Acknowledgements

We’d like to thank our generous mentors, who worked with the contributors to produce the best quality work that they could.

 

Helen Harrison

Catherine Norris

Julie Egdell

Clare Gallagher

Lynda Nash

Jennie Owen

Louise Essex

Sam Murphy

Emma Taylor

Sarah Starr Murphy

Kathryn Clark

 

Thank you so much for your support and valuable feedback!

If you would be interested in a mentoring role with us, please email manuscriptionmagazine@gmail.com

We’d also like to thank Page Dullemond, the winner of our Design Our Cover competition!

Are you a young artist who would like to design a cover for us? You’ll find information here.

Editor’s Note

Welcome to the second edition of Manuscription!

We started Manuscription specifically for creative people who are 18 and under. It is an opportunity for young people to get their voices heard and get experience in publication, as well as get excellent feedback and mentoring from older, more experienced practitioners. We wanted to help young creatives produce their best work and take something away from this process that they can apply to other projects in the future.

In Manuscription, the end result is not as important as the process. We want to know that our contributors (and, in some cases, our mentors) learned something from this experience.

We are delighted with the range and quality of submissions that we attracted for our second issue. Our contributors beautifully explore a range of complex issues with exciting clarity and attention to form. Our mentors, meanwhile, were able to coach the contributors towards improving their craft and highlighting what it is about them that makes them unique storytellers. We at Manuscription Magazine are sure that we’re going to see great things from the young people who contributed to this issue.

We’re excited to bring you this second edition of Manuscription Magazine! Keep your eyes out for the third edition in June, 2019.

Have a safe and happy holiday season!

– The Editorial Board

Second Issue of Manuscription Magazine

Downloadable Pdf

Editor’s note

Acknowledgements

Contributors:

Chloe Kang 

Roy Little

  • Dreamers vs Visionaries

Sofia Lavidalie

  • A Study in Grievances
  • I waited until my abuela died

Tah Ai Jia

  • another inconsequential list of You

Amla Rashingkar

  • A Cry for Strength

Muhammad Hamza Khan

  • Oh, Vincent!
  • Ode to Bees

Tegan Ford

  • Mother Nature
  • Salt
  • School
  • Same

Sarah Waring

  • Church

Caroline Jones

  • Rivers of Gold

Vasi Bjeletich

  • THE CREATION & THE FALL
  • Genesis For The Stars
  • brokenunbroken colour
  • MIDAS
  • Phobic

How to be an Awesome Writing Mentor

So, you want to be a great writing mentor? Here are five tips to help you establish a positive relationship with your mentee, and help them to provide their possible work for publication:

  1. Separate and identify structural issues as opposed to stylistic edits.

If a piece of writing has made it to you for peer-review, you can assume that your mentee has successfully addressed the requirements for that particular journal issue.

Initial submissions are rarely perfect – most need significant editing and guidance before they are publishable. That’s where you, dear mentor, come in.

Your main role as a mentor is to guide your mentee so that his/her writing reaches its maximum potential. No one formula for writing is correct, in fact, some of the most interesting and successful narratives break the conventions of a traditional three-act structure, such as Alejandro Zambra’s Multiple Choice (2016), which is composed entirely of a series of multiple choice questions. These, however, are the exception to the rule because, in the main, the absence of elements such as conflict, climax and/or resolution, tend to leave the reader feeling unsatisfied.

While journal-specific connections, such as themes and genres, can be tweaked for improvement structural issues tend to be more difficult to execute and remedy successfully, therefore, it is important that you, as a mentor, reflect on how successfully your mentee has conveyed elements such as voice, character and place, as these have a significant impact on the overall quality of a final piece.

These more complicated considerations should be tackled, as a priority, before moving on to edit for language conventions such as grammar, style and punctuation.

 

  1. Beware of information overload

Presenting a writer, especially an emerging writer, with a long list of ‘to do’ edits and/or criticisms about their work is the surest way to affect self-esteem.

It is unrealistic to expect a mentee to return error-free writing after a single edit, so expect the peer-review process to be an ongoing, back-and-forth, relationship.

Most of us can only cope with a few instructions at a time, so be wary of overloading your mentee. If he/she requires significant guidance, in a number of areas, then choose three specific areas to address, with each edit. It is less daunting to deal with revisions if they are separated into chunk-sized pieces and arranged under narrative elements.

In terms of structural issues, for example, amendments might be specific to pace, tense and character development. Editing for punctuation might include dialogue formatting, the overuse of adverbs and sentence structure.

 

  1. Establish strict timelines and clear feedback

Publication deadlines are determined by finalised articles and creative works, so it is essential that expectations and targets are clearly expressed and adhered to. Ensure that your mentor understands what revisions are needed and allocate a specific and realistic date for the work to be completed and returned.

Equally, it is important that you return any feedback and instructions with sufficient time for edits to be completed. Provide some wriggle-room, approaching the publication deadline, to ensure that you have time to fix any issues or emergencies that may arise.

 

  1. Format and present your feedback appropriately

Most computers have a ‘Review’ function that supports word processing software. This function is a great peer-review tool for mentors as it allows you, and your mentor, to track changes on each and every edited version. Each revision is clearly formatted and itemised, which is much less imposing than presenting a mentee with a myriad of red lines or editing marks on a page.

While honest critique is essential, it is also important to consider how you will word your feedback. Using a ‘sandwich’ technique, whereby constructive criticism is inserted on either side of positive feedback and suggestions, facilitates a more productive outcome.

 

  1. You have the final say

It takes a great deal of courage to submit a piece of creative work knowing that it will be exposed to criticism and, as such, contributors can often feel protective when mentor feedback seeks to change the original vision of their work.

We all have differing tastes when it comes to writing so it’s important to recognise that creative work is subjective. Therefore, you should prioritise the technical merits of a writing piece over any stylistic preferences you have.

At the end of the day, however, you and the editorial team decide what will and will not be published. Sometimes, questioning a mentee about writing choices can clarify an issue so that you can give appropriate guidance to improve his/her work.   A carefully worded suggestion can also help communicate feedback, such as, would the author consider changing …  

 

NB: The advice on this blog post can be used in conjunction with the article titled Creative Writing: workshop critiques

 

So, you’ve received a rejection letter…

There are many reasons why a publisher rejects an author’s work.

Here are some common reasons for getting a rejection

  1. The work does not adhere to submission guidelines

You may have written the next throb bizz but, unless you’re Toni Morrison, Stephen King or Nora Roberts, follow submission guidelines—publishers are precious about these.

One glance, and the slush reader will automatically reject work that does not meet the required word count, font type, line spacing, cover letter specifics, subject line format…

Just do it, if the publisher says to have the following format in the submission line of your email: Submission: <“Title of story”> <(word count)> by <Author name>

 Just heed, if the publisher says We’re not big fans of unnecessary profanity, sex, or drug use…

 Just format that manuscript before you submit it, if the publisher says:

All manuscripts should be double-spaced with broad margins and numbered pages.

Use 12 pt Times font, or a similar serif font, such as Cambria, Palatino, Baskerville.

This is where most manuscripts fail the first cut.

 

  1. The work is too cliched

Writers face a tough market: there are well-established writers, young career writers and novices everywhere looking to be published.

What makes your work unique? What stands it above the rest? Unless you’re writing fan fiction, avoid groan-inducing plot lines that even a five-year-old knows about. For example:

  • orphaned hero fights evil tyrant
  • a mystery solved by unveiling a secret twin
  • pirates on a treasure quest
  • boy-meets-girl…girl plays games…
  • …it was only a dream

Story ideas are everywhere—add ‘what if’ and find that angle that makes your idea unique. Don’t join the rejection pile for lack of novelty.

 

  1. The plot is too complex

You may have an IQ score of 210, and your story curls the world in a twist, but if the slush reader or publisher doesn’t get your plot, you’re stuffed.

Write something credible that does not give people a migraine to read it.

 

  1. Story tackles a controversial topic

Publishers generally would rather not deal with legal issues. Their goal is to sell stories, not alienate readers.

Unless you’re a pundit on the subject, do you really want to write about marijuana legalisation, racial profiling, assisted suicide, or the story of a hero who exploits women through sexual favours in an age of a ‘me too’?

Sure, freedom of speech. Taking a chance on a controversial topic is taking a chance on a rejection letter.

 

  1. It’s just not a money maker

There are some really bad stories out there, and they are selling. Sadly, a competitive publishing industry also means that it’s about marketing.

Bios generally don’t sell unless you’re famous, have a million Twitter followers or you have something really juicy the world can’t wait to know.

Your subject matter may be important to you, but irrelevant and unimportant to the target reader.

Publishers know to sniff what’s hot on the market in whichever genre, so it helps to do some market research to see what’s selling (climate change, Trump) and how you can make your work unique in that area.

 

  1. The work is unpolished

Never send out a first draft to a publisher. Edit, edit, edit. Where possible, get peer review or someone professional to look at it. Spellings, typos, weak characters and runaway plots are a no-no.

 

  1. Opening line doesn’t catch

Remember the publisher is trawling through thousands of manuscripts and simply has no time to put up with a slow start to arrive at the rich end of your story. If your opener does not hook in the first four lines, you’ve probably lost your chance with this publisher.

As part of polishing your work, do your research to get the right tone of the publisher. Read something they have published and understand what hooks them.

 

  1. Not the right publisher for your genre

If the publisher says we generally don’t accept poetry, it means they don’t. If they don’t publish science fiction, fantasy or horror, why send it to them?

Even genres have sub genres: the publisher may accept science fiction, but only steam punk.

Again, do your research. Don’t just write and hope it fits somewhere. Send your work to publishers who are the right fit for your work.

 

  1. Simply because

The publisher may have no defensible reason to reject your work.

It just may be that the publisher reads your polished work and its superb plot submitted in the right formats, but just doesn’t ‘feel it’.

Or maybe they don’t like your name—there was some terror kid in kindergarten that shares your first or last name. Or maybe the publisher is having a bad day when your work rocks up.

And that’s that.

 

Now what?

Review the work and see if you had the right polish, the right story, the right publisher…

Fix whatever might need fixing, then send it along to the next publisher.

Don’t build a shrine of rejection letters.

 

 

Peer review; when is it appropriate to ignore feedback?

Reading is subjective. We don’t like everything that everyone is reading. So writing is not a guarantee that the people you intend to connect with your work will connect with it. And this includes peer reviewers.

Why peer review?

To be published, writers give others entry to their precious world. Refereeing by peers and experienced writers is a form of quality assurance.

The work of a peer reviewer is to guide you to a quality product. A good peer reviewer will identify things in your blind spot—you are too attached to the work to notice its flaws.

Catching one of more of the following gaps or flaws may save you from a publisher’s rejection:

  • The work does not adhere to submission guidelines
  • The work is too cliched
  • The plot is too complex
  • Story tackles a controversial topic
  • Spellings, typos, weak characters and runaway plots

A good peer reviewer works with you as a mentor, giving feedback that helps you refine the work.

 

When the peer review is unjust in its tone or content

Some people are by nature ‘catty’—think of a shrew. They are mean and lack a mentor bone. Their peer review reads like the words of a bully who wants you to feel inadequate.

When you receive this kind of peer review, acknowledge that a harsh critic can be a mentor too. To discover such a mentor in the harsh critic, one may discard what is not useful, and try to find something of use in the remarks, though unpleasant.

Conversation with a trusted mentor, for example someone whose judgement about your work you trust, is another useful way to dissect the criticism, to legitimise or invalidate it (because invalidating blunts the barbs), and to work on strengthening the criticised work.

A repressive peer can restrain your innovation, can cull your creative energy. A good peer reviewer is not seeking the death of the author but rather wishing to view the writing in its best light; feedback may go so far as to make suggestions that enhance the originality of the artist’s voice.

It is important as a writer to:

  • recognise open-minded from negative reviewers
  • grow beyond the review exercise and draw learnings rather than disillusionment
  • find the mentor in the ‘right’ referee, where the term ‘right’ does not mean the one who likes you but the one who really studies your work seriously.

Writing is a solitary task. We’re hermits. Find the right support group—it could be a writers club or a professional organisations. Surround yourself with the right people who study your work seriously and mean the best for you.

 

How do you structure a short story?

The dictionary definition you would find for the short story is ‘a very brief story with an immediate point’.

A short story is a prose narrative, generally up to 5,000 words, but you can get shorter or longer versions which might then fall within classifications like ‘novella’ or ‘flash fiction’.

Much has evolved in writing the short story and the question of how long or short is a short story really depends on the publisher or competition you are submitting to!

So, there are no cast iron rules about short story writing, particularly with newer variations of prose poetry which is like a very short story in poetry form, or poetry in short story form.

But what scholars, critics and creatives will agree on is that most short stories have the archetypal three-act-structure of a beginning, middle, end.

 

Beginning

The beginning of your story is where you have your ‘hook’.

Here is where you give the story a setting, situate your narrative and make it real to the reader.

The brevity of a short story means you don’t have much time to draw the scenery and waft in characters, building upon their qualities. You must jump right in and hook the reader with an opening line and subsequent paragraphs that keep them enthralled with the story.

Go bleak, go absurd, go confiding or disconcerting in your beginning. You might even start your short story with the belly of your narrative, or the feet, and then go full circle.

George Orwell begins his famous novel 1984 with the disconcerting: ‘It was a bright cold day in April, and the clocks were striking thirteen.’ Immediately, the reader wants to know why, surely, are the clocks striking thirteen and what does that mean?

Louise Erdrich begins her novel Tracks set on an Indian reservation near the fictional town in North Dakota with an enigma: ‘We started dying before the snow, and like the snow, we continued to fall.’ Immediately the reader wants to know who was dying, and why.

Suck your readers into your tale right from the onset. A publisher or competition judge rarely goes beyond the first two or three paragraphs, that are the beginning of the story, to determine whether they like it.

 

Middle

The middle is where you draw out your scene, chart the characters and tell your story.

Here is where you draw upon your unique voice as a story teller, and you decide whether the narration is in first person voice (I stood in the hallway…), second person (You stood in the hallway…) or third person (She stood in the hallway…), or in present tense (I stand in the hallway).

Tell your story concisely. The nature of the short story means that less is more. If you can say it in fewer words…

Avoid adverbs and adjectives, scene setting prose that takes your characters gallivanting across mountains and prairies doing nothing other than delay your plot.

Dive right in with taut writing and riveting dialogue. Take your reader on an escapade.

Avoid intricate plots. Generally, you will have fewer than four characters and no more than two parallel plots that drive each other.

Ask yourself:

  • What is it that the primary character wants?
  • What is standing in the way of their getting it?
  • How do they get it (or don’t)?

Choose the right point of view for your story. Does it work to write about a murder from the victim’s perspective? Or a ghost story from the ghost’s head?

Edit, edit, edit… It might sound great in your head, how does it read on paper? Read it out loud, hear the flow. Delete those needless elaborations…

Lock the work away a few days, pull it out and look at it with fresh eyes.

Edit, edit, edit.

 

End

Tie all lose ends. The brilliant thing about the nature of a short story is that it doesn’t have to ‘neatly’ end.

You can finish on a cliff-hanger. You can leave meaning to be uncovered.

In its form, the short story allows you and the reader to suspend the act of deciding closure. It can exist as a fragment that does not leave the reader feeling cheated.

No magic endings: ‘She waved a wand and all the monsters disappeared.’

No cheats: ‘And then he woke up – it was all a dream.’

The end of your story could hold an underlying truth for all the players (the author, the character, the reader) that ensures something has shifted.

So, the ending might leave your protagonist thinking about returning to their estranged home or spouse – you don’t have to write in the actual return. Or a killer walking into a trap – you don’t have to capture the exact entrapment.

But, ultimately, at the end of the story, something about the character’s journey or intention is significantly changed.

The ending might allow an incompleteness that is sufficient. One that leaves the reader contemplating.

Beginning. Middle. End. That is the model three-act-structure of a short story. The best way to hone your craft is to read many good stories by your favourite writers.

Now stop pondering and get writing.

 

Kate McKay

Bio: Kate McKay, age 15, from Australia. I love to read and I play the viola and cello.

Editor’s note: We liked that this poem wasn’t entirely predictable. The series of metaphors invite the reader to think about the different aspects of hope. Hope is a beautiful thing, but it can also be dangerous or difficult, and Kate does a nice job of executing that dichotomy.

Hope

Hope is an ocean; its beauties are endless but so are its dangers

Hope is a seed, it’s planted, it grows and it dies

Hope is a mountain; it gives you height but the higher you go the further you have to fall.

Hope is a storm, it clouds your judgement

But hope does not last forever

So when hope is found

Hold on tight

Erna Gashi

Bio: Hello, my name is Erna Gashi. I am an American-European girl, 16 years of age, and I live on the East Coast of the United States. I am very passionate about culture, traveling, writing, and fitness. In my free time, when I am not writing, I enjoy being physically active through running and soccer. I write pieces that are reflective of aspects of life from other people’s points of view and of my own. I believe that writing is a means of expression by which one can truly express every ounce of emotion on paper. Writing gives me reason, thrill, and momentum. The best thing about writing to me is that no matter who is listening, or not listening, the page I write on will always listen to me. My dream is to one day write about my life, and feel accomplished in doing so, knowing that I have seized every opportunity and made a positive impact on the world. I firmly believe that my work evokes a sense of familiarity and connectivity to the readers. I hope that my work will inspire readers and continue to do so in the years to come.

Mentor’s note: “It was a real pleasure working with Erna on her poems: Night, Mother and Bread.  She has a unique voice. Her language is striking and she weaves imagery and form with skill to create real emotional impact.   Erna had a clear sense throughout of what she wanted to communicate with her writing and I think this translates into the clear focus of themes in her finished work.  It was a privilege to engage with Erna on her poetry, I hope she found the opportunity to develop her work through our shared creative dialogue as helpful as I found it enjoyable.” – Jennie Owen

 

Night

Feelings liberated into the night sky

I now feel so

free.

 

Something about her tenebrous manner ignites a spark,

My quiet analysis ensues.

 

She is like a stippled painting when her artist is done,

creating an ethereal haven as my blanket.

I share her with City lights, emanating their hazy amber

as I gape at her dusky abyss with unfeigned admiration.

 

The endless obscurity leaves me sullen,

but evokes primeval feelings within me.

 

Sheltering me from facing pains of Day,

I now feel so free.

 

She is only but a temporary juncture,

an idealistic reality I could truly soar in.

with

the

scintillation

of

her

scarlet

stars

I now feel so free.

 

Mother

Her arms glean the gelid droplets,

and the dusty powder that blows.

And on them grows the answers to questions,

that come and go in life’s perennial cycles.

 

I sit under her grasp and I hold the credence,

that her empathetic nature will soothe me.

Thwarting the leery light of the outside,

so that from the world I may disguise

the primeval emotions I pour.

 

Her languid language conveys beauty,

the beauty I may learn to be,

when I learn to appreciate her shelter.

 

At periods of our convoluted bond,

Never have we neglected what we are,

and what we are, I would never compromise.

 

There are days where I do not come for her green shade,

nor do I come to her when I am feeling okay.

But when it storms and I cannot help but cry

it is guaranteed under her I will lie.

 

And I know that no matter what,

her roots will still dig deep

and her stance still permanent,

she will never leave me.

 

Bread

I came home that day, with one loaf of bread.

“Father, Father!” I shouted.

But you seemed to shake your head and turn the other way.

 

“Mother, Mother!” I shouted. “I have us a loaf of bread.”

But mother made me hide it.

 

You came closer and you grew angry

When you raised your arm

I did not wince. I was not frightened.

 

I saw the look in your eyes

the firelight burned right through them.

Mother was crying in the background, pleading for you to stop

 

I let you do what was senseless

because I knew that you were scared too.

 

But brother stood up and told you to stop

and brother said he knows how we can flee.

You let me go

you told me I could not hear this.

 

I took my loaf of bread that sat on the coarse rug,

and I gave it to mother.

Mother let sister eat it.

 

It was so cold, so I asked you

“Father, can I…?”

And before I could finish you said,

“Go to sleep. I promise…”

 

Somehow, the gentle whisper of your word

reassured my hopes of escape,

regardless of the hurt you gave me.

 

I quietly went under the rug for warmth

even though the earth below me was so cold

and I hugged sister tightly to ignore my pain.

 

I could not cry, or I would wake the guards outside.

I pretended to sleep, but I heard brother’s plan.

Tomorrow, I would not be scared of coming home.

When we get to that new place so far away

Maybe my belly will stop asking me for a loaf of bread.

 

Conall Hickey

Bio: I’m Conall Hickey, I’m 15, and I’m from the United States of America. I’ve been writing for just over a year, and I really, really love wolves.

Mentor’s note: “Conall’s two poems are distinctive in their use of extended metaphor. Conall shows as a writer they are adept at bringing a unique perspective on situations between people with a sophisticated use of metaphor and imagery. Conall’s poems are sparse, vivid and emotive – it was a pleasure to read them” – Sam Murphy

 

Spiderwebs

I sat there,

tangled in the spiderwebs

that were the connections

between us.

 

There she was,

the first woman

that I ever loved,

with eight legs

and an hourglass

on her stomach

 

Molotov

My love for her was vodka,

And we drank the night away

We drank so much,

I couldn’t recognize myself.

 

But after, during the hangover,

she took that vodka,

put it in a bottle,

and threw that molotov

straight into my heart