Dangerous Northern Women

I’ve been writing a bit of non-fiction lately (I mean apart from this blog, and the usual book reviews). Some of it is now up at the Dangerous Women Project in the form of a piece about the Bradford Female Educational Institute and its worrying policy of actually trying to teach working class women stuff, back in the 1850s when that really wasn’t cool (I know – Bradford, education, working class history and northern women all at once!). You can read it here: http://dangerouswomenproject.org/2016/08/17/bradford-female-educational-institute/

I was planning to tell you all about the project in advance, but I didn’t want to seem like I was crawling while my piece was under consideration and I didn’t realise it would be up so soon after acceptance, so I never did. Suffice to say I recommend having a good look round the site, there’s a lot of different topics which all have something to do with the idea of being a dangerous woman, pushing boundaries in some way.

If the image had been freely available, I would have liked the drawing from this 1856 magazine page to illustrate it, but sadly it wasn’t to be.

Forthcoming Ostragoth comic: an interview with the illustrator

In between watching live streaming from this year’s Wacken festival, OneMonkey has been working on our new comic. It’s an adaptation of my short story Waiting for Boothroyd (which you can read in my SF collection Cracks in the Foundations).

Boothroyd-svg

OneMonkey has done lettering, odd bits of artwork, and general editing/layout/adding brilliance for Ostragoth’s previous comics, but this time he’s taking on all art-related duties. To the backdrop of a Saxon gig I asked him why, how, and all those kinds of things.

I dabbled a bit last year and I thought I’d got the lettering I needed but I couldn’t get the character style right so I put it to one side. Coming back to it this year I hit on a good character design but that didn’t work with the previous lettering at all so I had to go back to the drawing board on that.

The character design is still under wraps because it may well change (I think it’s good, but I guess I’m slightly biased).

Thinking back to the odd 60s cartoons I used to watch, I wanted something along those lines. I saw a couple of what turned out to be Saul Bass-inspired fonts and they were close but not quite right. So I started from scratch, roughing out the outlines in the gimp then creating the vectors in Inkscape.

He’s like that. He sat and drew then re-drew all the letters until he was happy (a couple of days later). But now we have something unique.

Waiting for Boothroyd is planned to be a dynamic svg comic but we’ll have to see how that turns out. Not like I’ve ever done one before.

That doesn’t usually stop him. I for one am eagerly awaiting the completion of this version of Waiting for Boothroyd. I’ll keep you posted here.

My writing life:having a wonderful time, wish you were here

It’s been a good couple of weeks at Chateau Monkey. I’ll forgive you if you missed my story Breakfast in Bradford over at The Flash Fiction Press a couple of weeks ago (but perhaps not if you don’t pop across and read it now…). Since then I’ve submitted to a few more magazines and a couple of story competitions, had another piece of flash fiction accepted (for issue 8 of Firefly Magazine, due in September I believe) and shepherded Ilkley Writers through an evening of writing microfiction.

I’ve made progress with a sci fi story I’m quite pleased with (begun in March 2012 I think – I have to let things ferment at the back of my mind), and started on a ruthless edit of awkward length fiction (12,000 words. Short novella? Long short story?) that I finished in April. There’s a rewrite underway for another submission I made a few weeks ago, and if the rewrite is deemed suitable I’ll be immensely chuffed and will shout loudly about it on here.

Oh, and OneMonkey is hard at work on a comic, just the two of us this time (though there are other plans afoot with Mark, as usual). I’m hoping to be able to give you an update soon, but it’s looking good so far. And he gets to geek out over fonts.

I hope your projects are buoyant too, it’s a good feeling. Let me know in the comments below, or say hello on Twitter @JYSaville – sometimes it seems awfully quiet around here. I don’t bite, honest.

Bradford, City of Film

Continuing the Bradford theme (I know, such an unusual topic for me), I ran across a story I wrote a few years ago but never found the right place to submit. Reading through it this week I found I still liked the concept and was pleased with how I’d done it but (thankfully) it’s a bit outdated now. Bradford’s picking up again, as I said in a recent post about the literature festival. They’ve even moved the central library. So, have this (magic realism?) story on me, constructive feedback and comments welcome as always.

Bradford, City of Film by JY Saville

Chris drove past the shining new signposts heralding his return to the city of his birth: Bradford, City of Film. He smiled to himself and shook his head. They were grasping at straws, he thought; it was hardly the new Cannes, not even Edinburgh but if it helped, where was the harm. That it had helped was obvious as soon as he dropped down into the city centre. He parked behind the library and stood looking around at the surroundings. Everything looked smart and new, there was even a bayonet in the war memorial statue – Chris had never seen one in place except when Tom Courtenay saluted it in the film Billy Liar. Rumour had it that the council had given up replacing it after it had been stolen so many times, but other rumour had it that it unlocked a secret tunnel under the neighbouring Alhambra theatre. Chris laughed out loud as he strode down the hill, glad to be back, revelling in memories.

Chris Thompson had left university with ambition; once upon a time that ambition could have been fulfilled in Bradford, a bright young lad could have gone far, learned languages, travelled the empire, all in the service of worsted. Chris knew what worsted was but that was as far as it went; his kind of ambition needed a modern city like Leeds to thrive. And since you may as well be hung for a sheep as a lamb he’d left the county altogether and moved to London. Once there, he’d dusted off his middle name – Pyrah, Bradford to the core – and attached it to his surname. Now Chris Pyrah-Thompson was home.

He kept walking, never getting closer to his fellow citizens than the glimpse of a turned-up raincoat collar or a flat cap rounding a corner. Not many people out so late; maybe those that weren’t at home were at the cinema, helping the city earn its new title. Chris himself would head off soon but it had been a long drive so the brief diversion on foot was welcome; for the moment the glow of the sodium lamp over the familiar streets drew him on. He hadn’t realised it was so late and dark when he’d arrived. And suddenly quiet, too.

The eerie silence solidified round the cathedral where the sound of trains should have been a periodic background thrum. Looking at the cathedral full-on it seemed real enough, but glance up Church Bank and he could see from the corner of his eye how grainy the edge of the churchyard was. He shook his head, looked away, looked back. Tired from the long drive, or had his Aunt Irene’s warnings of the effects of living in the South been justified? He looked down at his feet. The cobbles took over from tarmac a few feet away. He whirled round and a silent horse was ridden past jerkily at the top of the street in that characteristic stop-go of early cinema. City of film indeed.

It was convincing enough to fool a passing visitor, but how many of those were they expecting? As some fellow Bradfordian had once angrily informed him – and to be honest he’d never bothered to check if it was true – there were no signs pointing the way to Bradford, and the single junction of the M62 that hinted at its existence was rumoured to loop round and deposit the unwary motorist back on the carriageway pointing in the other direction. This was generally assumed to be part of the Great Conspiracy to Steal Bradford’s Thunder which, so the story went, the Leeds city fathers had been perpetrating since long before the advent of moving pictures.

For a son of Bradford, these images hinted at past glories and lost youth, presenting Bradford as the returning wanderer remembered it. And maybe that was the point. Though how many returning wanderers were there? How many of the people Chris had seen that night were real? Did anyone still live here?

He ran along cobbles, tarmac, packed dirt, through the early days of silence to the full colour noughties. Shifting, disconcerting visions of the city overlapped around him. Look from one angle and you could see the old market, go round the corner and instead of a rear view you might see the field it had been built on or the shopping centre that replaced it. The beck was underground or above ground, almost dry or overflowing. It was a real test of local knowledge and Chris didn’t feel up to the challenge. His shoes rang out on the solid surface of the streets; he had no doubt that if he fell in the beck he’d get wet. Or poisoned – he’d heard his grandad tell the old tales.

Rounding a corner in colour he saw a man locking up a shop. Chris didn’t pay too much attention to the details, just shouted to see if he could get the man’s attention, and to his relief he turned to face him, hand still on the door handle.

“Thank God,” panted Chris. “I think I might be going mad.”

“Evening,” smiled the shopkeeper.

“How long’s it been like this?” asked Chris, hoping the man didn’t ask what he meant. There was still a faint possibility that Chris was losing his grasp on reality.

“Well,” began the man, considering, “We’ve had a couple of weeks to get used to it, and I think folk are settling into it.”

“A couple of weeks? That might explain why no-one’s noticed yet. I mean, from the outside.”

“Aye,” agreed the shopkeeper, folding his arms, still smiling at Chris.

“Doesn’t it bother you?” asked Chris, aghast.

“I’m quite adaptable.”

Chris was quiet for a moment, wondering how adaptable a person would have to be to take something like this in their stride. He was about to say something when the shopkeeper said:

“It has caused a few problems, mainly with older people.”

“I’m not surprised,” said Chris. “If they weren’t confused before they will be now.”

“Well, they’re trying to convert everything as they go along, and the mental arithmetic’s not always up to it, you know how it is.” He smiled again and the penny – old or new – dropped. Chris remembered seeing this documentary about decimalisation at school; he remembered it because his gran’s neighbour was in the background halfway through, just after the adaptable smiling shopkeeper said his piece.

Chris wandered back through the variously dark, variously old streets, in silence or with accompanying traffic noise, none of it – as far as he could tell – real. Although the silence, when he thought about it, must be real. He hadn’t managed to track down a real live human being in half an hour of running after people and shouting. Though if someone who thought his home town had been replaced by a cinematic echo of its former self came running after Chris asking if he was real, he was fairly confident that he’d ignore them and walk faster. So what had he proved, after all?

Assuming he could leave the city on a real road that went somewhere, Chris wondered what his family would say if he asked them about the city’s transformation. Had they noticed? He wasn’t sure any of them went into the centre of Bradford any more, and that was undoubtedly the problem. As a child, Chris had been taken by his family to pantomimes each year at the Alhambra. One year it had been Peter Pan, and the part that had stayed with him for thirty years was the bit where you had to shout I believe in fairies because whenever someone says they don’t believe, a fairy dies. Was that what had happened? Belief in Bradford had evaporated as the last of the mills shut down, the big shops followed and investment dried up. One by one the streets had winked out of existence, eventually replaced by the captured dreams of days gone by – archive footage, lovingly stitched together by enthusiasts with European money.

“I believe in fairies!” Chris bellowed in the middle of Centenary Square, but not even the pigeons seemed to care.

Flash fiction, fresh out today

I have a new flash fiction offering available at The Flash Fiction Press, it’s called Breakfast in Bradford (no prizes for guessing where it’s set). It’s about the death of romance the morning after a one night stand (and the lack of appreciation of Bradford by people from other cities). Less than 500 words long, you can read it while the kettle’s boiling for your next cup of tea. Enjoy…

Educating girls: have we come as far as we think?

I have a great passion for education, as long-standing readers of this blog will know. I also have ready access to a university library, so I pick up things like A History of Women’s Education in England by June Purvis (Open University Press, 1991) to while away the commute. An interesting overview of the situation between 1800-1914, it touches on some things I didn’t know about and some (like the Bradford Female Institute) that I did but haven’t often seen anyone else write about.

Two passages in chapter 4 (Education and Middle-class Girls) made me wonder how far we’ve really come, however. In 1864 Emily Davies (later co-founder of Girton College, Cambridge) wrote a paper about the poor state of secondary education for girls for the National Association for the Promotion of Social Science, in which she commented that since ladies are left ‘in a state of wholesome rust’ as she put it, they have little to talk about except ‘children, servants, dress and summer tours’ and if you hand them The Times they’ll turn straight to the adverts and the family notices.

Since I neither have children nor go on holidays I often find myself adrift in a female environment as conversation (even among women I know to have engaged in higher education) frequently centres around children, fashion and soft furnishings. There are, I should point out before my female friends revolt, a few honourable exceptions. However, glance at a few magazines aimed at women and you’ll find the content largely revolves around those subjects as well, with some celebrity gossip thrown in. Perhaps the progress we’ve made in that area lies in the fact that some men are eager to talk about their children or their GBBO-inspired attempts at cakes too.

The other passage that struck me was in a section about the fear of educated girls becoming ‘unfeminine’ and ‘unmarriageable’, leading pioneering headmistresses to promote both academic subjects and the old code of ladylike behaviour. In 1994 I was about to move up into sixth form in just such a pioneering school (founded 1878 as the girls’ offshoot of a 16th century school for boys). The headmistress gave a motivating talk in which we were generally exhorted to work hard and become career women – medicine, dentistry and law being the main acceptable professions to aim at. In the same talk, however, she mentioned dress and appearance for the final two years of school: a suit, court shoes, small pearl earrings and we would be permitted a single ring, to allow for that solitaire diamond. The actual reference at the time may have been tongue in cheek – though I remember being aghast at what she was saying I don’t clearly remember the tone – but the fact that even half-jokingly you would suggest to a roomful of teenagers that a desirable outcome to their many years of undoubtedly expensive (if not on an assisted place) education would be to get engaged by the age of eighteen! It still leaves me at something of a loss for words (is that a sigh of relief I hear?). Presumably attitudes like this contribute to the so-called leaky pipeline (women drifting away from science in particular, as you progress further up the academic hierarchy). It’s twenty years since I left school (this week exactly, I think) and I hope things have changed, but sadly in schools like that I fear not.

Workshops and exercises

Last week I took a day off work and went to a short story workshop, as I do from time to time. This one was concentrating on beginnings and endings: reeling the reader in, and not petering out once you’ve delivered the main thrust of your story. Through a day of discussion and exercises I think (I hope) I may have learned a few things.

I particularly enjoyed the exercise in which we took two slips of paper, one from a box of occupations (ghost hunter, dentist, secretary, lorry driver) and one from a box of final actions (upended the vase of lilies, dived into the swimming pool, pushed his shoes through the bars of the cage). Then working backwards, we had to figure out why the architect threw the swiss roll out of the window (or why the fishmonger drove away in a stolen car, as it may be), what might have been at stake and why things came to a head. We worked out motives and related characters and generally got pretty creative, and as a way of working out the bare bones of an idea I’d recommend it. It would also make an entertaining party game, if you throw those sort of parties.

I was also busy devising a workshop last week, I’m planning on introducing Ilkley Writers to microfiction this month (though some will have had previous brushes with it). I realised how hard it is to think of examples and exercises, and write down enough background without swamping everyone in detail. I doff my noir trilby to all those who do this so successfully on a regular basis.

Trilby