I was honoured to be asked to read at Ōtepoti's National Flash Fiction Day today, where a group of local writers celebrated the shortest day by reading some extremely short fiction - the winners of the Flash Fiction and MIcro Madness competitions. 

I read the Micro Madness piece Donor, by Tim Saunders from Palmerston North. I chose to read Tim's piece because there were shades of human / animal connection, a hint of death and a sense of history and future all contained in 46 words. 
You can read all of the top Micro Madness stories here. 

The Micro Madness winner, Susan Wardell, read her winning story Tī kōuka to us.

I also had the opportunity to read Over the Fields from Ballyturin House, 1921, by Rose Collins from Canterbury. Rose won second prize in the flash fiction competition for her mysterious and haunting story about an IRA ambush in Ireland. Tim Saunders came third, and I really enjoyed his dark yet humorous story, T is for Tiger. 
​The full list of winners can be found here. 

It was a real treat hearing so many stories written, and read by, so many different writers. 

A huge thank you to the wonderful Iona Winter for organising the event. Thank you also to Dunedin UNESCO City of Literature, Otago University Press, Dunedin Libraries, the University Book Shop, and everyone else who contributed to the day. I'm already looking forward to next year's event!

This year the New Zealand Society of Authors AGM was held in beautiful Dunedin. I attended the afternoon sessions at the library - here are my rough notes. 

To podcast or YouTube – getting your voice out there: Vanda Symon

• You can use podcasts and videos to read excerpts from your work
• A podcast or video also enables you to record your voice for posterity
• A lot of people are creating video book trailers 

Thanks, but no thanks – why agents turn people down: Chris Else

• Agents work on commission
• Present yourself professionally to the agents you approach
• Don't be cute - be professional
• The agent will want to know the title, genre, length, audience, and about the plot / characters / subject / tone / setting
• They will also want to know about your experience, credits, location and occupation
• Avoid puffery and 'the hard sell'
• John Cranna added that High Spot Literary Agency might be worth approaching 

Getting the good word on copyright: Paula Browning

• Check the IP clauses in your employment agreements
• If someone commissions you, they retain the copyright - not you
• The copyright term for writers is life plus fifty years

Te Reo in your writing – a when to, how to guide: Iona Winter

• Ask yourself why you want to use Te Reo and if it's relevant to your story
• Get used to speaking some everyday words in Te Reo. There are so many free resources out there
• Start with place names, flora, fauna ... be curious
• Te Reo can anchor your writing here in Aotearoa
• When using Māori characters, do really good research and get Māori alongside you from the start
• Chris Else added that specificity draws readers in - it's what readers like 

I was thrilled ... and terrified ... to be invited to contribute to the Otago Daily Times and Dunedin UNESCO City of Literature assignment 'the best book in the world'. 

The first three pieces appeared in the Otago Daily Times today, and a further three will appear next weekend. 

Naturally the best book in the world is my pick, Charlotte's Web, but E B White did face some pretty stiff competition in the form of The Third Policeman (argued for by David Loughrey) and The Shorter Oxford English Dictionary (argued for by Emma Neale). 

Read the first instalment of The Best Book in the World here. 

What a weekend! I was fortunate to attend three Dunedin Writers and Readers Festival events (I would have liked to have gone to thirty!) and I've had a wonderful time catching up with friends, meeting people and learning new things. 

Gala Showcase: Distracted
The writers seemed a little distracted from the theme of distraction, but the evening was a wonderful opportunity to learn more about Akala, John Boyne, Marcus Zusak, Clementine Ford, Tina Makereti and Chris Tse, and to be entertained by MC Michele A'Court. None of the writers really addressed 'guarding creative space amid today's digital noise', but instead spoke on their own passions and obsessions, which was just as interesting. 

Point of view: workshop with Paula Morris
In this workshop we learnt how to choose and use a point of view to dramatic advantage. Here are some rough notes:

• Whatever form you use (poetry, short stories, novels) - you have to know the constraints and work within them. Likewise, point of view is a constraint 
• If you switch point of view during a story, make sure you're doing it for a good dramatic reason
• What is your point of view character's state of mind? In their description of the world around them, what words can you use to convey this state of mind?
• Reading suggestions: Bleak House, Remains of the Day, Bright Lights Big City, and the stories of Junot Diaz, Alice Munro and Lori Moore
• Writing is not simply self-expression - it is made. 

Short, Shorter, Shortest
With Paula Morris, Iona Winter and Michael Harlow. Chaired by Maxine Alterio. 
This was a delightful event. Below, some no doubt very poorly-summarised notes:
Michael:

• Prose is trying to get somewhere - poetry is like dancing
• Poetry is full of quick surprises, discovery
• Writers ransack the memory and recover what's forgotten
• Janet Frame said she read all of her sentences aloud
• There's a truth to the imagination
• We are never in complete control of our material
• You write to discover what you don't know 
• Reading and writing are complementary activities 
• If you get stuck worrying about ideas you'll miss out on all the music (the music is in the words / language)
• Sometimes when I get stuck I take the last line of a poem and put it up the top. It makes you realise what's important 

Iona:

• You can hide a lot of things in a piece of flash fiction. There's always some kind of hook 
• A memory will sometimes reference something that's happening in the present 

Paula:

• Lori Moore said that writing a short story is like having a short, passionate affair. A novel is like a marriage
• ​If you are writing short stories you should buy (or borrow from the library) collections of short stories

Reading recommendations: Debra Eisenberg, Ellen Gilchrist, Flannery O'Connor, Eudora Welty, William Trevor, Junot Diaz, Tessa Hadley, Charlotte Grimshaw, Alice Tawhai, Patricia Grace, Joy Cowley (The Silk), Frankie McMillan, Vincent O'Sullivan. 

I have already read Iona's wonderful book 'Then the Wind Came'. I picked up a copy of Paula's 'False River' at the festival, and I'm looking forward to getting stuck into it. 

​A huge thank you to the festival team for organising such a wonderful series of events for Dunedin writers and readers. 

I was delighted to participate in 'Little Landers Literature' with master illustrator Robyn Belton again this year.

Run by Dunedin UNESCO City of Literature, 'Little Landers Literature' brings our local rugby team - The Highlanders - into schools to read books to the children. My book Bruce Finds A Home and Robyn's book Herbert The Brave Sea Dog were chosen. (When I say Robyn's book ... I mean one of Robyn's SEVENTY books!)

Following on from the sessions with The Highlanders, Robyn and I visited the schools to talk about the process of writing and illustrating. 

We visited Brockville, Bradford, Pine Hill, Concord, Carisbrook and Bathgate primary schools. They are all wonderful schools and we were so impressed by the teachers and the students. 

Of course most impressive of all was Robyn, who captivated me during each session with the delightful true story of Herbert. 

Over the past few days I have really enjoyed creating stories with the children, spending time with Robyn and being so well-supported by the magnificent Dunedin UNESCO City of Literature team.