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Words Matter

9/29/2025

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I believe that it’s important to challenge people when they use offensive or damaging language. To be clear, I don’t mean censoring or banning words, because I also believe in free speech. But with that right to free speech comes responsibility.
 
The words we use matter not only because they have meaning but because there are consequences to how we use them. Take, for example, the former Aotearoa New Zealand Member of Parliament, who during a recent radio interview defined a woman as a “…person with a pussy and a pair of tits.” Within two days, he’d issued a public apology and resigned from his position at a recruitment agency. Yep, he fucked around and found out!
 
Politics are rife with inappropriate and harmful dialogue, and women, people of colour and other minority groups are usually at the sharp end of that rhetoric. On retiring from the Invercargill City Council on September 22, 2025, the Reverend Evelyn Cook had this to say, “I wish you to understand the power and the hurt that careless words create. The casual racism. The sometimes-intentional sexism. The misogyny. The lack of respect for one another, that I have seen in this room.”
 
Language frames our collective consciousness, it shapes the way we think and how we construct reality. When the meanings of words are twisted and appropriated as weapons, it impacts us all. The use of de-humanising terminology is especially dangerous. If a woman is reduced to ‘a pussy with a pair of tits’, then she doesn’t deserve respect or any right to bodily autonomy. It’s so much easier to torture or kill a ‘bitch’ or a ‘beast’ than it is a fellow human being.
 
The United Nations working definition of hate speech is: “any kind of communication in speech, writing or behaviour that attacks or uses pejorative or discriminatory language with reference to a person or a group on the basis of who they are, in other words, based on their religion, ethnicity, nationality, race, colour, descent, gender or other identity factor.”
 
Exposure to hate speech fosters an environment of hostility that not only erodes social cohesion, attacks human rights and incites violence, but results in individual and personal harm. People subjected to relentless hate speech tend to experience heightened anxiety, chronic health conditions, lower self-esteem and even premature death. Being aware of how words matter is the first step in preventing that harm.
 
How society uses language changes and evolves. Words and phrases that were once acceptable in common usage may now carry offensive implications. In my background reading for this blog, I came across an article talking about the history of the word ‘woke’. In the early twentieth century, the word was used in songs to warn black people travelling in racist states to be aware of the risks of being lynched. The songs urged them to ‘stay woke’. So, a word that once meant to be vigilant against the risk of death has been twisted into a pejorative term implying a person is performatively and overly sensitive to perceived societal injustices.
 
I understand that change can be hard, but to refuse to reconsider your position when challenged by the subject of your prejudice is a deliberately cruel and disrespectful choice. We all need to check our privilege and challenge our internalised biases. I know I’m not perfect, but I strive to do better and when confronted with deliberate and unapologetic misogyny, racism, homophobia, and fascism…I will make my words matter.

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Would I Lie to You?

8/31/2025

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I was reintroduced to the contrasts between the words ‘Verity’ and ‘Verisimilitude’ during a recent writing workshop. Where verity is a true principle or belief—the truth, verisimilitude is defined as the appearance of being real or true.

In writing, I aim for a kernel of veracity surrounded by a thick coating of verisimilitude. Stories don’t need to be truthful, but they do need to be believable, or believable enough that the reader will suspend their disbelief for the duration.

So, is there a need for verity in fiction?

It could be argued that historical fiction and hard science fiction require a degree of verity. After all, history is known, and science is factual.

But are they?

What’s known about history, is what’s reported. So, the truth of history is focussed in the hands of those who recorded it, and those who interpret it. We’ve all heard the well-known phrase “history belongs to the victors” so, how much do we trust those victors to accurately report all aspects of an historical event?

This brings us to another V-word, ‘Veracity’, or the quality or state of being truthful or accurate.

As a scientist, I understand that the truth changes over time. We adjust our accepted ‘truth’ as we learn more from the scientific process of research. I also know that how data are treated and interpreted can be influenced by our own perspectives. That’s why it’s important in that research is verifiable and repeatable so that others can verify the veracity of the researchers. This is achieved by testing the same hypotheses using the same methodologies or questioning those hypotheses and methodologies through vigorous debate (NB Reckons are not research, and doing a quick search of the internet is NOT fucking science!).

I’ve just read an interesting article by zooarchaeologist, Emily Lena Jones, in which she states that, “What we think we know about Neanderthals is always changing.” What she’s saying is that as we make more discoveries, we adjust our world view and the truth changes.

In fiction, writers will sometimes use an unreliable narrator, to deliberately mislead and confuse the reader. I would argue that, to some extent, all narrators are unreliable. A couple of months ago, someone told me that something was ‘true’ because she remembered it happening. Maybe she was right and did remember it correctly but, it wasn’t the same truth as mine.

Not only can our perspective on a single event be very different but, we can hold false memories.

For example, I have ‘memories’ of running across a lawn, over a road, through some sand dunes and disappearing into the distance along an empty surf beach. Those memories come with no sensations or feelings, and they play in my mind like a black and white movie seen from afar. That’s because, I was a toddler, and I don’t remember what happened at all. I’ve just been told the story so many times, that I’ve internalised it as a memory. Is it a true story? I have no idea—but it’s my truth.
​
My conclusion is that verity is a slippery and changeable beast and as a writer all I can aim for in my stories is verisimilitude. So, while today’s ‘truth’ is that it would take a spaceship about 600,000 years to travel the 31 light years to the planet Gliese 357 d, in my current project the trip will be MUCH faster, and you’ll believe it because I’ll make it appear possible. And, would I lie to you?
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Measuring Success

8/2/2025

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As a writer, I carve time out of my life to invest in my craft. Each completed poem, short story, chapter, or novella is driven by hope and belief—because, for most writers in my situation, that time is unpaid and there’s no guarantee of publication.
 
It’s a sad truth, but publication doesn’t always come with payment. As for many other industries, publishing budgets are increasingly tight. Many markets that previously paid for short stories no longer do and magazines and publishing houses are shuttering at a depressing rate. It’s not impossible to sell stories and make money from writing, but it is difficult. The average income for writers in Aotearoa New Zealand is less than $15K per annum. The best way to make money from writing books is to already be famous. This means that measuring my success against income, can be a bit depressing.
 
So, what does success look and feel like for writers who, like me harbour grand ambitions but aren’t (yet) already household names. There are numerous ways for an author to measure their success, and they can range from the personal to the very public.
 
Some days, success is as simple as getting words onto a page. If those words come together into coherent sentences, paragraphs, and stories then all the better. If those words are poetic and lyrical or move me to tears, or fill me with joy or fury, then all the better. Even more satisfying is when my critique group scribble love hearts in the margins of my manuscripts.
 
For many writers, success lies in the freedom to create stories that push boundaries and challenge views and explore the impossible. Writing can also be a form of catharsis, allowing writers to explore prejudices, address societal challenges, and resist injustices. Much of my own writing helps me navigate the world and imagine better ways for humans to live and interact. Until five years ago, I seldom had happy endings to my stories. Now, I like to at least leave my readers with a hint of hope, because that’s what I need. I have to believe that things can and will get better.
 
It's important for readers to be represented in fiction, but it’s rare to find stories featuring strong, independent, post-menopausal feminists with fluid sexuality. Offering that representation through my writing is one of my personal measures of success. Part of my legacy is my writing. I hope my stories and poems endure and stand the test of time. Even if only one woman finds something in one of my pieces that fills her heart or changes her course for the better, then I consider that a success.
 
Not all writers seek to be published but anyone who does will attest to the absolute joy of your first accepted submission. Those hours of work honing my craft are rewarded when someone I don’t know reads my work and deems it worthy of publication. For me, that spark of joy still explodes with every successful submission. With publication comes exposure, connecting with readers and the chance of awards.
 
While there are intrinsic and private rewards for practitioners of creative arts, it’s the extrinsic, or public, rewards that are most often used to measure success. These come in the form of reviews and awards, which in turn open doors to opportunities for not only sales, but for grants and residencies. Headlines aren’t written about writers who sit at their desk and produce glorious prose and poetry. No. Headlines feature writers who win prizes. Despite multiple nominations and applications, and making several shortlists, I’ve yet to win any awards, grants or residencies for my writing. My external measures of success are: reader feedback, both direct and through reviews; the subscribers who faithfully open my newsletters every month; and securing a literary agent.
 
Do I want more? Hell, yes!
Am I passively waiting for it? Hell, no!
 
I volunteer to judge awards, so I get to critically assess the best fiction in my genres.
I travel to overseas conventions and conferences to connect with writers and others in the publishing industry, which when you live in Aotearoa New Zealand is both financially and temporally expensive.
I attend workshops and courses to hone my skills.
I send out a monthly newsletter and write a monthly blog to connect with my readers.
I apply for residencies and grants so the people with the funding know who I am.
I submit stories and poems to paying, and sometimes non-paying, markets.
I write. I write. I write.
I’m not waiting for success to find me. I’m pursuing it.

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Villainous Authors

6/29/2025

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I was scrolling, scrolling, scrolling through my socials one morning not long ago and a post popped up that recommended the Mists of Avalon by Marian Zimmer Bradley as a classic read. After muttering a few disgusted expletives, I had a quick flick through some of the comments. They varied between ‘great book and a must read’ to ‘fuck right off, the author is a monster’ along with a whole bunch of comments like ‘I loved this book, and it broke my heart when I discovered MZB was complicit with her husband’s child abuse.’
 
MZB isn’t the first author I’ve loved who turned out to be a fucking horrific human being and she’s certainly not the last. But reading the comments made me ask the question: What do you do when one of your favourite authors turns out to be a real-life villain?
 
When Remains to be Told: Dark Tales of Aotearoa was published, I was thrilled that my short story, Fires of Fate, sat cosied up next to a poem by Neil Gaiman. I was so excited that I even posted a video of me flicking between my story and his poem on my socials. Since then, there have been multiple accusations of sexual misconduct and assault against him, including more this year. Now, my story, in all its feminist rage, leans away from his poem, trying to distance itself from the space I was so proud to share. Being such a fan of Gaiman’s work, this betrayal of trust cuts extra deep.
 
I never read J.K Rowling’s Harry Potter series, although, I do confess to reading one of the books she wrote when she was pretending to be a man. I have numerous trans friends and acquaintances. So, why would I support someone who actively goes out of her way to incite hatred and denial of their right to exist, and uses the earnings from her books to support her crusade?
 
I’ve seen many arguments along the lines of ‘you can love the art but not the artist’, and, to an extent, that can be true, but where does the line between the two exist? In buying the art, you're supporting the artist. When you check the book out from the library, you're supporting the author. And, yes, streaming their movies / series is supporting the author. As much as I loved series 1 of The Sandman, I won't be watching series 2.
 
Do I think that J.K. Rowling, Neil Gaiman or the beneficiary of Marion Zimmer Bradley’s ongoing income give a shit about me not buying their books? Of course not, but the point is—it’s very important to me. I give a shit. And, if enough of us share that sentiment, then maybe they’ll notice.
 
There are so many talented and worthy authors out there writing amazing stories. Most of them aren’t problematic and, often, aren’t financially comfortable. So, why would I give my money and tacit support to those who are?

​My answer is—I won’t.
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Reclaiming the Crone

6/3/2025

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Speculative fiction (fantasy, science fiction, horror etc) is all too often populated with strong, young characters. People and creatures breaking out of their adolescence and at the start of their adventures or approaching the prime of their lives. Where young women and girls and non-binary characters feature more often as main and secondary characters, the same can’t be said for older characters. It’s uncommon for the protagonist to be of advanced years, and rare if that character’s a woman.

Older characters are either cast in supporting roles, like the wise old wizard and the sweet grandmother, or as the evil antagonist, the barrier to youthful success. If the antagonist is a woman—the witch, the hag, the crone—she’s often portrayed as jealous and spiteful, corrupted by age and bitter with disappointment. The crone is frequently portrayed as trying to regain their youth at the expense of the victim (some princess who’s never the hero). Youth is the prize.

In fantasy, crones are depicted as deceitful and ugly old women who use their powers for malevolent purposes. Recall how the beauty of Snow White’s stepmother and Melisandre in Game of Thrones corrupts when their true natures are revealed. As always there are exceptions to generalised observations, examples include Granny Weatherwax and Nanny Ogg from the Discworld series and General Leia Organa from Star Wars—these magnificent characters embrace and celebrate their age and don’t pretend to be anything but what they are—but they’re rare.

The crone, with some exceptions, is a woman to be feared.

In science fiction, crones as characters are often, non-existent or invisible. Check out the list of SciFi books featuring old women compiled by Sylvia Spruck Wrigley HERE.

It’s disappointing that our literary interpretations of alternate and future civilisations are, again and again, bereft of the aged. That there are so very few examples of older women cast as characters who captain spaceships or rule societies or play an active role in revolutions and rebellions. And yet, in terms of readership, women prevail. Read Nikky Lee’s summary of a 2018 James Cook University study HERE.

We need to do better. It’s bad enough having to live in a society that worships youth and strives to push back against the ravages of time through surgeries, fillers, pills and creams. We’re urged to disguise our age with makeup and hair dye, then accused of being deceptive. It’s an unwinnable battle.

I not only need my fiction to offer escape from reality, but I also crave to be represented in the books that I read. I’m not ashamed of my age—it’s hard won. My husband and my parents died younger than they should have—I celebrate every day that I’m gifted. But I’m very aware that I’m often no longer ‘seen’ or ‘heard’. We older women exist, we’ve seen and experienced a lot of shit, and we can’t be fucked putting up with it anymore.

When I set out to write the first novella in the Ghost Assassins of Bijou series, I did so with the conscious decision to portray the invisible crone. I went further than that—I weaponised her invisibility. Although it’s not always explicit, more and more of my recent stories feature older women as the main character. I’m reclaiming the crone as a feminist icon and whether they’re the hero or the villain depends on your point of view.
​
If you consider my characters to be evil, then I suggest that you should fear the crone!
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Never Stop Learning

4/30/2025

1 Comment

 
I’ve been a life-long learner. Beyond my formal education at school, teachers’ college and university, I retained my hunger to grow and expand my knowledge. Over the years I've:
  • Taken night-classes in art.
  • Learned to drive a bus.
  • Become fluent in French.
  • Qualified (in French) as a marine 3rd engineer.
  • Attended marine science conferences on subjects beyond my field.
  • Gone to farming seminars.
  • Travelled.
  • Taken courses in photography.

​Just over a decade ago, following a major sharp turn in my life, I decided to write my way back into sanity. For me, it was only natural that I take courses, read books, listen to podcasts, and attend workshops and conferences to learn about the craft and art of writing.

Part of learning is recognising the point at which you can start to give back. In science, that came early, as it’s expected of graduate students to present seminars to their peers, and to present their findings at the conclusion of their research. As such, I learned to put together an interesting presentation in logical order. I’m grateful for that skill—it’s served me well.

The very first writers’ workshop I was invited to present was on Writing Emotion. It wasn’t a subject I’d given any deep thought to, but it’s something that I do in my writing. Being me, I dived head-first into research. First, I combed the internet for tools and practices and methodologies that would complement my inherent skills and knowledge. Then, I critically analysed books and stories that caused me to have an emotional response.

I learned so that I, in turn, could teach.

The workshop was a success, and I received lovely feedback from the participants. Since then, I’ve presented on short stories, how to write good sex, speculative fiction, and the impacts of AI on writing to numerous writing organisations. I would never call myself an expert on any of these, but I am good at research and sharing what I learn along the way. This has given me the confidence to volunteer as a presenter or panellist at every subsequent writer’s conference that I’ve attended.

Being a panellist is a whole different ballgame, as it depends on a pre-agreed set of parameters that flex and change over the course of the discussion. The mediator can help or hinder the panel. I was once told by a mediator that if I didn’t critically assess movies as I watched them, then perhaps I shouldn’t have volunteered for the panel—it was a panel on writing. At the time I was embarrassed—now, I’m just annoyed that I didn’t tell him to fuck off (another learning moment!). That experience didn't put me off, but I'm now much better at ensuring I understand the scope of the panel in advance. 

Anyway, all this to encourage you to stay open to learning. No matter how much of an expert you are in your field, there’s always something new or different out there that you can learn. And honestly, my university was right, one of the best ways to learn is to teach. Don’t be afraid to volunteer to present a subject to your local writing (or whatever) group. Become the expert! (Alternately, get in touch, maybe I can help!)

If nothing else, learning is great for your brain.
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Finding a Character's Voice

4/1/2025

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What makes each character in a story shine? In part, it’s their voice. Voice is how characters wield dialogue, and it should be supported by the narrative. When reading a character’s internal thoughts or dialogue, we should recognise them. Their voice should be distinct not only from the other characters, but also from the author’s voice. 

When faced with someone playing their music too loud, one character says, “Would you mind turning that down a little please?” While a different character shouts, “If you don’t turn that shit down right now, I’ll fucking do it for you!” Straight away, we can differentiate the characters and not only surmise something about each of them but also about their relationship with the person playing the music. These characters employ their dialogue in very different ways — one polite, the other aggressive.

It's obvious that a cleaner on a generational spaceship woken from cryo-sleep to clean up after a bloody coup will speak in a very different way to a witch offering a potion to a lovelorn knight. The differences will exceed their locations, languages and accents. Almost everything will be different: the tone, urgency and rhythm of their speech; the vocabulary they use; the structure of their sentences. But what if it’s two cleaners woken from cryo-sleep? How can their voices be distinct?

The background of a character should be reflected in their voice. Their age, gender, culture, and education will influence their word choice. Think about the way older men often interrupt and speak over young women. The vocabulary of working-class people shouldn’t be simplified or dumbed down — but it should be used differently to upper management and company owners. In the same way, racist tropes should be avoided. It’s enough to say ‘She spoke with a French accent’, rather than…ow you say?…err…to write in ze way she en fait speaks…bah dis donc!

The temperament of a character influences not only the words they use, but the way they deliver those words. When they get angry do they shout and annunciate every single word? Perhaps they stutter when nervous or afraid? Much is revealed about a character by their tone of voice — are they arrogant or timid by nature? What happens when a character finds themselves outside their comfort zone? Do they talk more or go quiet? Are their sentences shorter or do their sentences trail off to silence? All of this tells us something about the character and sets them apart from the crowd.

Turns of phrase, tics, and slang are very effective in distinguishing characters, but they should be used judiciously and not over laboured. The same applies to habitually mispronouncing words. I once had a conversation with a woman who talked about visiting the ‘gully’ on an airplane, it took me a while to figure out she meant the ‘galley’. The same woman was someone who if a sentence only needed ten words, then she’d use thirty. If I was to write her as a character, the obvious foil to her verbosity would be to have a character who only spoke in clipped sentences, grunted or used gruff words.

Describing a character’s body language through narrative is another way of distinguishing their voice. Do their emotions play out on their face or are they unreadable? How a character walks and moves can tell us a lot about them and can differentiate them from other similar characters. Another physical attribute that distinguishes a character is their speaking voice. Is it low or high-pitched, raspy, booming or soft? The discordance of a character’s speaking voice being at odds with their physical appearance creates a unique and memorable character.
​
Every character, even minor ones, should have their own voice. One of the best ways to research character’s voices is to people watch. Sit in a café or a park or wherever people congregate and pay active attention to the conversations around you. Take notes.
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Why Write Novellas?

3/2/2025

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In the 11 years I’ve been writing fiction, I’ve only completed one full length novel. The two others I started sit stranded at around 30,000 words — the characters fated to remain frozen mid-action surrounded by the crumbling facades of my world-building. I just can’t muster the commitment needed to revitalise them. Yet, in those same 11 years, I’ve written a multitude of short stories, numerous poems and seven novellas.

When setting out to write the Ghost Assassins of Bijou series. I made the deliberate choice to write them as novellas. Each of the five stories are between 22-29K words in length, so roughly 100 pages in book form with a reading time of 2 - 4 hours. While each novella stands alone, as a series, they read as a layered and complex novel.

In a 2014 essay, Allan Gurganus said, “A novella, containing the best of poem and novel, gives us the whiplash of one and echoes of the other.” I find beauty in the stark brevity of novellas and prefer the sharp stab of emotion to the drawn-out torment of longer-form novels. Then again, I also rip off plasters and dive into freezing water…so my reading preferences reflect my life-style perversities.

When I consider my favourite reads from the last few years many of them are novellas:
To Be Taught if Fortunate by Becky Chambers
This is How You Lose the Time War by Amal El-Mohtar and Max Gladstone
All Systems Red by Martha Wells
Binti by Nnedi Okorafor

None of this is to say that I don’t like reading novels or even sagas, I do, but I prefer the shorter form. I’d rather read a series of short books set in the same world / universe, than a seemingly endless saga rolled into an enormous single offering. I’m easily bored and often skim-read large swathes of a saga to leap from one action scene to the next. Whereas, I'll cling to every nuance and word of a well-crafted and perfectly formed novella.

As a writer, the novella has given me the freedom to be innovative in how I use words to create emotions and responses. In the Ghost Assassins of Bijou novellas, I’ve made use of songs and haiku to invoke a sharper emotional response than could be achieved with even the most beautifully crafted paragraphs of prose and dialogue. I've also experimented with different points of view.

I don’t consciously follow formats such as the Hero’s Journey or the 3-Act Structure when I’m writing a novella. This doesn’t mean there isn’t a flow to the storyline or a lack of tension, it just means the points of high emotion, high tension and relief occur organically and often in ways that aren’t expected or anticipated. When read as a series, the high points hit differently.

Like Martha Wells’ Murderbot Diaries and Nnedi Okorafor’s Binti Trilogy, the Ghost Assassins of Bijou is a series of novellas. In this way the series offers the complexity of a novel — deep world-building enriched by multiple points of view and subplots weaving through an overarching storyline — with the artistry of a poem.

Novellas offer a deeper exploration than a short story, while being more focussed than a novel. Our minds are busy, and our senses overwhelmed. Every day we’re assailed by an avalanche of unfettered information that we must critically assess to determine what's true, what's important, and what's critical. When I read a book, I want to escape and be distracted from the horrors and mundanities of our increasingly dystopian world.

So, when I write a book, I write it for me. And this is why I write novellas.
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A Year of Writing with a Critique Group

2/2/2025

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Just over a year ago, I committed to writing an additional four novellas in the five book Ghost Assassins of Bijou collection by year’s end. That meant committing to writing a novella, of around 25,000 words, every three months. I’m an inherently lazy human being and a slow writer, so the task I’d set was daunting.

Then, by the delightfulness and serendipity that is fate, I was invited to join a critique group with two local speculative fiction authors – both of whom are vastly more experienced, lauded and awarded than I am. We meet for two hours every fortnight to critique and offer feedback on each other’s work. When we can’t meet in person, we meet online and once or twice we’ve relied on electronic feedback only.

Despite our early decision to limit our submissions to 4000 words, or a short story, that didn’t last past our first get together. I’ve routinely bombarded them with over 10,000 new or rewritten words each session. They never complain (well not to me anyway!) and at times were disappointed when I didn’t give them the next chapter.
It’s been amazing! I’ve learnt so much.

When I look back at their comments from the beginning of last year, the pages of my manuscripts are littered with corrections to grammar and sentence structure, and comments pointing out inconsistencies and problems with my plotting. The most recent feedback was much less grammatical, and more about tweaks to the storyline aimed at keeping the reader satisfied. I still can’t quite get my head around run-on sentences but I’m much better at comma placement.

My critique crones have gifted me ideas for literary devices to keep dry details out of the prose and others that weave poetry into the prose in ways that I never would have had the courage to attempt on my own. They’ve kept my characters’ voices true and the plot holes tiny. Best of all though, they’ve littered my pages with ticks and scrawled love-hearts in the margins when they find a phrase or section that they enjoy.

For the first few months I was terrified I was bringing very little to the group. I’m neither an expert in grammar nor spotting plot-holes and need time to chew over new ideas – but I have other skills. I’m good at world-building and character development, I possess a strong aversion to the overuse of -ly adverbs, and I know when a story needs more tension. I also do my best to be generous with ticks and love-hearts in the margins.

So – did I meet my goal of writing four novellas in a year?

Not quite.

With rewrites for consistency through the collection, it took an extra month. I’m now in the process of doing final edits and lay-out and writing the synopses for each novella and one for the collection.

Could I have done it without my critique crones?

Maybe.

But, without them, it would have been a set of pretty stones rather than a collection of polished jewels.
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​Storytelling as Resistance

12/1/2024

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For many of us, there is much in the world to be afraid of as 2024 stumbles to a close.
 
War – genocide – mutating viruses – religious fundamentalism – fascism – rampant capitalism – misogyny – racism – trans & homophobia – exploitation – climate change.
 
Then there’s the environment…our air, oceans, rivers, land and biota are being polluted, exploited, destroyed and rendered extinct.
 
It’s a lot.
 
It’s too much and it’s understandable to feel paralysed and overwhelmed. I faltered and came close to crumbling a month ago. I’m just one person, after all, and I couldn’t see how anything I did could make a difference.
 
Then somewhere, I forget where, I read the three words that entitle this blog. Storytelling as resistance. Those three words sparked a realisation that in dark times, we need stories that challenge the darkness. I hunted for support to fuel my tiny spluttering spark, and I found it from two writers — both women of colour. This came as no surprise, as women of colour face additional layers of overt oppression, discrimination and violence.
 
A quote from Toni Morrison reminded me not to fall into the trap of doomscrolling and constantly following the news headlines. “I know the world is bruised and bleeding and though it is important not to ignore its pain, it is also critical to refuse to succumb to its malevolence.”  I’m not always good at this, but I try to limit my exposure.
 
I don’t watch televised news broadcasts, except under exceptional circumstances. It reminds me too much of the Romans in their amphitheatres, revelling in the gore of gladiator against gladiator, animal slayings and human executions. I do not wish to revel in human misery and disaster presented to me in bite-sized packages by a media who seeks ratings at the cost of dignity and the truth.
 
Toni Morrison also offered a call to action. “There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.” Writing is something I can do.
 
The real inspiration for me to keep writing came from Edwidge Danticat, who added fuel to my flame. She reminded me that stories are powerful, and can change lives. She said, “Create dangerously, for people who read dangerously…knowing in part that no matter how trivial your words may seem, someday, somewhere, someone may risk his or her life to read them.”  I love this.
 
We never know who will need the words we write. While I might write words as an act of rebellion, someone, somewhere, sometime might read those words to survive. Writing rebellious stories is a thing I can and must do — it’s my human obligation.
 
So, with renewed vigour and fire in my belly, I am writing. And, in the words of Margaret Atwood, “A word, after a word, after a word is power.” But I also want to say, this is me and my way of coping. We all have to find our own way forward, there is no right or wrong path. So, you do what you need to do.
 
When I wrote the first Ghost Assassins of Bijou novella in 2023, I wanted to write a commentary on the invisibility of older women in society. Through 2024, I’ve written a further four novellas in the intertwined collection and the themes have expanded.
 
Written from a very solid feminist perspective, the collection challenges the rise of fundamentalism, extremism and misogyny, it explores self-determination, otherness, PTSD in women and colonialism and addresses the impact of sexual and physical violation.
 
I believe that what I’ve written is more important now than when I started it. It's my sincere hope that in these dark times, readers will find hope within the pages of the Ghost Assassins of Bijou. Well, when the collection is published of course — but that’s a story for another day!
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