science education, and has taught Science and A-Level Biology. Her short stories have appeared in print and her flash-fiction has been published in various online journals. You can find a list of her publications on her blog, and she is a fellow Ether Books author. You can follow 1000words on Facebook and Twitter.

 

Don’t Be Afraid to Throw Away What Doesn’t Work

shoes

I have a pair of shoes that are so comfortable I hardly feel I’m wearing them. But they are falling apart, to the point that they really need to be thrown out. This morning a new pair arrived at the door. I ordered online to save time shopping, and to spend more time this week writing. I opened the box, unwrapped all the paper, et voilà – a new pair of shoes. They were different, except for the fact that they were actually the same! Yes, I ordered the same pair. So the first pair presumably once looked much like the second, although I can’t remember them ever looking that fresh and zippy!

I tried on the new pair, shuffled, took them off and tentatively put my feet back into the old pair. But something stopped me: a voice inside my head that said, ‘You’ve just ordered a new pair. Why are you going back to the old ones? They need to go in the bin.’ Hmm. I took them off and tucked them away. They have yet to reach the bin. As I type, I’m wriggling my toes inside the new ones. When I look down they look great, but they are not as comfortable. ‘It’s OK,’ I tell myself. ‘You’ll just take time to get used to them. Keep them on.’

Isn’t that what’s it’s like with writing that doesn’t work? Some of it is scruffy but comfortable. You cling on to it in the vain hope that it might work, but you know deep in the pit of your coffee-and-biscuit-filled stomach that it won’t. You know the reality is that you will need to cut, ruthlessly, until your work is, in places, almost unrecognisable. You will need to throw away the holey parts, the frayed edges, the parts with missing pieces that will never be filled.

It’s amazing how much emotion or sentiment is attached to some pieces of work, which is why you need good beta readers and good editors and an open mind. As you write, and as you reread, you have to develop the ability to see your story through the eyes of someone with no emotional investment in your work, someone who is prepared to throw out the parts that you want to keep. It is possibly one of the toughest parts of the process. Sometimes whole stories need to be thrown out, sometimes its beginnings or endings and sometimes it might just be sections.

What can you throw away that isn’t working? What can you cut to make your writing tighter?

Warning: Structural Work Needed – Plotting Your Novel

Dilapidated Room

I drove past a beautiful old building this morning with incredible detail around the windows. When I looked again, the inside had been completely demolished and was being gutted and restored. From the outside it was a beautiful picture of fine architecture and decadence, an eye-catching building which stood out from the rest, but from the inside there was nothing, just rubble and empty space.

It was a strange sight in some ways and it reminded me of building a novel and the differences in how writers construct their work. I have spoken to people who work in any one of the following ways:

Inside Out Model – Beginning with the bare bones, getting the story down onto paper, and then going back and layering it with detail and links, flashbacks and subtle hints of what is to follow.

Outside In Model – Constructing the outside, the look and feel, the genre, narrator, tense, style and character of the novel, and then working inwards to develop the structure, the chapters and the story arc.

Scatter Graph Model – Starting to write chapters, in no particular order, filling in the gaps as and when the inspiration strikes. This method is often discouraged by agents and editors as it is less structured but some of the most creative writers work this way.

Sprint Runner Model – Beginning in great detail with a clear idea of your central character, racing through the first 1,000 words or so and then drifting as you get further into the plot, not being sure where the novel will end. Instead of it being a slower and more steady pace throughout, the writing decreases in speed as the ideas thin out. 

Foregone Conclusion Model – Knowing exactly how the novel will end, much like a science experiment with an expected outcome, but struggling to begin or sagging  in the middle.

These are just some of the many ways in which authors work and there are many cross-overs in their method. I was impressed by Will Self’s ability to do away with chapters completely in his Booker Prize Shortlisted novel, Umbrella. He is not the first author to do this and I am sure he won’t be the last. Some authors prefer fine structure, plotting meticulously before beginning a single sentence, then there are those who are somewhere in between.

There is no right or wrong way to plot a novel and to construct a story, although there are books which tell you otherwise. You have to experiment with what works. Every writer has a preferred way of working and it changes and develops with time.

I’ll leave you with some interesting quotes from the various writing handbooks:

“A basic structural design underlies every kind of writing. Writers will in part follow this design, in part deviate from it, according to their skills, their needs, and the unexpected events that accompany the act of composition. Writing, to be effective, must follow closely the thoughts of the writer, but not necessarily in the order in which those thoughts occur.”  The Elements of Style, Strunk and White

“Very few writers really know what they are doing until they’ve done it. Nor do they go about their business feeling dewy and thrilled. They do not type a few stiff warm-up sentences and then find themselves bounding along like huskies across the snow.”  Bird by Bird, Anne Lamott

“Writers of literary and much mainstream fiction usually begin by imagining a character…some writers can’t help starting out with a theme that obsesses them. They imagine characters whose lives might involve the theme, or they work out a plot first. If their allegiance is to character, their theme-based story has a better chance of survival.”  Stein On Writing, Sol Stein

“If there are no rules, or none worth [the writer’s] attention, where is the beginning writer to begin?”  The Art of Fiction, John Gardner