An Interview with the Voice in My Head by Scott Bransby

Photo Credit: Big Think found at https://bigthink.com/neuropsych/talking-to-yourself/

Every year, The Brunel Writer Prize is awarded to the student with the highest graded article submission for the Creative Industries module on Brunel University’s Creative Writing Programme. Scott Bransby is a runner-up for The Brunel Writer Prize 2024 with ‘An Interview with the Voice in My Head,’ an honest discussion with… himself.

In January 2024, Scott Bransby sat down with himself to write a short piece of fiction for his portfolio. The following is an exclusive transcript between Scott and the voice in his head, Cecelia.

Scott: What am I supposed to write exactly? I mean, there is so much I could do, but none feel right. What do people really want to hear from me?

Cecelia: Hi.

S: Not now, I’m concentrating.

C: Hellooo…

S: Shut it. Haven’t you got somewhere to be? Imagining one of your fancy lives where you’re a stay-at-home mum of two or the CEO of a major conglomerate corporation.

C: Nah-ah. I’m right here now with you. Whatcha doing?

S: Trying to write a portfolio piece, thanks for your disruption.

C: What are you thinking of writing?

S: If you must know and aren’t leaving anytime soon, I was initially going to start writing my fantasy chapter- but I just can’t shake the feeling that something won’t work. I don’t even know if anyone would even like what I bring to the genre.

C: Well… I like your writing.

S: You would.

C: What’s that supposed to mean?

S: Well, you are an extension of myself. Your thoughts and feelings fluctuate based on how I feel. If I don’t like something, you don’t like it either. If you like my writing, then I like what I’ve written. It’s quite simple. 

C: That’s not the case though, Scott-o. You don’t like what you’re writing currently. I should know – I have a psychic ability where I can read your mind and know exactly what you are thinking. I’ll try it now: cheese… Dua Lipa… intertextuality?

S: I’m writing my Games Design thesis as well-

C: I blocked that out: mega yawn-fest. I like the drama of living these stories out in your brain. Remember that piece you wrote back in your first-year fiction module at university? The one with sisters fighting for the crests of their Queendom? What about last year, when you wrote that twisted fairy tale about the girl trapped in a dungeon of her own hair? I got to live as each of those characters, feel their souls and taste their very essence. 

S: Well thanks-

C: Now, the fiction you write is so… commercial. It’s like you write because you must, not because you want to. How am I supposed to get into character as yet another widow who thinks she has seen her dead husband? It’s so played out. You are not the next Harlen Coben – you are Scott Bransby. Where’s your inspiration gone?

S: I-

C: No. I am not done. I’m sick of you not writing stuff I enjoy anymore. You grew up in a town brimming with inspiration. Not many people can say they ate breakfast opposite Shakespeare’s birthplace every Saturday. Your writing is unique – you colour the world outside the lines and reference every detail to your own detriment. I enjoy living in stories like that, where you authored my world. Your work may be good, but I know you don’t feel anything towards it. There, mic-drop. You can speak now.

S: I don’t know what to say. I didn’t realise you cared so much about my work. I’ve been so caught up writing for a faceless person or writing what I feel is compulsory that I forgot I should want to read it too; that you are the constant in my narrative, my guiding hand. You’ve always been there for me, watching–

C: Ew, you’re getting soppy. This isn’t the place for you to get soppy.

S: Oh, alright. Well, that still doesn’t solve what I should write for this portfolio piece.

C: Listen, maybe I can help with that…

Scott Bransby is a BA Games Design & Creative Writing graduate from Brunel University. Separating the self from the work allows Scott to humanise his words and speak from a deeper, reflective place. A self-proclaimed chatterbox, he loves to write as much as he loves to talk, leaving the little room remaining for casting eldritch blasts on Baldur’s Gate 3 and shiny hunting Pokémon.

Honouring the Memory of Professor Benjamin Zephaniah: A Literary Anthology by Brunel Creative Writing Students

by Sundus Hassan Nooli (on behalf of the Brunel Literary Anthology)

A few days before the MA Creative Writing 2023 Winter Graduation, everyone – students, professors, readers – was rocked by the passing of Benjamin Zephaniah. His passing was felt around the world. And as the other side made way to greet him, it was beautiful to witness how many people were honouring his memory and art.

Benjamin Zephaniah was and still is a towering figure in the literary space, whose shoulders many of us, pupils, friends, and otherwise, stand upon.

To honour his powerful work in championing refugees, migrants, Blackness, humanity, justice, freedom, and street politics, the Brunel Literary Anthology invites former and current Creative Writing students from Brunel University London to submit their prose and poetry to BLA.

All are welcome to submit multiple works within a single submission, as long as they keep to the overall word count (further details below).

We welcome submissions of both poetry and short stories of any genre, including abstract and experimental fiction.

The submission guidelines are:

PROSE: 1,500 word limit, original piece, must not have been published elsewhere (personal websites and blogs included).

POETRY: Up to 4 poems.

For simultaneous submissions, in different genres, see example below:

You can submit up to:

• 2 short stories

OR

• 4 poems

OR

• 1 short story and 2 poems.

Deadline: February 26, 2024. Any and all questions and inquiries can be sent to blabla24@gmail.com. Submission link and further information can be found on our Instagram page.

With the blessing of Prof Zephaniah’s wife, all proceeds BLA makes will go directly to a charity of her choice.

The Brunel Writer Prize 2023

Every year, The Brunel Writer Prize is awarded to the student with the highest graded article submission for the Creative Industries module on Brunel University’s Creative Writing Programme. This year’s winner is Jess Mival – congratulations Jess! Jess draws on her experience of freelancing to provide her fellow students with some excellent advice on…

How Not to Freelance at Uni

It’s 2am on a Wednesday night or, I suppose, a Thursday morning. You have a lecture in seven hours but haven’t slept because you have a work deadline in twelve hours. You’re hungry; you’ve only had three potato waffles and four diet cokes in the last fourteen hours.

            What’s wrong with this picture?

Juggling work alongside university is hard. Anyone who says it is easy, is lying. Anyone who says it is manageable, is not lying. They’re annoying, but they’re not lying. I decided to #girlboss my way through uni and start freelancing, for many reasons. Working for myself? Amazing. Choosing my own hours? Stunning. Getting to say things like ‘just need to hop on a call with one of my clients’? Sensual. I signed up with Paperound, a website that helps students get freelance jobs, and started getting work quickly, saying ‘yes’ to pretty much any task requests that came my way.

Flash forward a couple weeks and the work is piling up. It’s only the beginning of term so it’s fine for me to prioritise work at the moment, right? I’ll just miss that lecture; I can watch it back online and I really want to take on this new client and I know I missed last week but I’m not feeling very well at the moment anyway.

And it’s all going great! It’s so great and fine and great! I’m drowning in uni deadlines and one of my clients wants me to rewrite the last 1000-word article and another wants me to create six more social posts by 5pm and I’ve had a headache for two weeks and I’ve run out of diet coke but I’m great!

            Again. what’s. wrong. with. this. picture?

Spoiler alert: everything wasn’t fine. The classes I missed, or slacked to prioritise work, were the ones I ended up getting my lowest grades in, and I wasn’t producing the best quality work for my clients either. This is what I mean when I say working alongside uni isn’t easy, but it is manageable. You can juggle both whilst staying (sort of) sane, it just requires a little bit of that dreaded time management.

Now that you’ve seen how not to do it, I’ll try and actually be helpful. Something that really made a difference to me was completely separating my uni time from my work time. If you have a class 9-12, try and spend the afternoon doing uni work rather than work work. Realistically, you shouldn’t put yourself in a situation where you are having to spend every hour outside of your classes doing your freelance work. If you have classes all throughout the week, spend time at the weekend doing your freelance jobs or, if you have a weekday off, spend that day doing them.

If you really want to make it all work, I’d suggest getting a planner or at least writing stuff down on your notes app. Doing a to-do list might sound like the most mundane of solutions, but they’re so much more helpful than you think! Plus, if you write down things like “eat lunch” and “brush hair” you get to tick more off, which is way more fun than it should be.

Let’s head over to present day, shall we? It’s 6pm on a Thursday night and you’re closing your laptop. You’ve finished up an article for one client and four social posts for another and you’re now getting to tick those bits off your list. Your list for tomorrow is completely university-related, plus watching an episode of whatever terrible reality TV show is on. You’re going to make your dinner. It will be pasta, but it will have vegetables in it. Probably. Your life is not 10000% together but you are managing. That’s all you can do, really, is manage, and you’re doing it pretty well.

Jess Mival is a BA Creative Writing graduate from Brunel University. She is now studying for her MA in Professional Writing, at Falmouth University. Words have always been the centre of Jess’ universe; her Mum has said that “once she started talking, she didn’t stop.” If Jess isn’t talking, she is writing. If she isn’t writing, she is reading. Jess is, funnily enough, not good at maths.

Winter Reads Competition Results

Last month we ran a competition searching for flash fiction entries on the theme of “Winter Reads’. With great pleasure, we can announce that ‘Solstice’ by Harry Rooke-Kelly is the winner.

Rooke-Kelly’s story personifies the Winter season with humour and grace, focussing on its “unnecessary feelings” about nurturing life and featuring “the cryptic witch” Autumn and “new-born fawn” Spring.

Highly commended entries include ‘Winter Layers’ by Mariana Felix, a tender narrative of connection, and ‘Lokified’ by Alex Ayling, a weird, visually-playful and experimental story of transformation.   

You can read all three stories below. We’d recommend doing so from beneath a pile of blankets, with a mug of hot cocoa, while the frost glitters outside. Enjoy!

‘Solstice’ by Harry Rooke-Kelly

No one appreciates how hard it is to cultivate well-laid snowfall, or how long it takes to create individually unique snowflakes.

This job was never easy. It has never been easy, in large thanks to you lot, with your cars, your cities, and your infernal gender reveal parties. Do you know how hard it is to cultivate a blizzard when everything is on fire? So perhaps it is petty of me to snow you in, freeze your roads, and ruin any holiday travel plans but like with most things, you have brought this upon yourself.

Regardless of your bothersome existence, this job has become increasingly hard as of late, largely due to the ever-bright Spring. Once a cycle we meet, to pass the ceremonial, and entirely metaphorical, baton. Every time, I watch him tumble over his words like a new-born fawn struggling to stand for the first time, while a small horde of bunnies hop around his legs, leave droppings and paw prints in my pristine snow. Every moment is misery, and he seems so blissfully unaware, nattering on about plants and desperately trying to drag me to see the lambs.

He is yet to succeed.

When time was new, and we equally as new, it was quiet. Yet to meet, I performed my duties, took one day of recuperation, and then began work for next winter. No one appreciates how hard it is to cultivate well-laid snowfall, or how long it takes to create individually unique snowflakes. No, you just whine about how cold it is.

Now I must meet with Autumn to take over duties and responsibilities, before handing them over to Spring. I have never encountered Summer, nor do I think I ever will. Autumn is pleasant enough, a little cold, but in a cosy sort of way. We share brief conversation, a light jab at what you lot are doing to the planet, and then she disappears back into the amber of mounting leaf piles.

This cycle, Autumn insinuated, like the cryptic witch I have come to know her as, that I have a semblance of affection for the naïve and childish Spring. It’s stupid, isn’t it? He’s an oaf, a boisterous loudmouth, constantly trying to drag me to his grove while mudding mine. But when I returned to the clearing where we meet, convinced I had misplaced my shawl and furs, I found a fern growing from the snow. It had been brief, but he had ‘accidentally’ trespassed into my domain and left a little reminder.

I thought of pulling it root and stem, then and there. But, what a curious experiment this could be.

So, every day, after my duties, I would attend to the fern, watering it, nourishing the soil as much as these icy hands could manage, and slowly, over the summer months, I grew attached to the little sprout. It was resilient, growing just as strong despite being an admittedly frozen thrall of this place, despite how brutal and cold it could be. It remained and wouldn’t go away.

It seems, unfortunately, Autumn was indeed correct.

I am saddled with… unnecessary feelings.

‘Winter Layers’ by Mariana Felix

She talks about the parts of our body that can fall apart if we let the cold take over.

I had been thinking about you for days. Not deliberately. Mostly sideways.

Without agenda. I could feel through the powerful echoes of the blue distance that you wanted to start a conversation. After all these years, I still know when you are thinking about me. I recognise that unique sensation of your thoughts travelling to wake up mine and revive a dormant connection. Neither of us are surprised anymore when it happens in either direction, nor are we scared.

I received your text during my evening walk. I felt my phone vibrate and I was sure it was you. Yet, it was so cold that I could not bring myself to take my hands out of my pockets. When I finally read your message in the comfort of my heated flat, I was confronted with the news of your upcoming engagement. My first instinct was to congratulate you, to be happy for you. But honestly, I wanted to ask you, ‘are you sure?’ ‘Is this what you really want or is this because you want kids?’ I worried about what was driving your decision, but I decided to ask no further questions. You sent me a picture and I searched for traces of joy in your eyes. Maybe the quality of the picture wasn’t great, maybe you knew what you’re doing after all, maybe you knew better after what happened to us.

Six winters and two children later, you send another one of those thoughts. I already know what you’re going to say. I catch the thought and open the space for you to vent. ‘It’s over,’ you write, ‘she ran away’. You seem broken and calm at the same time, the sense of inevitability makes you stand firmly on your two feet.

You are worried about what to do, terrified about what will happen next. You talk about your failures as a husband and your fear of being unlovable. You are so tired and you want to give up. But you have two kids now, and that is not an option. ‘Nobody talks about paternal instinct,’ you write. I cannot see your face, I haven’t seen it in years. I don’t know how many wrinkles you have, or if your children have filled your head with grey hair. Above all, I don’t know what to tell you, so I simply venture that I think the answers you are looking for are in the present.

In the end, it is your daughter who unfreezes you on your way home from school. With her adult vocabulary and her soft, yet assertive tone, she simply explains that if you don’t keep moving, you will get frostbite. She learned this at school today, she says. She talks about the parts of our body that can fall apart if we let the cold take over. She holds your ungloved hand and she gives it a kiss, then puts her inside her school backpack, the best glove she can improvise.

‘Lokified’ by Alex Ayling

ad tedium… ad nauseam… he’d gone and ad enuff!

Swamped deep, deep below mirror glass and the pistol grey dust that lounged atop, it brooded and clumped, a puckered map to be uncurtained. One swipe of a fingertip… and thus, ’twas beheld:

NOW! was the Winter of his mind’s content

Made aureus, spurious, curious?

No. Hopeful thoughts were a hopeless resort. Dorian didn’t – couldn’t – spend another second upon those soothing considerations, let alone reflections of himself… his self? Something hidden stared back. Ancestry. Mother’s hazelnut gaze, oppressively dull. Her husband’s glitter and glam had once broken that murk and conjured dreamy, impossible futures to brighten → bolster → bloom  → burn, burn, burn ever-momentum, the ever razzle, ever dazzle of their next paranormal poster promise. Gasping mouths. Hoodwinked eyes. They had been her colour. Darkened then were this dynamo duo when the full stop of their marriage arrived with a heartbeat. New life was to brew in the bubble of their toil and trouble, kicking and screaming out of one cauldron to stir within another. Rose wept for an hour when she found her spotlight spellbound to lusher lips  and rounder hips. A stuffed suitcase and a one way train ticket back to parents’ judgeful coddle were betrayal’s only remedy. That, and its silencing. She’d left her childhood sweetheart for MARVELLO BLACKSTONE, the dark prince of wonders! never to love another. Not even her son. Dorian had always known, since it was all his fault, wasn’t it?

Their noose was in his blood…

Alas! Something had to be watered from this soot. Failure must rouse success. A Hero’s Cycle. Mother dressed him with the ambitions of a skyscraper to grow mightier than Mount Olympus, to dwarf infinity, to escape high up from the past’s frosty clasp. Stallion gallop discipline shot the boy into manhood, tumbling scruffy haired through years of confinement within mental gymnasiums: dēbeō, dēbēre, dēbuī, dēbitum;   

ad tedium… ad nauseam… he’d gone and ad enuff!

Grandfather’s viola still gathered attic stench, a voice suffocated in its coffin. Dorian thought of its maple, rough and osseous, needing to gasp for air. He rose…

…from the bog. He’d been drowning in it for years. All that academia, and for what? Didn’t Mother know that nothing can come from nothing? What wellspring could ever flourish through her son? Lokified – Jötunn born yet reshaped – he was not made to reveal truths. A trickster’s purpose can only be found in the shuffling of illusions upon…

…a stage: A shadow puppet atop the mountain peak… floating… Then! a star enthroned by telescopic attention, carried high up into the celestial burn. It melted an ice heart into phoenix wings; thespian flesh; another’s voice, another’s skin, another’s face.

Dorian dabbed the last of the makeup, and smiled, someone else staring back.

21 Miles Publishing Opportunity

Short poetry on the themes of migrants and refugees is sought for a new photobook by Brunel University photographer and artist, Chris Dundon-Smith. Brunel University is currently supporting Chris on the photojournalism project, 21 Miles. The photobook and poetry will form part of a multi-media installation at Ambika P3 Gallery in London (Nov 2022) and will then go on tour at a selection of galleries in 2023.

21 Miles is a multimedia documentary project that aims to describe the experience of the perilous twenty-one-mile journey across the English Channel, made by those seeking safety and asylum in the United Kingdom.

The video and audio installation uses a single photograph taken in the middle of the English Channel and combines it with over 400 smart-phone audio recordings taken from actual Chanel crossings, and the artist’s own recordings while on location.

In addition, the video installation is supported by a photobook that focuses on the physical and emotional signs and traces this demanding and terrifying journey leaves behind.

Some of the work can be viewed here.

https://chrisdundonsmith.myportfolio.com/21-miles

This is a non-profit passion project to raise awareness of the current situation and dangers facing people crossing the English Channel. Unfortunately, this is not a paid opportunity and very much aimed at those seeking to contribute to the cause due to an interest in the project or in writing poetry on the subject. There will however be the opportunity to feature in the photobook and the installation, and attend shows, as the work tours after the Ambika P3 show. There will also be a copy of the photobook provided to any successful applicants.

The poetry can be already existing work on these themes, or something new based on the work itself. The deadline for submitting will be 4th October 2022.

For more information, please contact Chris:

chris.dundon-smith@brunel.ac.uk

Thank you.

What a Night – Official Launch Party for ‘Myths, Monsters & Mayhem’!

After a spring and summer of smattering keyboards, online workshopping, proof-reading and polishing, the night we’ve all been waiting for finally arrived on Wednesday night – the Official Launch Party for the Myths, Monsters & Mayhem Anthology!

Having debuted on the Top Ten New Releases on Amazon earlier this summer, this anthology is the final result of the Horror, Sci-Fi and Fantasy module of 2021, containing the most chilling, inventive and fantastical stories from its students. And with the Halloween weekend just narrowly behind us, the launch of this spooky anthology couldn’t have been more perfectly timed.

When the doors opened at 6pm, students, lecturers, and locals alike mingled over snacks and drinks in the Artaud building on Brunel’s campus, copies of the vibrant blue cover flashing in every corner of the room. Natasha Stewart and Faizan Ahmed presented throughout the night, and the excitement was palpable as the live readings began.

Pictured: Natasha Stewart and Faizan Ahmed presenting the event.

Four of the anthology’s authors took to the stage to read. Kristie Gill with her story ‘Mumia’, Alex Curthew-Sanders with ‘The Gambling Box’, Natasha Stewart with ‘A Wild Witch in America’ and finally, Faizan Ahmed with ‘The Creed of the Talwar’. All brilliantly narrated before a captivated audience, giving us a taste of the wide range of stories in the anthology.

The night was a great success, and a rewarding experience after the many online meetings and workshops to make it happen.

A huge congratulations to all the students involved in the anthology for a brilliant release and launch!

Pictured: Creative Writing Students behind the Myths, Monsters & Mayhem Anthology (2021)

And of course, a big thank you to Mr Frazer Lee, for organizing this opportunity for the students of the module.

If you haven’t got your copy yet, it’s a perfect read for the spooky season! Myths, Monsters & Mayhem is available on Amazon for just £4.99, and all proceeds go the NHS Charities Together. Enjoy!

Psst… If you missed the event, Brunel Writer livestreamed the entire thing on our Instagram page – check it out!

Myths, Monsters & Mayhem – The New Champion of Horror, Sci-fi & Fantasy

by Faizan Ahmed

The Pandemic Era shifted our livelihoods, causing many of us to stay home for longer than we would have liked. Covid, the new World Heavyweight Champion, reigned supreme with no clear end in sight. But in that time, and after lots of introspection, Zoom calls and head scratching, the world started turning. The minds of 2021’s Horror, Sci-Fi and Fantasy class started churning those old rusty cogs again to do what we love. To write.

It is my honour to be a part of such a tenacious bunch, and to have personally designed the cover and name for our star-studded project. The online poll held for the anthology’s name was an exciting contest I knew I couldn’t miss out on. I studied previous anthologies in the series, like Wizards, Werewolves & Weird Engines and Robots, Rogues & Revenants, and knew that alliteration had to be carried forward. But the theme? My featured story explores the Islamic myth of Jinn, a human-like race only invisible and made of fire. It was from this idea that I wanted to capture the eeriness and fear I had of them as a child, which led to the inspiration of the name. A race of invisible monsters, causing chaos without us ever knowing… aha! Myths, Monsters & Mayhem!

(Faizan’s winning cover design)

Before designing the book cover, I had no experience in digital drawing, except in editing existing works. I wanted to create something that carried the tradition of the previous covers, whilst adding my own artistic flair to it. I was playing games such as the action-adventure hit Assassin’s Creed: Valhalla and had recently gotten into the Islamic-historical series Resurrection Ertugrul, so I wanted to see if I could combine the barbaric Vikings from the game and mountainous, tribal landscape from the series. Hence, I hand-drew the mountain backdrop, with waves crashing over it symbolising chaos. The warriors dotting the cover were an homage to the stories featured, and the intimidating demon on the left was a nod to the Jinn. When learning of our plan to donate to NHS Charities Together, I knew I wanted the wash of blue from the waves to be more apparent, so I added the blue magic graphic to the eyes and hands of the warriors on the cover as a tribute. The cover of this anthology was a new venture for me, as were many of the stories for the writers. But life is about taking those leaps, and when you have the courage to do so, you share those spoils with the world.

We bring to you explorations of myths, tales of grotesquely intriguing monsters and fragments of absolute mayhem. From the kingdoms of ancients to facing fears, you are in for thrills and chills like no other. Gear up for a collection of provocative madness.

(our book in the Top 5 hot new releases on Amazon!)

Myths, Monsters and Mayhem is the perfect jolt you need right now, whether that be a spark of creativity for a dormant idea or an actual jolt of fright. Oh yes, this isn’t a book by the beach. Welcome to the world of mighty fights, strange encounters and gruelling, gripping tests. All fun times, I assure you. Each story ignites something different in you, and with each of our champion writers showcasing their finest works to date, your eyes will be racing page to page for more.

The world may not be completely back to normal just yet but, for a moment, join our world where fantasies are realised. Smile, laugh and cry with us as you explore this stellar book we’ve had so much joy in creating. We hope this anthology, and our previous anthologies, inspire you like they have inspired us. Who knows, maybe there’s a writer in you, impatiently waiting to burst through with myths, monsters and mayhem of your own?

Having lived abroad for 8 years, Faizan Ahmed had the pleasure of experiencing a myriad of cultures. Faizan is an aspiring Game Designer and Creative Writer. Enthused with a passion for wrestling, superheroes and historical fiction, he channels his experiences to create compelling content for a variety of media outlets. Follow his journey to become a WWE Wrestler on Instagram: @sher.khan.official and catch the latest in his life: @ahmedfaizan68

The Brunel Writer Prize 2021

Every year, The Brunel Writer Prize is awarded to the student with the highest graded article submission for the Creative Industries module on Brunel University’s Creative Writing Programme. This year’s winner is Gatlin Perrin whose article offers some insightful tips on navigating uni. Congratulations Gatlin!

From Freshers to Final Year: How to Do University

by Gatlin Perrin

Getting through university is difficult, and anyone who says otherwise is lying. Wherever you’re at with your uni journey, here are fourteen no-nonsense tips and tricks for getting from Freshers to final year with the majority of your limbs intact.

Good luck.

1. There is a room on the second floor of the library filled with study cubicles. This is the perfect place on campus to cry. Don’t ask me how I know this.

2. On the third floor of the library is the mental wellbeing centre, where you can ask for counselling. They also give out free stress balls, which can be used as projectiles if you prefer a more violent approach to problem solving.

3. Some people will tell you that you’ll make friends for life during Freshers Week, and those people deserve to be punched in the face for causing unnecessary stress. That group over there who are all laughing and hugging aren’t “friends for life”, they’re drunk. You will find friends when you find them.

4. If you live in halls, remember – everyone has their own idea of what “sharing” is. The statement “help yourself to anything in my fridge” is a grenade that’s just had the pin removed. Padlock everything. P.S., everyone also has their own idea of what “clean” is, so get ready to discover at least seventeen different species of mould on a dinner plate.

5. Mind your own business. If I’m not judging you for only having attended one lecture the entire year, you don’t judge me for literally crying with relief when a lecturer tells me my assignment wasn’t awful. This is a no judgement zone.

6. When in second year, do not compare yourself to the first years. They’ll always seem more talented, more composed and somehow better looking than your year. Try not to take it personally.

7. When in third year, do not compare yourself to the previous third years. They also had no idea what they were doing, they just hid it better.

8. Buy a dictionary. This is because whatever year you happen to be in, none of the words on the assignment brief will ever start to make sense.

9. Kidneys go for an average of around £5000 on the black market. You can survive with just the one but you’ll need at least six if you keep doing your weekly shop at Sainsbury’s. Lidl is your friend.

10. Third years, buy an umbrella. This is because as soon as you enter your final year you will notice the vast storm cloud of “life after graduation” approaching in the distance. It’s coming faster than you think.

11. In that vein, if anyone asks you what your career plans are for after graduation you are required by law to push them down the stairs. Refer back to tip five.

12. Having mental health issues at university is like contracting an STI: more people have them than you think, you shouldn’t be ashamed but you still need to do something about them before they get worse. Refer back to tip two.

13. Get hopeful. This is because you have to – what’s the alternative? You’re not the only one who didn’t get that internship or won’t get the first they wanted, and this does not mean that you’ve failed at life. Focus on you.

14. Keep focusing on you. The most important part of university is to get out of it alive. Drink water. Get some sleep. Talk to someone when you need help. You’ve got this.

Gatlin Perrin is a North Walian writer who pens books for children and scripts that are not for children. Their play Bear Hands was featured digitally at the Edinburgh Fringe, and their children’s novel His Royal Hopeless is out September 2nd 2021 under the pen name Chloë Perrin. Gatlin likes to think they can do it all, which is probably why they’re in therapy.

The Grim Reaping of Harvey Grieves – from Brunel coursework to a short film

by Alice Lassey

The initial idea for what became The Grim Reaping of Harvey Grieves arrived in 2015. It was the start of my first screenwriting module at Brunel, and I had to come up with an original idea for a ten-page short screenplay. Our tutor, Max Kinnings, had been very fair, giving us a week to produce just a title and logline to share with the class. Being completely unable to think of a dramatic idea I could do justice to in only ten pages, I decided on a comedy about an old man running away from the Grim Reaper. Quirky, right? Original? Fun? I certainly hoped my peers would think so because the only thing rivalling my fear of sharing my work is the eternal need for validation.

Though the insistence on having us share severely unpolished ideas with the class took me some time to recover from, that second year screenwriting module was one of the most enjoyable and – perhaps more importantly – most useful of the course, and for one reason in particular. Far more than any other, this module stressed the importance of developing an idea and editing your story before even starting the first draft, ensuring that major issues are resolved before they become deeply embedded in a full-fledged script. It’s something that has helped me a lot in my writing post-graduation, and something I wish I had kept in mind while writing my major project in third year – but the less said about that, the better.

So, I wrote the script, I wrote an essay about the script (why, Brunel?), I handed it in and… I got a B+. Not bad. I guess it was actually kinda funny. After that, the script just sat in a drawer (well, on a USB, this is the 21st century) for a few years, I graduated, didn’t write a thing for a shamefully looooong time, until…

2018. I’m back home with my parents in the North, I have no job, no social life, and no local production company wants to exploit my unpaid labour in exchange for ‘experience’ (believe me, I tried hard to persuade them). In my attempts to find creative opportunities that may help me scrounge something resembling a career, I sign up to a script surgery being run as part of the Independent Directions (INDIs) festival in Leeds. The only problem is since I have barely written a thing since graduating, I have no new scripts to submit, only that old thing gathering virtual dust in the digital drawer. My assigned reader was writer and actor Gaynor Faye, and her feedback (along with the fresh eyes that come after not looking at something for years) gave me a new perspective on the script and a new desire to work on it.

So I did. And then… back in the drawer. It didn’t come out again until this year when I submitted it for feedback at the recently-formed Northern Screenwriters Table, an online writer’s group that meets bi-weekly to feedback on members’ scripts. The response was very positive, and even before the meeting went ahead, I received an enquiry from one member asking if I had spoken to a director or producer about having it made.

Up until this point, I had always considered production for this script to be a non-starter. All the advice on making short films says to keep it simple, with one location and a limited cast. They don’t say ‘how about a chase across town involving a hospital, a bus, and an ambulance?’ I had no experience in making short films, and this script seemed too complicated, too expensive to make. This changed when Simon came on board because now the project had a producer with experience compiling budgets and who knew how to go about sourcing the necessary funding. Of course, the process of making the film cannot go ahead until that funding is secured, and at this stage, nothing is certain. We have applied (and continue to apply) to a number of industry sources, and are asking individuals to invest in the project through Kickstarter, where we are offering a selection of perks (such as exclusive merchandise and behind-the-scenes access) to backers.

The journey from that class in 2015 to here has been a long one, and with any luck, it will end up longer still, seeing the project through production, post-production, and the festival circuit. Most of it until this point though, has been spent with the script sitting untouched on my computer, so I suppose the moral of the story is (and this is something I am still reluctant to learn myself) – your work goes nowhere if you never show it to anyone. And if you do… perhaps you’ll find someone as passionate about it as you are.

If you’d like to find out more about The Grim Reaping of Harvey Grieves, or perhaps even invest (and getting your hands on some exclusive perks), the Kickstarter page can be found here: https://www.kickstarter.com/projects/simonbg/the-grim-reaping-of-harvey-grieves

Tomorrow’s launch of the Kickstarter campaign will be accompanied by a livestreamed launch event on YouTube (https://www.youtube.com/watch?v=U7klydtYaQI&feature=youtu.be&fbclid=IwAR3zBWr8HX0t3Nki28KjYaAHD9JmvrltavwM3sdlOo1vYPlOY_Wg9AYB4xk) and Facebook Live.

You can follow the project on social media (Facebook, Twitter, Instagram) at @harveygrieves.

Alice Lassey graduated in 2017 with a first-class honours degree in Theatre and Creative Writing. An aspiring filmmaker, she currently writes on film at her blog Extended Cut (www.extendedcut.co.uk) alongside developing script and prose fiction projects. She can be found on Twitter and Instagram at @alicelassey.

Screen Love

by Benjamin Parameswaran 

Picture 1

Lines across space will find,
New means to spend some time,
If only for some peace of mind,
It uncorks a realm not quite sublime.

Heads of this hydra may bite one another,
Trying to express to others,
That they themselves are lovers.

Growing fonder, watch out for it
A pedestal, on which they now stand,
A looking-glass for the wistful hearted,
Always shatter-proof upon reflection.

These trees grown together need firm earth,
For wires without roots prevent disclosure,
There is no rain or sun inside this house,
Life travelling on with an electric hum.

Hold on, effort is without limits,
This garden is vast and you were born in it.

Screenshot 2020-06-07 at 16.36.17

When I was a small boy, my mother used to set me writing tasks. Sometimes I wrote about my day, other times I came up with fantasies taken from whatever I could find. She wanted me to read, read, read. But being half-stubborn mule, more concerned with games, I failed at this task. Now at the age of 25, I read at the pace of a snail and have found a love in writing that I once denied myself.