- Can you please tell us about you and your daily life?

I’m Dr Shamsa Akhtar, founder of Core Productions 1 Ltd. My daily life is a mix of runningmy production company, supporting film projects from development through to post-production and distribution, alongside managing my other businesses. I also run a childcare nursery and a property development company, and I work closely with multiple councils to support children with disabilities and their families.

No two days are the same one day I could be reviewing scripts, the next coordinating post-production, or working within my childcare settings. I enjoy the variety, as it keeps me creative and constantly learning.

- When and how did you get into writing?

My journey into writing began at a young age. Despite being dyslexic and struggling with reading and writing when I was younger, I found confidence through creativity. I published a poem at the age of 13, which gave me the belief that I could express myself through storytelling.

Since then, I have written a number of short films and a feature film titled Sofia, which is based on my real-life experiences. While I am primarily a producer, writing has always been part of my journey, and I continue to develop ideas and stories alongside the projects I support.

I also have a strong passion for supporting filmmakers and writers. Through Core Productions, I actively fund projects that raise awareness and give opportunities to creatives to bring meaningful stories to life.

- How often do you write? Do you have a writing routine? And what inspires you to write?

I don’t follow a strict writing routine, as my role is often more focused on development and production. However, I am constantly engaging with scripts, reviewing drafts, and contributing to shaping stories.

As a producer, I have to critically analyse every script and story I take on. Because of my dyslexia, I’ve developed my own way of working, I have to visualise each page of a script to fully understand it before agreeing to move forward. This process takes me longer than the conventional approach, but it allows me to connect deeply with the story and ensure it’s something I truly believe in.

What inspires me most are real-life experiences, human journeys, and stories that reflect resilience, identity, and social impact.

- How does it feel to have your work recognised?

It’s incredibly rewarding. Recognition validates the time, effort, and belief that goes into every project, especially within independent film where the journey can be challenging. For Tapped, the recognition has been particularly encouraging. The film has won multiple awards across international festivals, including Cannes World Film Festival, London Director Independent Festival, London International Screenwriting and Film Festival, Milton KeynesInternational Film Festival, The I Am Film Festival, Golden Nugget International Film Festival, Cinemafest, My Name is Climate Film Festival, Sykehouse Film and Writers Festival, London Night Film Festival, Red Movie Awards, British Urban Film Festival, Tacfest, and Expo International Toledo Action Film Festival.

We were also able to secure distribution with Buffalo 8 shortly after completing the edit,

which was a great milestone for the project.

- What’s the best and most challenging thing about writing a Screenplay?

The best part is bringing a story to life and seeing it resonate with people. Storytelling has the power to connect, inspire, and create change.

The most challenging part is staying authentic while shaping the story in a way that works structurally. Balancing creativity with clarity, pacing, and audience engagement can be difficult, but it’s an essential part of the process.

- How did you develop the idea for your LISFF/LISP-selected work? Is there a story behind your story? And, how long have you been working on it?

Tapped was developed by writers Teoman Sayin and Elijah Baker, with my role focused on

production, development, and bringing the project forward.

The story reflects themes grounded in real-life experiences and human behaviour, which is something we were all passionate about exploring. Like many independent films, it has taken time to develop, refine, and position properly.

- Can you please give us a few tips about writing?

• Stay true to your voice and your experiences

• Don’t rush the process, good stories take time to develop

• Be open to feedback and collaboration

• Focus on strong, relatable characters

• Trust your own process, even if it’s different from others

- What’s the best thing and the most challenging thing about competitions?

The best thing is the exposure and the opportunity to connect with others in the industry.

Competitions can open doors and help bring attention to your work.

The most challenging part is the level of competition and uncertainty, but even being selected or recognised is a positive step forward.

- Lastly, do you recommend the writers/filmmakers submit to LISP/LISFF?

Yes, absolutely. Platforms like LISP provide valuable exposure and give writers and filmmakers the opportunity to be recognised. It’s also a great way to connect with others in the creative industry and build your network.

Additional Background

I launched Core Productions 1 Ltd in July 2023 with a clear purpose to ensure that writers are properly recognised, respected, and protected throughout the filmmaking process. This was driven by my own experience of having a script amended without my knowledge by another production company. That experience shaped how I now work, and I am committed to making sure writers’ voices are heard, their work is acknowledged, and their scripts are not changed without transparency and agreement.

Since launching my production company ‘Core productions 1 ltd’ company, I have supported and delivered a number of projects that have gone on to distribution, including Sofia, Tapped, Swordplay Volume One, Pops, and the short film I Don’t Need the Badge.

I am currently in pre-production for Memoirs alongside Carma Films and Womanhood alongside Raspberry Films, and in post-production for the film Slava written Steve Haisman and ‘Depot’ written by the amazing Femi Wilhelm who also wrote the film ‘Swordplay Volume One’

.

Prior to this, I wrote several short films and was the full financier and Executive Producer for Social Life, based on my upbringing, and Dependent, based on my personal experience during a period of ill health while raising children, I always worried about how my partner would cope if I was to die – this was written in a way to enable men to speak up and talk about their feelings and for others to be mindful, sympathetic and understanding. Both projects received strong recognition and awards, although they were produced under a different production company.

Thank you for reading

With love always

Dr Shamsa Akhtar

-When and how did you get into writing/filmmaking?

I’ve been in this industry now for 14 years mainly as an actor growing up in Louisville, Kentucky where I was in my first school play at the age of 10, “A Night Before Christmas” where I played, ‘The Jack in the Box’ I’ve only been screenwriting for two years now & have achieved a lot in a very short period of time. My first screenplay I wrote was Derby City which is based on a true story in my hometown Louisville, Kentucky of the first Black jockey to win the Kentucky Derby (Alonzo Clayton). Before writing it while living in Hollywood 10 years ago I had a project that I was so eager to get off the ground & I couldn’t tell you how many writers rejected me stating they had no interest or demanded a substantial amount of money. Since then between Derby City and its spin-off Hook ‘Em Horns which won Best Short International Screenplay I now have 6 wins and 13 nominations total including wins at last year’s Oscar-Qualifying Nashville Film Festival and the World Film Festival in Cannes. I couldn’t begin to tell you how grateful of my achievements thus far.

-How often do you write/create/ develop ideas? Do you have a writing/creative routine? And what inspires you to write?

Writing, creating and developing ideas for a screenplay all come at one time for me. Once I have an idea I take the time to decide when my begin date is going to be when I began embodying the story in Final Draft’s software then my own personal deadline. That deadline I hold myself accountable & thus far it’s worked out as I’m pushing myself. Once I began on the first date to begin the screenplay, it’s “three, two, one GO!” As for who inspires me to write I would definitely have to say Taylor Sheridan. The guy is not only talented as an actor, but as a producer, writer and director coming up with stories like Yellowstone where it’s centered around things he’s passionate about which is living on the ranch life as a cowboy. It’s very inspiring seeing his success as I’m going down the same route with my stories beginning with horses then moving on to professional bull riding then so on and so forth.

-How does it feel to have your work recognized?

An absolute honor say nothing more or anything less. Writers are not given enough credit in this industry especially in places like Hollywood. A friend of mine mentioned to me that I should submit my projects to the UK where is an amazing place for film makers outside of the states. And hey, my friend was right on that, so far, so good. There’s no better feeling in the world as an artist seeing your hard work being published.

-What’s the best and most challenging thing about writing/filmmaking in your genre/form?

The most challenging I would have to say is seeing how the story began. My projects thus far that I’ve written are meant to be biopics. So, while writing these stories I still have the room to create my own characters and storylines, but obviously keeping it fictional. Writing a project that’s meant to be brought to life as a biopic is so much fun. Is it easy? Absolutely not. Is it fun? Most certainly. The amount of dedication you have to as a writer is making the commitment. As an actor I’ve been taught under the Stanislavski Method and screenwriting is very similar to the method of using your imagination.

-Can you please give us a few tips about filmmaking/ scripting/writing?

The advice I’m going to give is the same advice I give to myself. If you have an idea I know there’s an old saying to, “write it down” Does that work some writers? Sure and if that style works for you then continue. I on the other hand while I’m creating my story in my head I’m also typing my screenplay at the same time. Look at it like this, if you have an idea and you don’t input it in Final Draft, Writers Duet etc. Then in the end it means absolutely nothing. One thing you definitely don’t want to do as a writer is getting inside your own head. It’s your screenplay and you should do it your way. Just remember once those ideas begin flowing in your head get it in to your software. Remember something you can always go back & clean it up before your deadline and once that final day comes it’s time to close the book and prepare submitting to festivals.

-Lastly, do you recommend the writers/filmmakers submit to LISP/LISFF?

Absolutely and I’m very grateful the LISFF awarded me as this year’s winner for Best International Short Screenplay it’s truly an honor submitting my work outside the states particularly in the UK.

- Can you please tell us about you and your daily life?

I teach writing at the City University of New York, so some days I teach, most days I grade. I try to find time each day to write, to go the Y and to my garden plot. Long days.

- When and how did you get into writing?

I wrote my first book at about nine years old. My mother bound it for me. Since then, I’ve been a full-time journalist, a freelancer, fiction writer (I think Queens Noir is still in print if you want to see a short story I wrote), then a screenwriter. I realized that getting your voice heard as a writer is hard and getting harder, but if you start making films yourself, you can get your ideas out there.

- How often do you write? Do you have a writing routine? And what inspires you to write?

Everything, everywhere, all at once inspires me (loved that movie BTW).

- How does it feel to have your work recognized?

It is amazing. It keeps me going.

- What’s the best and most challenging thing about writing a Screenplay?

Setting the time aside and having the discipline to write it start to finish.

- How did you develop the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

I got an award for a WIP film – the tip is, just do it!

- Can you please give us a few tips about writing?

Find the method that works for you and stick to it.

- What’s the best thing and the most challenging thing about competitions?

The best thing is getting recognition. The challenge is the same as for any artist: Rejection, rejection, rejection.

- Lastly, do you recommend the writers/filmmakers submit to LISP/LISFF?

LISP, which chose my narrative screenplay The Fulness of Time as a finalist a few years ago, and now LISFF with this encouragement has been so good to me. I love your workshops too. This is a truly writer/filmmaker centered competition and I would just encourage people to enter. It is wonderful!

- Can you please tell us about yourself and your daily life?

I started my career as an actor in Brazil, but the lack of opportunities, combined with an overwhelming need to create, pushed me toward writing and directing. By the time my acting career in Brazil started to flourish, I had already accumulated many projects in development. That naturally led me into producing my own short films and later low-budget independent features.

Today, I live in Los Angeles, and less than a month ago I finally received my Green Card. While acting opportunities continue to develop, I’m focused on moving forward with my personal projects and creating the stories I believe in.

I work a lot, but it never feels exhausting because I genuinely love what I do. Storytelling is not just my profession — it’s part of who I am.

- When and how did you get into writing/filmmaking?

Writing came into my life because I realized acting alone wasn’t enough for me creatively. I had stories inside me that I needed to tell. Writing became a way of understanding myself and the world around me.

I began my career as an actor in Brazil in 2006 and first gained national recognition as the lead in the iconic teen series Malhação on TV Globo. But while my acting career was growing, I was already developing scripts and creating my own projects behind the scenes.

In 2008, I was selected as one of only ten screenwriters for the prestigious SESC Screenwriting Lab in Brazil, held in partnership with the Sundance Institute, with my feature project Posto 9. The script was later acquired by Zazen Produções, the company founded by acclaimed filmmaker José Padilha (Narcos, Elite Squad). That was a major moment for me because it made me realize my voice as a writer had value.

Since then, I’ve developed original content for television, streaming, and cinema. In 2015, I wrote, directed, and starred in the series Meus Dias de Rock.

My feature directorial debut, O Buscador, was shot in only two days and premiered, winning the Jury Prize for Best Film at the Tallinn Black Nights Film Festival.

More recently, I starred in and co-wrote the U.S./Brazil co-production Invisible Borders, directed by Heitor Dhalia. My performance earned me the Best Actor award at the Garden State Film Festival, and the film screened at festivals including the Santa Barbara International Film Festival, Beverly Hills Film Festival, and Arizona International Film Festival.

For me, writing is deeply personal. Every project carries pieces of my fears, contradictions, dreams, and experiences. Even when the stories are fictional, the emotional truth behind them is always real.

- How often do you write? Do you have a writing routine? And what inspires you to write?

I write all the time, mostly notes on my phone. There is usually one main project I’m focused on, but ideas for other projects are constantly appearing as well.

Once I feel the need for a draft or a rewrite, I can sit down for days completely immersed in the work. My routine changes depending on what I need to accomplish next. My mind is very chaotic, so I tend to be extremely organized with my work: detailed notes, schedules, outlines, reminders.

My inspiration comes from life. Everything I’ve ever written contains part of me. The story itself may not literally be my life, but the emotional need behind it always is.

I think that’s how we truly connect with others. Deep inside, we are all very alike. We all want to be loved… especially artists. Hahaha.

- How does it feel to have your work recognized?

In the beginning, I told myself I didn’t care about recognition. I thought art wasn’t about that. And honestly, it isn’t… but at the same time, it also is.

I think artists probably need recognition more than most people. Our projects are like food for our souls. We invest so much time, energy, vulnerability, and self-questioning into the work that any form of love or connection coming back from the audience feels meaningful.

Awards are amazing, of course, but getting the work produced is the real goal. In the end, storytelling is about sharing something deeply human with others.

- What’s the best and most challenging thing about writing a Screenplay?

For me, the hardest part is finding the right structure for the character’s emotional arc. Once I clearly understand the beginning, middle, and end, along with the major turning points for both plot and character, then I know I can finally begin the fun part: writing and rewriting.

That’s when the story really starts breathing.

- How did you develop the idea for your LISP-selected screenplay? Is there a story behind your story? And, how long have you been working on it?

The Bait… I’ve always been fascinated by sharks. I’m not exactly sure why, but ever since I was a kid, they captured my imagination.

João, the main character, is the son of a friend of my father’s. I had heard about his shark attack growing up, and I always wanted to meet him. By the time we finally met, I was already working as a writer, although he didn’t really know my work yet.

He told me the story of the attack and mentioned he was writing a book that he hoped could eventually become a movie. Years later, in 2019, he sent me a copy of his book, The Bait. I read it in one afternoon. It was fascinating, but definitely not yet a movie because it explored many parallel stories about his family and their relationship with the ocean, while the shark attack itself was only a small chapter.

But João himself was incredibly captivating. I put the book down and immediately started interviewing him. It was during the pandemic, so we both suddenly had time.

The process demanded a lot of resilience from me. Eventually, I realized this wasn’t just a survival story. It was really about understanding why João needed to go through that traumatic experience in order to transform his life.

I first read the book in 2019, and I honestly haven’t stopped working on the project since.

- Can you please give us a few tips about filmmaking/scriptriting/writing?

Put yourself into the situation. In some way, it is always you.

The most interesting thing about any story is what makes it unique, and I believe every person is unique. So don’t be afraid to expose both your light and your shadow.

That honesty is what connects people.

- What’s the best thing and the most challenging thing about competitions?

The best part is definitely the people you meet and the feedback you receive. Whether you win or not, competitions can help you understand where you are creatively. Sometimes they show you what still needs work; other times they reassure you that you’re on the right path.

It’s an opportunity to grow.

The most difficult part is that art is deeply subjective, so competition itself can feel strange. The idea of artists competing against each other is always a little uncomfortable to me because creativity isn’t really a sport.

- Lastly, do you recommend the writers/filmmakers submit to LISP/LISFF?

Absolutely.

Unfortunately, I wasn’t able to attend in person this year, but I was there in spirit. I truly admire the people behind these events who dedicate their time and energy to supporting artists and promoting storytelling.

Initiatives like this really matter, especially for independent filmmakers and writers trying to find their voice and connect with the industry.

- When and how did you get into writing?

I’ve always loved reading and writing was a natural progression. I’m late to the party and didn’t start writing seriously till I was nearly 60, but felt that I’d got a lot of life experience to write about.

I completed an Undergrad course at Oxford and an MA in Creative Writing and wrote a first novel as part of that course, going on to be published and shortlisted by Bristol Short Story Prize, Brick Lane Short Story Prize, Oxford Flash Fiction, Fly on The Wall Press, The Aurora Prize, Bath Flash Fiction and LISP.

-How often do you write? Do you have a writing routine? And what inspires you to write?

Writing is a compulsion. Words fill my brain and I often wake up with ideas I cant wait to write down. I’ve just completed a second novel of literary fiction about fertility and Irish folklore that has taken two year of research in Ireland and I hope to get representation and it published. There is a lot of heart and soul in the book, a lot of family folklore.

- How does it feel to have your work recognised?

Getting short stories and flash fiction published has helped get me noticed by agents. Writing short pieces are a welcome distraction from the juggernaut that is novel writing- it keeps my brain focussed.

- What’s the best and most challenging part of writing?

Seeing the story form and grow, from an initial idea is always rewarding.

- How did you develop the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

I worked in the NHS for most of my career and understand what its like to be on the other side of delivering care. Staff have to cope with an amazing amount of stress in giving the best care to patients and I am in awe of their . .

- Could you please give us a few tips on writing?

Write from the heart- good stories are always an emotional tug. Be real. I am fascinated by human connection, the otherness in everyday life. Relationships are always at the heart of a good story.

- What’s the best thing and the most challenging thing about competitions?

I often send things to competitions on spec- they are often pieces I’ve written and don’t quite know what to do with. No writing is ever wasted. I’ve had things published that have been rejected by other competitions- so don’t give up!

- Lastly, do you recommend the writers submit to LISP?

LISP has been brilliant in showcasing my work and are a fantastically well respected prize. I’m honoured to be a finalist.

- Could you please tell us about yourself and your daily routine?

My routine tends to shift, but has recently settled into a lovely slow morning start involving getting outside (I live on a hill in rural southwest France) very first thing, doing a yoga session, outside or in, then writing time. How long it lasts depends on the demands of the day job (translation – a lot less demanding since AI began devouring the industry!) and other obligations and activities. Even if I can only get 10 minutes in, though, it still feels valuable and starts the day on an excellent footing.

- When and how did you start writing?

I only started putting pen to paper in my forties with an Open University creative writing course. I haven’t stopped since. I began with short stories and a traditional novel before falling under the spell of flash fiction followed by poetry. There are so many amazing indie literary journals out there to submit work to, and I’ve had stories and poems published online and in print including by the New Flash Fiction Review, Ghost City Press, Firewords, Bath Flash Fiction, Spark2Flame, Hooghley Review, Temple in a City, Berlin Literary Review and LISP, as well as longlisted and shortlisted in various competitions. My novella-in-flash based on Nighthawks, the iconic Edward Hopper painting, is out on query and I’m currently working on a second flash novel and a poetry collection.

- And what inspires you to write?

Everything. From night-time dreams to song lyrics to a conversation on a train to all those random thoughts. There are times when inspiration hits more often, more intensely, sort of like waves rolling in then receding. But I don’t seem to ever get stuck for inspiration, which feels very lucky!

- How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

It’s what every artist wants, for people to see your paintings, read your words, watch your play, right? And it is the most amazing feeling, puts you on a real high. The lows are part of it too, of course, and you have to remember that it tends to be a lottery. And that the most important part of writing is the joy of it.

- What’s the most rewarding and challenging aspect of writing?

The challenge is the discipline that’s needed, overcoming the resistance that springs up to sitting down and doing the work, and banishing the demon voice telling you everything you write is total rubbish. For me, the reward is in the writing itself: once you’re there it’s a very mindful thing and you come out the other end in a better state.

- How did you come up with the idea for your LISP-selected poem? Is there a story behind your story? And, how long have you been working on it?

The poem is rooted in family tales about my paternal great-grandfather, who was a big character. I took some of the things I’ve been told and ran with them, embroidering as I went. The saltwater crocodile inspiration came from something I had to research for a translation (the day job can be useful!), they are fascinating creatures, and the two fused quite naturally. I’m also a big fan of humans-as-animals pieces. And am just beginning to explore my own family history in my poems and stories – until recently it felt too self-absorbed as a writing terrain. The poem was quick to write, then I left it to simmer and went and tweaked it every now and then.

- Please share a few tips on writing.

Trust yourself. And trust that only you can tell the story/write the poem that’s coming from your pen. Don’t think about editing or external opinions while you’re drafting. Just splash around in your own imagination, get really, really wet and enjoy the journey!

- What is the best aspect and the most challenging aspect of competitions?

The best thing: the deadline. The most challenging thing: the deadline! I find them invaluable for getting me motivated and providing prompts, structure. The downside is the pressure it can put you under. I try and find a good balance and choose the competitions I want to go for.

- Finally, would you recommend that the writers consider submitting to LISP?

Definitely! I’m lucky enough to be a finalist for a second year in a row, and I’ve always found it an exceptionally warm and supportive competition. I went to the anthology launch last year and it was such an excellent evening – the whole LISP experience is very rewarding.

-Can you please tell us about you and your daily life?

I’m never entirely sure how to talk about myself, nor do I make it easy for myself. To me, it means to compress one’s entire existence into a handful of tidy paragraphs: you begin editing your own life, deciding which parts are relevant, which parts are merely decoration, and which parts make you sound like a person worth paying attention to. It’s a kind of tug-of-war. Ultimately, I want to be sincere, but at the same time I want to be impressive, or at least persuasive in the sense that I am, in fact, living a life, and that by the end of this I will have proven that I am, by some definition, unique.

I think what I struggle with most is the feeling that writing about myself is akin to describing a fictional character loosely based on me, written by someone who isn’t convinced I’m all that compelling. Still, I suppose the polite thing is to try.

So, some stark and unembellished facts, important or otherwise:

· Born in London, January 1998.

· Raised in a single-parent household.

· Still in London; I simultaneously feel trapped and entirely at home here.

· I wake up around 7:15am.

· Some mornings start with a mocha.

· A recent small thing that made me unreasonably annoyed: being in a crowd.

· Lastly, one day I hope to write something that doesn’t make me nervous and uneasy to talk about.

-When and how did you get into writing?

There was never a singular moment or event that suddenly made me a writer. The process was more gradual than that, a slow learning of how to write freely and honestly.

The first real attempt at writing came during sixth form, when I took Film A-level. That was the first time I’d written a complete narrative of significant length and quality—or at least, quality by the standards of the time. From there, I wrote screenplays on and off, never with much discipline, but enough to keep the muscle working.

When I started university, I expanded beyond screenplays, writing essays and meditations on art and media, and enjoyed keeping up the practice.. But it wasn’t until the past year that I started writing seriously, and more importantly, that I began writing literary fiction and flash fiction. Flash fiction, in particular, feels like the form I’ve been trying to find all along because there’s something about it that feels so easy to write in a style that’s between a public service announcement and a breakdown scribbled on an air sickness bag.

My first published piece of writing, “Obituaries” will be published by Flash Fiction Magazine on January 18th, 2026.

-How often do you write? Do you have a writing routine? And what inspires you to write?

I try to write for at least an hour every day, three hours on weekends. There’s no set routine I follow; I simply work on one project at a time, whether that’s an essay, a screenplay, a collection of flash fiction, or longer literary projects.

Currently, I’m writing a collection of poems, an essay, and a collection of folkloric tales, all for my girlfriend. The folkloric tales have become something I didn’t expect them to be—larger and stranger than I ever intended. They’re quiet, melancholic tales about selkies and smog-filled fishing towns, foxes collecting fallen stars, the last heron searching for colours to paint a new world to inhabit, and a cartographer helping an owl coax winter from autumn.

I wouldn’t say I have a current inspiration for the act of writing itself; I write now because I love writing in all its disciplines. But I know that the works of Charlie Kaufman, Stanley Donwood, Kafka, and Albert Camus were integral in forming my desire to write, and I hope to produce something to that standard one day.

-How does it feel to have your work recognised?

As silly as it is to say, it makes me really proud of myself. It’s definitely one of the biggest highlights of my year. I think every now and then in life, you need to be able to do or accomplish something that genuinely surprises yourself. And the best thing is that it pushes me to write more, expand on more ideas, and to keep challenging myself. Because despite all the doubt that comes with putting work into the world, there’s something rather affirming in knowing it connected. The work leaves your hands and becomes something more than you intended.

What’s the best and most challenging part of writing?

The best thing is seeing something come to life that didn’t exist before, whether that be a narrative, a character, or an image that was nothing until you wrote it into being. Most often, whatever I write ends up sitting on my computer, and so the end result for me isn’t tangible in the same way that a potter can hold their finished vase. But there’s still evidence of creation, something that now extends beyond you, that exists independently in the world. A stranger reads what you’ve made and finds themselves in it, or finds something you didn’t know you’d put there. Even when you doubt whether it’s any good, even when you’re convinced it’s failed, there’s still the undeniable fact that it exists now. It didn’t before, and now it does, and that matters in ways you can’t always measure or really understand.

The most challenging thing is the second-guessing. There’ll be days where I’ll be struck by an idea of such beauty, an idea I tell myself will be personal, sincere, and honest but also relatable and touching to everyone. I’ll rush out a few pages; they’re messy, but in the rush and excitement of the moment, it’s easily forgiven. I can always go back and clean it up, and by the end of the day I’ll look back at what I’ve written with such pride. Then the next day arrives. And as I return to my work, I’m both horrified and ashamed. I can now only see its flaws, its clichéd, banal writing. The obvious and tired tropes stick out like a sore thumb, and what’s worse: it’s not even my writing; it’s a poor imitation of some greater writer I’m influenced by. It’s then abandoned and left forgotten; all its possibilities, no matter how small and insignificant, are second-guessed into failure. That, for me anyway, is the majority of my experiences with writing.

How did you develop the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

The idea came from my own commonplace book. I’d never heard of such a thing until I read Thom Yorke and Stanley Donwood’s commonplace book, Fear Stalks the Land. After reading it, I wanted to create something of the sort. So I committed to opening a small notebook every evening, no matter what, and forcing myself to write at least a page. It didn’t have to be coherent—just random little ideas and thoughts that surfaced in those five minutes. What I found was that as I wrote, some loose narrative, feeling, or idea would begin to emerge. It was freestyle writing in the truest sense: whatever word or phrase popped into my mind got jotted down without any editorial judgment.

After filling the notepad, I sat down with months of this scribbled nonsense and sifted through it. Most of it was unusable or downright bad, but I tried to find concrete ideas, themes, or characters, that were really more like silhouettes than anything. I noted down everything I figured could be developed into a story, large or small. One such was this. It was rough, really rough, but in a good way. Truthfully, I don’t know if I prefer the more polished, coherent version or those initial raw and strange strands of thought that perhaps feel more me. Regardless, I tried to distil what was happening beneath the surface and find a way to make it more digestible and narrative-driven without losing its core. The process didn’t take long; I think a few days to expand the idea, a few more to work through two additional drafts. I stopped at the third draft, the point where it felt publishable enough. Ultimately, regardless of which version I prefer, this is what is now in the world, and what I am judged on.

Could you please share a few tips on writing?

1. Write honestly, and for yourself.

2. Whatever you first write will be bad; it can’t help but be. Don’t let that put you off. Push through.

3. Write whenever you can, however little. Something is always better than nothing.

4. Consume constantly. Watch films, read books, play games, engage with stories in any form. You’ll begin to recognise what resonates with you.

5. Don’t wait until you know what you’re trying to say. Often the best writing comes from following a feeling or image you don’t fully understand yet. Trust the uncertainty and hope that the meaning will reveal itself in the process.

6. Strip everything back until you reach bone. Remove every clever turn of phrase and every flourish that makes you feel like a writer. What’s left, the raw and uncomfortable, and plain, is usually closer to the truth than everything you removed.

7. Lastly, I believe that we should work towards writing that makes us kinder, braver, and more capable of love.

-What’s the best thing and the most challenging thing about competitions?

Validation. That’s the best thing, though I feel immediately compelled to undercut this with self-aware disclaimers about ego and the arbitrariness of competitions. But there it is. Someone—several someones, in fact—looked at what I’d made and decided it had value. It’s reassuring to hear that something you made was worth noticing. Does LISP’s recognition make my work objectively better? No. Do I care about this rational truth? Also no. I will accept the validation gratefully, guilt and all, because while I desperately want to say that I write ‘solely for myself’, I also know that external approval provides a dopamine hit that feels good. It’s reassuring to have external voices saying you’ve done something right. Or at least, something worth noticing.

But the desire for validation is also the most challenging thing about competitions. The moment you think about submitting, your mindset shifts, whether you want it to or not. Suddenly writing becomes about binary winning and losing rather than simply making something and putting it out there. I always think the correct mindset about submitting is to see if any of your writing connects with someone, and if it does, all the better. But it’s easy to fall into the mindset of winning, or at the very least, wanting to be recognised. And that wanting corrupts the purity of the work. You start writing with one eye on what might succeed, what might catch a judge’s attention, rather than what’s honest or necessary. It instead becomes something to be measured, judged, validated, or rejected.

-Lastly, do you recommend the writers submit to LISP?

Yes, absolutely. In nearly every instance, the easiest and safest choice for a writer is not to submit, because putting yourself and your work into the world requires vulnerability. It is comforting to keep it close, unseen and unjudged, but it also denies others the chance of recognising their own struggles reflected in you and your art. Because maybe your work won’t be wildly successful, but maybe someone does read it, someone lost and alone, and they are touched by it, and they feel heard, understood, and valued. And so, by depriving the world of your work, you will have also deprived others of the solace of recognising themselves and their struggles within you and your art, and the world is a little lonelier for it. So submit, because whatever you have to offer will be enough for someone else.

- Could you please tell us about yourself and your daily routine?

As a Vietnamese French American, my identity is often a source of intrigue for most people I meet. I am invariably asked the question: where are you from? I never know how to respond. I could answer with what people usually want to hear: I am Vietnamese. Or I could answer the actual question: I was born in France, where I spent my childhood, followed by my teenage years in America, and I now live in the U.K., with my husband and young children.

During the day, I usually split my time between work (I lead teams to build software for care homes) and taking care of my children – as any working parent will know, this is juggling two full time jobs. It’s only in the evenings when I can carve out the peace to write. Of course, it often feels like trying to go workout after a long day, especially when the couch and next book on my reading list look so inviting. However, I remind myself of how fulfilled I feel after every sprint of writing, and I can usually convince myself to plop down in front of my writing computer (I have a laptop dedicated to writing) and start creating.

- When and how did you start writing?

I’ve cherished a secret dream to be a writer from the moment I learned how to read. My five year old self came across a quote from C.S. Lewis saying he wrote stories he wanted to read, and my little heart leapt in response: “Yes! Me too!” But as a child of well-meaning and pragmatic Vietnamese immigrants, creative pursuits were not encouraged. For the next three decades, my desire to write novels was nothing but a dream that I held deep inside of me – so deep, that I almost forgot about it.

As an adult trying to find purpose, I accomplished many things. Some of which I was expected to do, such as become a doctor, lawyer or engineer. I became an engineer – and even though I was proud of graduating from MIT with three degrees and landing a job in the UK, I couldn’t shake the niggling voice in the back of my head saying something was missing… Later, in pursuit of finding fulfillment, I achieved things I never thought I could physically do, such as earn multiple belts in martial arts, run a half marathon and give birth (twice!) without any pain relief. Yet I always felt that I needed something else, finding restless solace during my spare time in enchanting stories by writers such as Phillip Pullman, C.S. Lewis, Madeleine L’Engle, Orson Scott Card and Audrey Niffeneger.

After much soul searching – thanks in large part to my postpartum therapist – I allowed myself to accept that there were only a few things I truly wanted out of life, and one of them was to write my own books. I knew to my core that I wanted writing for myself, and not what society and generational trauma had made me believe I wanted to achieve.

I finally found the courage to take writing seriously in 2021 and was quickly buoyed by several successes. I have placed and received positive feedback from writing competitions (winning & being longlisted for Mslexia flash writing competitions, reaching the finals rounds of the NYC Midnight writing competitions). I was accepted in the Faber Academy Writing A Novel course, which I completed in 2022. I finished a draft of my first fantasy novel and am currently editing the manuscript. My ultimate ambition is to have my novels published and continue to fulfill my lifelong dream of writing the stories I want to read.

It is only fitting that the novel I am currently working on was inspired by a dream I had when I was child. I spent the dream playing with a young girl, frolicking about the empty halls of my elementary school. I recall a vivid sense of sadness and urgency as I felt myself waking up, manifesting as an invisible force lifting me away into the sky. As I floated upwards, the girl reached out, begging me to “please remember!” She has been with me for the past thirty years and is the inspiration for my novel about a young woman discovering her power in the world of dreams.

- How frequently do you write? Do you have a writing routine? And what inspires you to write?

I try to write every day (key word: try), and I also try not to beat myself over it if I don’t (key word: also try). I’ve heard from enough writers to know that we each have to find a routine that works for us. The trick is finding out what works…

After much trial and error, I find that I prefer writing at night when I’m at my creative peak (shout out to my fellow night owls). I also have two young children, so my days are usually filled with spending precious and chaotic time with them and/or work. I also find that I respond well to writing sprints or challenges. For example, I finished the final third of a novel during NaNoWriMo one year. I knew that I had to be prepared, so I planned out all the scenes that needed to be written by Oct 31st, and then I spent each night in November finishing one scene.

My multicultural upbringing has shaped my voice - both in my unplaceable accent and in my writing. I’m drawn to writing stories where characters who feel “othered” find themselves living extraordinary adventures.

Being raised with different languages, I’ve developed an appreciation of how idioms translate. Each night, I whisper “sweet dreams” to my children in French - “fait de beaux rêves” - which literally means “make beautiful dreams.” That phrase has been an inspiration for my current novel set in the world of dreams.

- How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

What an unexpected thrill! I saw the email pop up as a phone notification, and at first, my brain didn’t process the message properly. Who on earth would be emailing me about loving something I wrote?! Then I read the email and was delighted! Thank you London ISP for loving my short story!

- How did you come up with the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

The idea for the story was a result of my cultural background and writing prompts. I respond very well to writing constraints, and it all started with an email from Freewrite. Unsponsored plug here: I love my Freewrite for brainstorming. It’s a tiny little computer designed so all you can really do is write (no editing or “research” to distract from the very important but difficult task of just getting the words out). Freewrite sends out writing prompts every Friday, and this particular one happened to be about stargazing at the top of a building. For some reason, my brain leapt to the ideas of stargazing at the top of a skyscraper in New York, which had me wonder when anyone could see stars from New York, which led me to ask when New York had a blackout, which then got me to google that there was one in 1966, which (given my heritage) made me think about the Vietnam war and the protests in America at the time… Before I knew it, the rest became my short story.

I wrote the story in 7 days, 3 of which were spent thinking about the story and mopping that nothing would come of it. Then disaster truck, and I became quite ill, going in and out of the hospital for the next 4 days. And yet for some reason, the story kept pouring out of me. I’d be sitting there in a waiting room with a catheter in my arm, trying to rest, but then I’d feel the need to pull out my phone and type about moonlight nestling in cheeks as the American journalist and the Vietnamese painter roamed the streets of New York during a blackout. It really felt like one of those magical writing experiences where the words just flowed (after the obligatory “words are hard” period beforehand).

- Please share a few tips on writing.

I find writing easiest when I create boundaries for myself to help overcome the paralysis of infinite possibilities. This is why I respond well to writing challenges (e.g. in 2000 words, write a comedy short story using the word ‘popcorn’ and have someone hold a diary – go!) or setting myself a clear goal (e.g. write 30 scenes in 30 days in November).

Of course, I read – mostly fiction and books on writing (though the irony is not lost on me). One book I revisit often is Sol Stein’s On Writing. He provides a very structured approach to different aspects of writing, from characterisation to editing, via key points on dialogue and particularity – along with so many more writing gems. I particularly enjoy how he uses specific excerpts from different writers to illustrate his points.

I also took two writing courses where I was beyond lucky to have been taught by fantastic tutors. The first is Australian author Kathryn Heyman, who is an inspiration and provides inspiration to all of her writing students. I love each of her tips and tricks to get ideas flowing, especially when blocked. I will always remember her tip of starting with what your character sees, for example the back of their hand or the carpet they’re standing on, and then continuing to describe what they notice – until you end up with a scene!

The second is children and young adult author Lee Weatherly. I learnt so much from her YA writing course and would strongly recommend taking a class with her if you can! She structured this 3 month online programme, with notes, guest interviews, relevant young adult reading excerpts, video check-ins and – crucially – targeted writing exercises which honed different aspects of writing (e.g. building tension, dialogue). Some of my favourite scenes from my novel began as a result of Lee’s writing exercises.

Ultimately, there is no substitute for writing. As writers, our mantra is write write write — no matter how much it feels like squeezing blood from a stone at times! There is no better teacher than the act of writing, and the more I write, the more I am able to test and try different things, getting more a sense of why something works.

- What is the best aspect and the most challenging aspect of competitions?

The best aspect is providing a medium to challenge myself to write, and in this case, the unexpected thrill of being recognised!

The most challenging part is sending what feels like a piece of myself (often with a fee) and never hearing anything back. I will inevitably go through what I call one of my “writing funks” where I think that my words will never amount to anything and stop writing for a while (sometimes months). Then I eventually pull myself out by facing the reality that I will be miserable if I gave up on writing sinceI would be giving up on a core part of myself.

- Finally, would you recommend that the writers consider submitting to LISP?

I will answer in every language I know (or sort of know): da, oui, si, ja, hai, YES!

A million times: YES! Given my engineering background, I will try to convince you with a mathematical probability argument:

● If you DO NOT submit, you have a 0% chance of winning

● If you DO submit, you have a 100% chance of creating a new piece of art AND a non-zero (and infinitely gratifying) chance of being recognised for your creative efforts.

· Could you please tell us about yourself and your daily routine?

I am a writer of novels, short stories, and essays. I live in Montenegro. My work explores themes of memory, gender, and identity within the framework of patriarchal history and cultural influence, merging intimacy with social critique. I am particularly intrigued by the role of ancient heritage in the alienation of modern society, as well as the concept of fantastical spaces and imaginary geographies… Regarding my process, I prefer to write in the morning; there is something about the morning silence and the rhythm of waking up that perfectly aligns with my creative pace…

· When and how did you start writing?

I have been a reader since my earliest days in elementary school, gravitating toward fiction in particular. As I grew and developed, I began to conceive and write my own stories. This impulse arose naturally and soon evolved into a passion.

I have always been drawn to works that speak the language of intuition and intimacy—stories that bear witness to the various paths we take in the search for meaning. Over time, my own literary voice has been shaped by a European and Mediterranean sensibility.

Political and social turmoil, the 1990s war in the Balkans and its aftermath, the lives of displaced persons, the strangeness of existence, the everlasting questions facing humanity—all of these form the framework of my writing.

I have always been interested in art which creates an immersive, often seductive experience that can express content through many layers, some of which exist only in a silent realm. I am also intrigued by the ways in which rhythm and melody can transform a written narrative.

· How frequently do you write? Do you have a writing routine? And what inspires you to write?

Whenever I begin a new story—be it a novel, novella, fairy tale, or short story—I work on it every day. I say that a story ‘takes a form’ because that is exactly how it feels: a theme, motif, or idea overwhelms you, and in that moment, you know you must tell it. It isn’t just a choice; it is always a necessity.

While I am writing, I don’t listen to background music, even though music means a great deal to me. When you are faced with the blank page, silence is essential. The rhythm of the words you write must follow the inner rhythm of the imaginary world you are describing. Storytelling is like that: you create a whole new world from invisible material.

What inspires me to write? The best answer is: everything. A landscape I’ve just seen, a memory suddenly recalled, a detail noticed in passing. I am inspired by the books and writers I return to—Wisława Szymborska, Toni Morrison, Elsa Morante, Chekhov, Akutagawa... In visual art, I am equally drawn to the experimental artwork of Lonneke Gordijn and Ralph Nauta—specifically how their choreography of light and technology becomes poetry—and to Japanese ukiyo-e prints. I find inspiration in Hokusai’s landscapes, which deeply move me and invariably stir a creative thread in my own work.

· How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

It’s a great experience. Moments like these remind me that stories possess an inherent strength to ‘touch’ a life and a unique power to reach people. For that is exactly what stories do: by showing that we have so much to share, they help us bridge our differences.

· What’s the most rewarding and challenging aspect of writing a story?

The short story form simultaneously offers and reflects diverse approaches to interiority of characters and the nuances of gendered experience. Through a balance of conciseness and narrative density, it allows a writer to capture the absolute essence of a subject in few words. This economy of language is uniquely suited to isolating specific emotional truths—pinpointing, for example, how the profound traumas of patriarchy can manifest in a single, pivotal moment of a woman’s life; this a theme I explore in my short story, “Leaving,” published in October Hill Magazine and The Bosphorus Review of Books.

Writing often presents the challenge of conveying a character’s interiority without naming it directly. I explore this technique in my story, “The Moon in Your Hand,” onto LISP finalists’ list, too. Writing this story required working with language that lingers in the spaces that are unspoken, delicate, and visceral. The protagonist’s fear of her mother’s imminent death, her resistance to the weight of grief, and her dread of forgetting her mother’s face are never overtly stated; instead, they are embedded in gesture, mood, and implication. The story invites the reader to listen closely, to inhabit the silences, and to trace the emotional layers woven subtly into the fabric of the text.

· How did you come up with the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

At the beginning, I had only a basic idea. I was interested in exploring themes of love, loss, and identity, but also the fragile internal architecture of memory that shapes our lives—seen through the intimate psychological space of a woman. Then, I sat down and started writing.

The narrative unfolds on a starlit winter night beneath an unusually large moon that seems to hover just above the frozen ground. In this setting, everything merges: the sky and the earth, a lonely bus on the road and the dreamlike atmosphere of the landscape. As the soft hum of the engine dissolves into the silence of the night, there is a heavy realization: that the death of a mother cannot be compared to any other, for it is a prelude to one’s own. With your mother gone, parts of you disappear as well. This haunting truth follows the protagonist, Nadja, as she confronts herself beneath a moonlit sky where reality’s contours begin to dissolve.

From the start, a poetic rhythm naturally imposed itself on the prose. Intimate yet universal, reflective in spirit, the story traces how we navigate grief, and the fear of death. It explores how the passage of time, the act of creation, and the presence of deeply hidden recollections combine to form our inner landscapes. The piece became a poetic tapestry of mortality and transience, woven with the quiet belief that art may offer a means of resisting oblivion.

I wrote the story “The Moon in Your Hand” in about a month. I wanted to properly “answer” the questions of losing loved ones, the strangeness of existence, and the quiet mysteries of everyday life. The nuanced work of my translator, Will Firth, has allowed this story to reach the English-speaking world.

· Please share a few tips on writing.

Through writing, one should strive to raise questions that resonate universally, regardless of geography. In this way, the work becomes a dialogue—not only between the reader and the story, but also between personal and collective experiences of memory, emotion, silence, and transience.

Writing is not suffering or torment; quite the opposite. The act of writing is the richness of existence. It is the discovery of being, and it should be enjoyed to the fullest.

By capturing the atmosphere of the moment, the writer introduces the reader to a deceptive world that always proves to be fleeting and impermanent.

· What is the best aspect and the most challenging aspect of competitions?

I find the idea of short story competitions requiring anonymous submissions is very interesting. It gives the story a chance to prove its power that it can move across borders and languages and still touch people.

· Finally, would you recommend that the writers consider submitting to LISP?

Yes, I would. I think that the LISP competition would be both inspiring and insightful for other authors.

- Could you please tell us about yourself and your daily routine?

I work full time as a Workforce Development officer. I have an allotment and like to write and paint in my spare time. I don’t have a daily writing routine as such, but when I am working on something I prefer to work in the evening.

- When and how did you start writing?

I have always written in some form or another from a young age, mostly poetry and short stories. I decided to do an MA in Creative Writing at Manchester in 2011 and from that I started to write novels.

My first novel Kiss Her Goodbye was published in 2018 and my second novel Love Me to Death was Published in 2020. I was a finalist in the Good Housekeeping Novel Competition and the Daily Mail ‘Write a Best Seller’ Competition and have been published in the Bath Short Story Award Anthology.

- How frequently do you write? Do you have a writing routine?

When I am writing I try to write most days, but I don’t hold myself to word counts, it’s more about turning up and seeing what happens. It can be hard when working full time and my writing can be sporadic unless I’ve got a deadline or a project that has got me hooked.

-What inspires you to write?

I write stories about the darker side of human nature, and I’m interested in why people do the things they do.

I am also inspired by nature and landscape. I often start with a character or question that I want to know more about. I don’t tend to plan things out, I have tried to do it that way, but I get bored if I know what’s going to happen and prefer to see where the words take me.

- What’s the most rewarding and challenging aspect of writing Flash Fiction?

It’s always rewarding to type those two words ‘The End’. There’s a great sense of accomplishment in finishing something, but then the work really starts when you start to edit it. That’s also the fun part too because you know where you want to go and can start tweaking things around that. Although you could keep editing forever, sometimes you just need to stop and let the words be.

- How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

It is always good to have your writing acknowledged. It can be hard for writers to feel validated, especially when rejections keep coming in, but it’s important just to keep going and be true to yourself.

- How did you come up with the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

The Flash Fiction was written quickly. I wrote it at Crime Fest in Bristol when I got back to my hotel in the evening. My friend and fellow writer and Lou Minns suggested that we do a Flash Fiction to flex our writing muscles, and I sent it off the same day, so it was very organic and quick which is unusual for me.

The idea came from a session on mindful photography that I attended. Amongst the brutalist architecture was a small garden which was a little haven for wildlife. The narrator of the Flash Fiction has seen disturbing photographs in a previous job they’d had. The idea is around the disturbing images that the narrator had seen previously against that moment of taking their own photographs in nature. It is about being in the moment and new beginnings and the healing power of nature.

- Please share a few tips on writing stories.

For me it’s all about putting words on the page and not worrying about how they sound until it’s finished. Once you have something written then you can change it. Just write. Write and enjoy the process. A hook or an unanswered question can encourage people to read on. Write something that you want to read and something that interests you.

- Finally, would you recommend that the writers consider submitting to LISP?

Yes, it’s always good to submit your work as it gives you a sense of completion. Winning may be rare, but you never know what’s going to happen unless you give it a go. I was grateful and surprised to be one of the finalists and it’s inspired me to get some more words down again. I’m interested to see where it will take me next and it’s lovely to be in this group of LISP writers.

- Could you please tell us about yourself and your daily routine?

I’m a writer based in the UK and I’m currently working through ideas and structures for my first full-length play (which may also become a screenplay!).

- When and how did you start writing?

I’ve always loved writing in all its forms and began creating characters and stories from a very young age. I started writing sketches – always with a comedic twist – when I was still in primary school, so I think there was always a nascent playwright there! Much later, I found my way first into playwriting and then short film scripts. Recently, I’ve moved into exploring other genres, including prose fiction. I always considered myself a writer, even before I had my work performed or published, and I think it’s important to give yourself that permission.

- How frequently do you write? Do you have a writing routine? And what inspires you to write?

I invariably start on paper – very analogue of me! I find that the simple act of working with a pen helps to surface hidden themes and can spark unusual ideas for stories. I’ve always loved the Joan Didion quote: “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.” I think there’s a great deal of truth in that.

I am inspired by everything around me – news stories, overheard snippets of conversation, chance meetings, a fleeting look that flashes across someone’s face, or the thing they carefully don’t say. Like many writers, I instinctively observe and listen wherever I am and squirrel away what I notice, with it sometimes emerging in a fresh character or situation.

- How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

I find entering writing competitions really valuable. Firstly, you know that your work is being read and appraised by other experienced writers which, if you’re looking to improve and grow as a creative, is often an essential part of the process.

Secondly, the butterfly effect of actively putting your work out there can manifest some surprising opportunities. I hugely admire anyone who offers their work into the world – it’s always a bold and brave move. You simply don’t where it might lead, so that’s inherently exciting. Art is not a competition, but if you’re fortunate enough to progress in a writing prize, that recognition can be the voice that whispers “keep going” – sometimes just when you need to hear it.

As a lifelong book lover and voracious reader, the thrill of having your own words rendered in print and bound between the covers of a real book is just magical – pure and simple.

- What’s the most rewarding and challenging aspect of writing a story?

Coming up with the original concept is the most challenging aspect. I find that once I’ve locked on to an interesting and sustainable premise, the writing generally flows fairly organically from that point. Not all the time by any means, but quite often!

- Please share a few tips on writing stories.

Writing is such a subjective and personal process, but I think the key advice would be simply to begin. It may sound obvious, but getting something down on paper – creating something that wasn’t there before – is the first psychological step to completion. It’s the same reason that I always read the first page of a new book as soon as I’ve finished my previous one – to keep moving forward on the journey.

- Could you please tell us about yourself and your daily routine?

I teach English Language and Literature at secondary school in Yorkshire and have two young sons at home, so life is often very busy. I’m more of an early riser, so get up early to work before school starts, and will often go to bed early with a good book.

- When and how did you start writing?

I’ve always written little stories since childhood, but five years ago I actually put them out into the world by submitting to a 100-word story competition. Since then, I have had stories published in anthologies including the National Flash Fiction Day Anthology and Reflex Fiction, and have placed in competitions such as those by Flash500, West Word and NYC Midnight. Making my writing public was intimidating, but it has indescribably helped my confidence and my skill.

- How frequently do you write? Do you have a writing routine? And what inspires you to write?

As someone with ADHD, my writing often happens in sudden bursts. I will have an idea or a publication will have an approaching deadline, and it will be all I think about for a couple of days. I’m trying to get into a writing routine, but I find that sitting in front of a blank page without inspiration simply because it’s ‘Writing Time’ doesn’t work for me.

- How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

Putting a piece of writing out into the world for others to read is a daunting experience, and it took me a long time to feel comfortable about it. The validation that comes from being placed in a competition, being published or even just getting a good word from a reader is ineffable.

- What’s the most rewarding and challenging aspect of writing Flash Fiction?

The challenge of writing for me is the translation of an idea from an abstract thought into a coherent piece but, when this works, the rewards are worth it. It’s particularly rewarding when my husband (my forever beta-reader) spots an effect I’ve tried to create or points to a phrase he really likes; that’s when I know I’ve succeeded in what I set out to do.

- How did you come up with the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

I was reading a book where a character was hungover, and I thought the description didn’t ring true for me, so I had a go at writing it myself. I then carried it on, imagining what would be bizarre to find after a night out: a clump of foreign hair. Initially I focused on the feelings of panic and revulsion, but found this read too melodramatically, so instead explored how a person might be curious and almost enamoured with the hair, and this was so much more interesting. Because I wasn’t writing explicitly for a submission, I came back to this story when the mood struck me, editing and changing parts with fresh eyes.

- Please share a few tips on writing Flash Fiction.

Focus on character. For flash fiction, getting a complex and engaging plot is hard in so few words, but we can craft character in just a few sentences through their behaviour and reactions.

When you get someone else to read a short story or flash fiction, give them no information beforehand. This way you’ll know how clearly your plot, character and message is hitting home from their perspective.

- What is the best aspect and the most challenging aspect of competitions?

Competitions give me the impetus to finish a story, and themed competitions or submissions often spark a new idea. However, the wait between sending off the story and receiving a response feels interminable!

- Finally, would you recommend that the writers consider submitting to LISP?

Of course. Get your writing out there however you can!

-When and how did you get into writing?

I’ve enjoyed writing since childhood, but really got going with creative writing around 15 years ago. I entered some competitions, studied for a Master’s degree in it, and enjoy the creativeness of it. I write for myself, and only share a little of what I write.

- How often do you write? Do you have a writing routine? And what inspires you to write?

Often a new experience, or a visit to a new place will inspire a piece of writing. I love walking, and being outdoors, and a walk around woodland inspired ‘Symbiosis’. I have a website: www.helenchamberswriter.wordpress.com

It’s fun writing blog pieces as well as commenting on the writing process and other aspects of my life.

- How does it feel to have your work recognised?

Having a piece of writing recognised by publication or placing in a competition can be hugely rewarding and validating. Though write for your own pleasure first and foremost!

- What’s the best and most challenging thing about writing Flash Fiction?

When you have the tiniest scratch of an idea, and it stews in the back of your mind, it’s the best feeling when you get it down on paper - but also you sometimes need to give it time to develop. And then editing, making it the best it can be, can be very satisfying.

- Can you please give us a few tips about writing Flash Fiction?

Some pieces arrive almost fully-formed, like Symbiosis, some need time to really reach their best.

- Lastly, do you recommend the writers submit to LISP?

It’s always good to flex the competitive creative muscles and work to a deadline! I recommend LISP submissions.

- When and how did you get into writing?

I always loved writing as a child and teenager but work and life took over for a few decades until I decided to return to literature and creative writing studies during covid. An unexpected love for the short story form developed and I was delighted to be shortlisted and receive an Honourable Mention for The 2025 Edinburgh Writing Awards for my flash piece “Press ‘2’ to Save” and win Andromeda’s General Fiction Award for “The Magpie.” I have several pieces being published in the new year including the “With Teeth Anthology” and “Write! Anthology”. I dabble in poetry and am currently working on my first novel and a short story collection. Being a finalist for LISP has ended my year on an inspired high.

- How often do you write? Do you have a writing routine? And what inspires you to write?

I write whenever I can. My brain is always percolating scenes and characters. I most enjoy the fact that everything inspires me, and I love letting my thoughts and ideas run away with me. That impulsivity isn’t great for structure though! Routine is certainly not my forte. I think I do my best work between 1-4am. Ideas demanding to be written down usually spring as I’m trying to get to sleep.

- How does it feel to have your work recognised?

It’s wonderfully affirming and encourages you to keep going. Keep improving.

- What’s the best and most challenging thing about writing Flash Fiction?

All writers are different and so I would say I struggle most with the structure, due to the way I think. I love language and loathe systematic processes, so I’m often working on several pieces at once and it’s easy to get overwhelmed and discouraged. The best thing is to read a sentence which you know you spent so long crafting to perfection that really delivers a penny drop moment or gut punch. That’s really satisfying.

- How did you develop the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

I have an outside writing shed (yes, like Roahl Dahl did) and so there’s always plenty of spiders knitting away as I work and I often enjoy the distraction of watching them (I’m Australian, so I have zero fear of the UK’s spiders). Increased hostility towards immigrants alongside the genocide in Gaza were weighing so heavily for so long when this piece came about. I was consumed by how themes of difference and division (the them vs us mentality) were so rife. I believe we should celebrate diversity, we’re all part of the human race, so I was trying to knit some of my own threads of commonality between using the metaphor of something so ordinary as a spider, to speak about something far deeper and cast an alternative spotlight on it.

- Can you please give us a few tips about writing Flash Fiction?

Feel. Then think. Then edit, edit. Leave it to sautee. Edit some more. Always read it out loud.

- What’s the best thing and the most challenging thing about competitions?

The best thing is the shared experience of waiting to hear back, competitions can really break up the hard yards of a bigger project, and you then get to read all these amazing pieces at the end as a celebration. The thrill of being shortlisted however, really is so exciting and validating. Being such solitary work, it’s always a huge boost of encouragement when you are recognised. Sometimes that nod is exactly what is needed to break you out of a writing slump or a period of self doubt.

- Lastly, do you recommend the writers submit to LISP?

Absolutely. I am thrilled by the fact this little thought piece of mine made it through. It’s such an unexpected and lovely surprise to feel it made an impact somewhere along the way.

- Can you please tell us about you and your daily life?

I live in West London with my sweetheart cat, Ninevah, and the spirit of my naughty cat, Shenene. I’m an actress – EastEnders! Buddy the Musical! London Kills! – whooo-hoo! – and a copy editor.

- When and how did you get into writing?

I’ve been writing since I knew there were such things as books. Ah, the longhand notebook days. I wanted to be a writing wunderkind, the Lena Zavaroni of the literary word… Little late on that ambition, shall we say? Now I want to be the older Carrie-Anne Fletcher – musical theatre star AND prolific author, damn her eyes! I did win a British Theatre Challenge competition, with a short horror play, The Thing She Left Behind, and when repped by Sheil Land for screenwriting, I was the only black and only female writer chosen for my year’s Carlton TV New Writers Scheme, with – departure for me – a crime screenplay. Won a couple of flash fiction comps and was a finalist in this year’s New2TheScene summer novel comp. Had an offer of publication for one of my flash-fics, but, being disorganised me, didn’t see it in time. One of my WIPS started life as a screenplay that got to the quarter-finals of a competition.

- How often do you write? Do you have a writing routine? And what inspires you to write?

It’s a rare day I don’t write – usually when I’m stressing about an audition. Inspiration comes from my own ‘what if?’ thoughts. I can take the most innocuous situation and put a horror spin on it! Definitely can be inspired by other writers’ works: ‘What if [their story] but [my addition/take/nasty thought]?

- How does it feel to have your work recognised?

Oh, wow, basically. It can be so discouraging out there – ghosted by full-requesting agents, not making cuts – you just seriously need a boost every once in a while. And this recognition will definitely be going on my next batch of queries. I did love seeing my short horror play onstage – check it out on LazyBee Scripts and on YouTube British Theatre Challenge.

-What’s the best and most challenging thing about writing a story?

The best thing is the beginning and end; you start all excited and you end with having followed through to your satisfaction (until the next draft, but still). The most challenging thing for me is always, ironically, nailing the start. I’m writing a folk horror novel that has had so many different opening pages, \I don’t even recognise some of them; I’m, like, ‘Who wrote that mishegoss?’

- How did you develop the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

Oh, it definitely came from my 2^nd WIP, an urban horror called ‘Watch All Night’. Horror that draws on the horrors of history, it’s so truly one of my ‘what if?’ nasty thoughts. I’ve been working on the novel some years. Always been fond of the Great Plague. The flash just came to me when I had read loads of flashes and got how to do them! Being flash, I worked, like, two minutes on it. But don’t hate me ‘cause I’ve taken YEARS to write full novels.

- Can you please give us a few tips about writing a story?

Love your idea, is all I can think of, beyond the usual catechism. Be all stubborn. Set your mouth in a thin line. And take all the help – online groups, classes, feedback – you can get. If I’d started writing when all this online help was available… boy!

- What’s the best thing and the most challenging thing about competitions?

Best: deadline, inspiration, hope. Challenging: Obviously, not placing, but also Place, Place… Nah.

- Lastly, do you recommend the writers submit to LISP?

No, LISP is the devil, keep away! Joking! I recommend all competitions. They may not be the be-all, and you can certainly track your progress as a writer in other ways, but this is a valuable resource. Yes, submit to LISP!

- Could you please tell us about yourself and your daily routine?

I live in Byron Bay Australia, and constantly travel to different cities for work. Poetry is my way of staying in touch with my inner world.

- When and how did you start writing

My first poem was a philosophical slant on a slug’s life, which I wrote age seven. I still have the poem and the artwork. I wrote and performed poems and plays throughout my teenage years before taking a detour into journalism. I built a business around that skill, also publishing a business book, until it began to feel like my writing and my life was in a straight-jacket. Later, navigating a tumultuous divorce, I returned to poetry as a cathartic outlet and to try to bring some creativity and soul back. I describe myself as “going through a poetry phase” but it’s been a three-years, and I have fallen back in love with the craft.

I also have a memoir and a novel in second draft - poetry is my way of ensuring something gets published.

I’ve performed my poems in local cafes and spoken word events and competitions. My collection of published poems can be found on Medium and I’ve also had my work published in the Verserve Stars Anthology and Shared Drafts Project and shortlisted for the Woody Barlow poetry contest.

- How frequently do you write? Do you have a writing routine? And what inspires you to write?

I try to write every day – most frequently when I am walking my dog - which provokes a tug of war as I bash my thoughts into my phone while she tries to get me to walk faster. If this makes her my muse, she’s a reluctant one. My inspiration comes from trying to make sense of my own feelings. I grew up in a religious cult where emotional and creative expression were severely stunted so poetry is a great form of release. I currently have 300 unfinished poems in my drafts folder.

- How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

It feels a relief to know that my work resonates with others – sometimes it feels I am writing into the void. I have tried to remain true to my inner voice in my work and to resist the urge to polish poems too much or copy popular styles of writing. It’s nice to know that voice has found a home.

- What’s the most rewarding and challenging aspect of writing a story or poetry?

Writing poetry is like meditation for me. After a brutal or exhausting day, poetry can be my only retreat. I write to understand, and often that time. Poetry is like making bone broth – the longer you leave it the better it is for you. Getting a poem out – and hitting publish – is also a kind of catharsis; you’ve done your best, now it’s up to the world to respond.

- How did you come up with the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

This poem came about when I was dealing with an unrequited love situation that had gone on for too many years. I recognised I was spending so much time analysing the very limited contact or conversations I had with this person. It felt like I was spending weeks going over a conversation that lasted only minutes – and I realised I was starving myself of emotional nutrition.

- Please share a few tips on writing poetry.

The poems that resonate most with others are often the ones where we feel the most naked – the ones we are most afraid to publish.

- What is the best aspect and the most challenging aspect of competitions?

The best aspect of competitions is feeling your work has resonated with those who are deeply knowledgeable about poetry and what makes a good poem. On the challenging side, it can be hard to remain patient – the temptation to self-publish just to get a poem out there to get feedback is strong.

- Finally, would you recommend that the writers consider submitting to LISP?

Absolutely, it’s great to be recognised for your work as part of a global community.

-Could you please tell us about yourself and your daily routine?

Answer: Me and daily routine are strangers to each other. I struggle to get up and I struggle to go to bed. At the end of the day, I always feel there’s more to be done, more to be read, more to be learned. This made life in regular paid employment a challenge. Now that I’m not in regular paid employment, I have two dogs who require regular attention. I’m always apologising to them for not providing dinner at the appointed hour or not taking them out for walks when they expect it. I sandwich writing in between bouts of guilt.

-When and how did you start writing?

Writing was my strong suit when I was still at school and on through university. (Not that anyone was interested.) If I wasn’t going to be a nun, then I was going to be a writer. But I had no idea how. I had no contacts, no cash, no credentials and no clue. And I was working-class. The BBC Radio producer, Alfred Bradley, gave me my first break, accepting my piece A Tooth of Class for broadcast in the popular programme The Northern Drift in 1973. It was read by the much-loved, Manchester-based actor, Henry Livings. That programme was ground-breaking in that it gave people who wrote and spoke in a Northern, working-class vernacular a public voice. (Mind you, at this point, I still thought Manchester was in the South.)

After that, though, I had to earn a living. And I did that for many years in post-16 education, during which my creativity went into devising huge numbers of teaching and training resources and writing some features articles for newspapers including the Times, The Guardian and Observer Scotland.

As soon as I could live life on my own terms, i.e. without a mortgage, I turned my attention to fiction again. I have two published collections of short stories: The Map of Bihar published by Circaidy Gregory Press (2019) and The House with Two Letter-Boxes published by Fly on the Wall Press (2021). Stories in the latter are set entirely in the North-East of England which is where I come from. I have other stories sprinkled across online and print journals in the USA, Canada, India and the UK.

My story The Work of Lesser-Known Artists was a runner-up for the London Short Story Prize 2014. I have had listings in many competitions including two long listings for the Commonwealth Writers’ Prize and several short listings in the Fish International and Ilkley Literature Festival competitions. My story, Foxtrot in Fulham, was a finalist in the USA’s ScreenCraft Cinematic Short Story competition in 2021 and Oculus was a semi-finalist in 2018. Oculus is among the 3% highest ranked entries on the now defunct Coverfly website.

James Bolam and Susan Jameson are narrators in a video of my short story Black Boy Winning, which was produced with the support of Durham Miners’ Association to mark the 150^th anniversary of the Durham Miners’ Gala, which occurred during in COVID, in 2021. You can watch it here.

My greatest regret is that, with the one single exception of the Crossing the Tees festival, not a single bookshop, library or arts organisation in the North East of England has shown any interest in my work. I daren’t move back there for fear of disappearing into total obscurity.

-What inspires you to write?

Ans: I keep an ear open for other people’s conversations and an eye open on my surroundings in the way I imagine a visual artist would do. I read across fiction and non-fiction and look out for a confluence or intersection of ideas that sparks an interesting insight or train of thought. After allowing these things to simmer for a while, ideas for fiction somehow emerge. I have an interest in the political as well as the personal and am fascinated by the ways in which these interact and affect people’s lives. My story Hot Cakes is a good example of this: https://janethswinney.com/samyukta-publishes-hot-cakes-2/

-How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

Of course, it’s great. Once someone acknowledges that you’ve hit a chord with them, you feel as though you’re engaged in an activity that might have some worth. Otherwise, you feel you might just as well spend your life shouting down the toilet.

-What’s the most rewarding and challenging aspect of writing a story or poetry?

It’s a problem-solving sort of activity. A kind of Rubik’c cube of words and ideas. You get the germ of an idea. You intuit that there’s the potential for a story there. So you allow the thing to gestate for a while in your sub- or semi-consciousness, in the hope that useful material will coalesce around it. Eventually, you commit to trying it out on screen, mapping it out as you go. Ultimately, you arrive at a solution that satisfies you. Eh voila, a story!

-How did you come up with the idea for your LISP-selected story?

Hard to say. I remember having lots of conversations with friends about similar experiences, but where the artists came from, I have no idea. Once they were there, they brought their own back stories.

This story was written relatively quickly. I don’t remember exactly how long it took.

-What are you working on at the moment?

Ans: I’m looking for a home for a play I’ve written based on the stories and vignettes of the renowned Indo-Pak writer, Manto. The eightieth anniversary of Indian Independence is looming in 2027, and it would be really apposite to stage this play (highly commended by the National Theatre) then.

I am also working on a suite of stories about three young men who come to the UK from post-Independence India and what happens to them and their descendants. It maps the fraught post-colonial relationship between the formerly oppressed and their former oppressors.

-Tips on writing stories

The gestation period is all important, and you don’t need to be anywhere near a laptop for that. Have a clear sense of where you’re going before you sit down to write. What you do at the computer is mostly about sorting out structure and sequence. I’m not someone who believes you have to write a certain number of words every day. I’m someone who writes when I feel ready to write.

-What is the best aspect and the most challenging aspect of competitions?

The word limit is usually far too short for me. I’m fortunate in that I had something that fitted the specification of this competition. Otherwise, I often find myself treating stories as though I’ve taken them to the barber’s —shave a bit off here and another bit off there. This is an art in itself. Sometimes, it enhances them, sometimes it doesn’t.

-Finally, would you recommend that the writers consider submitting to LISP?

Of course. Why not? It’s always worth testing the water and seeing whether what you write resonates with other human beings.

-Could you please tell us about yourself and your daily routine?

I was born and raised in Bucharest, Romania, and I’m currently living in the south of Germany. I have an MA in Linguistic Anthropology and I recently completed an MFA in Creative Writing. My daily routine is mostly comprised of exercising, cooking and staring at the screen hoping for the words to come. I also watch a lot of TV series, read (I’m on a non-fiction streak about expeditions and explorers) and play video games.

-When and how did you start writing?

I was six when I started writing in Romanian. I wrote poetry, flash fiction and plays. About three years ago, I started writing in English and submitting stories to competitions. In 2023, I won Mslexia’s Flash Fiction Award and The Failing Writers’ annual flash fiction competition. My work has been published in Elegant Literature, Flash Fiction Magazine, Friday Flash Fiction, 101words and other magazines.

-How frequently do you write? Do you have a writing routine? And what inspires you to write?

I try to write every day, but not every day turns out to be a writing day. I prefer writing in the evenings, when it’s dark outside. I’m inspired by anonymous secrets people share online, by everyday moments, by the books that I read. I love magical realism, Garcia Marquez and Salman Rushdie, so my stories always have a little bit of strange in them.

-How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

It feels like having a flamethrower to scorch all the doubts, all the gnawing voices that tell me I’m not good enough and this isn’t what I should be doing. Every little win is a way of shutting them up, at least for a while. Writing is a lonely and isolating profession, and getting this type of recognition makes me feel like it’s all worth it.

-What’s the most rewarding and challenging aspect of writing a story?

The most rewarding thing for me is coming up with a turn of phrase or sentence that I adore. Finding a satisfactory ending is the difficult thing. There’s something almost like a demand nowadays for the ending to be a twist, a punch in the gut, something that turns the story on its head and I think it’s hard to come to a satisfying and surprising conclusion when you tell a story.

-How did you come up with the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

It was inspired by an episode long ago in my teen years, and by the idea that some relationships, as beautiful as they may be, are simply meant to end, to burn and light the way for the rest of your relationships. I have some recurring themes in my writing and break-ups are one of them, and also this idea that life is life and it just goes on and you don’t have much of a choice but to go along with it.

-Please share a few tips on writing stories.

I see a lot of stories that start in a passive way, with a long sentence that doesn’t necessarily entice you to read more. I think a sharp opening sentence that poses a problem or sets the mood immediately is the key to a good story. Also, a few years ago I read “First You Write a Sentence” by Joe Moran and that book has changed the game for me. It’s really important to weigh each sentence, see if it has words that drag it down, if it says nothing more and nothing less than what it needs to say, if it flows beautifully when read out loud. And finally, I think the whole “write what you know” is often misunderstood advice, because it doesn’t mean relying exclusively on your experiences, but rather writing on any topic based on the way you understand the world.

-What are the best and the most challenging aspects of competitions?

The most challenging aspect is for sure dealing with the rejections, especially when you get your hopes up and you think you might really have a shot. But I love the fact that competitions give me prompts, word counts and deadlines, it’s something that sets up the parameters and somehow makes the task of writing a story a bit easier.

-Finally, would you recommend that the writers consider submitting to LISP?

Absolutely! It’s a great competition, there’s the chance to be featured in an anthology and that’s a gold star for any writer, and my experience with LISP has been lovely.

-About me

Like most dogged writers, I have written poetry and fiction ever since I can remember, but it was studying for an Open University Diploma in Creative Writing while on maternity leave that gave me the courage to pursue my dream of writing full-time.

Being a finalist in the inaugural Manchester Writing for Children Prize and publication in the anthology, ‘Let In The Stars’ (MMU Press, 2014) really spurred me on. Subsequently, ‘Let In The Stars’ was shortlisted for a CLiPPA Award, and I had the enormous pleasure of seeing children from Barnes Primary School performing my poem, ‘Waiting For Snow’. CLPE has also produced teaching notes on my poems and clips of me performing and being interviewed are on their Poetryline website. My poetry is included in the anthology ‘The Head That Wears The Crown’, (Emma Press, 2018). Three of my poems have recently been published on the webzine, The Dirigible Balloon.

I have been shortlisted for the Bridport Prize, the Wasafiri New Writing Prize, and the Bloomsbury And National Literacy Trust’s Short Story Prize. I am lucky enough to have been taken on by Enrichetta Frezzato at Curtis Brown, and am currently working on my debut young YA fantasy novel. You can find me on Instagram @ watjenwrites

-My daily writing routine

Time is the most precious resource, and management of it has been incredibly important to me as I’ve juggled caring for children and my parents. I try to make the most of the time when I can write, and not to give myself a hard time on days when I can’t. I work more efficiently in the morning, so that’s when I try to be at my desk writing something. It may be character or location notes or random thoughts if I can’t write actual poetry or chapters, it’s often editing something from the day before. I’ve created a kind of compost heap of ideas that I draw from when I do have longer periods of time to think and write. Nothing is wasted. The important thing is to write every day. I have found writing haikus really valuable in this respect – they’re like little stock cubes of imagery which I can use later for a richer soup!

-How does it feel to have your work acknowledged?

Having my work acknowledged is an incredible buzz! Writing can be a solitary occupation, and external validation is the most amazing spur to keep going – it’s how I imagine winning the lottery would feel!

-What’s the most rewarding and challenging aspect of writing a story or poem?

The most rewarding aspect of writing a poem is communicating a thought or feeling in such a way that someone else can also feel it. When a poem works it can be incredibly powerful in that way, like a shared heartbeat. For me, the most challenging aspect of writing is to be truly honest and vulnerable on the page. I’m quite a private person, so it’s a challenge, but it’s always worth it.

-How did you come up with your LISP selected poem?

My father suffered from Alzheimer’s, which stripped away the structure and dignity of him, but not his essence. This poem is a reflection on a specific moment when we were holding hands in A&E, and how time and focus can be elastic at moments of intense personal pain. The second half of the poem is an unstructured mirror of the first. I wrote it after his death, because when you’re in the day to day of caring, you don’t have the luxury of space to reflect. I wanted to set the clarity of that moment of grief and joy in amber, preserving it forever so I could turn it around in my fingers, and poetry is the only language that could ever do this for me.

-A few writing tips

You can’t write wrong, you can write better. Be authentic and honest, even if it’s painful – the reader can’t hear your unique voice from anyone else and they deserve to hear it. You are worthy of being heard.

Edit! Then keep editing.

I speak my poetry aloud; it doesn’t often rhyme, but it always has a rhythm to it that jars if the words I’ve chosen aren’t right. I try not to be lazy, using predictable or hackneyed expressions, and I make every word justify its place.

-Best and most challenging aspects of competitions

Competitions give you hope and make you feel part of a wider community in what can be an isolated occupation. Entering competitions gives you the discipline of coming up with new ideas to a deadline and within a specific word count. The most challenging aspect of entering competitions is probably meeting the deadline!

-Would you recommend that writers submit to LISP?

1000% ! It is the most incredible feeling to have been selected as a finalist, and to be given the privilege of sharing some thoughts with other writers. Thank you to the team at LISP!

- Could you please tell us about yourself and your daily routine?

I’m a Londoner who loves art and culture, but being by the sea is my happy place. Time spent by the Thames and swimming in the city’s lidos persuades me not to move to the coast.

I was a palliative care social worker for a good part of my career, but having lost both parents by the time I was 21, I’ve always known that life is precious, and this informs my ‘grab the moment’ approach to a late landing in the flash fiction world! I’ve strong views about social justice and have run poetry workshops for excluded groups, as well as community classes. There’s a great book festival at Beckenham Place Park, and I’ll be running the flash fiction workshop there next year, having run the poetry workshop in 2024.

My days are quite different, but I have a weekly routine. I swim 2x per week outdoors, belong to a great choir, meet up with French-speaking friends, and enjoy my film studies classes. This, plus seeing my son and my friends, and getting out into nature, often to birdwatch or forage, all provide fulfilment, but writing is now my passion and part of my daily routine.

- When and how did you start writing?

I’ve written for as long as I can remember (with gaps). At first, it was short stories and poetry. My poetry book was placed in the 2009 Small-Press Poetry Awards’ top 20 individual collections, but then I had a fallow period for over a decade, before setting up an online writers’ group during Covid. This inspired me to complete an online flash fiction course with Mary-Jane Holmes, and since June 2024, I’ve been writing and submitting. I’ve had some successes alongside the inevitable rejections. Trash Cat Lit gave me my breakthrough by publishing my first story - it’s so affirming when someone believes in you! I now have stories in Bath and Oxford Flash Fiction Anthologies, have won the Propelling Pencil Competition, the Westword Prize, and Flash 500, and been shortlisted for Fish and Cambridge Prizes. I was thrilled to be published in the UK NFFD Anthology as the Editors’ Choice Award (alongside Rebecca Field) and very proud to make it into Smokelong Quarterly’s lit mag. It’s been a wonderful surprise that I can do this, though I still have much to learn.

- How frequently do you write? Do you have a writing routine? And what inspires you to write?

I write most days, often in the evening, but I try to devote at least one full day a week to new flashes and editing. I prefer to write outside the home to avoid distractions. I belong to SmokeLong Quarterly’s online writing community, so I get a prompt to submit a draft each week. External accountability is helpful, as even though I’m passionate about writing, I’m not sure I’d be sufficiently self-motivated without that structure. I’m inspired by anything and everything – a painting, a memory, something in the news, an overheard dialogue, unresolved feelings. Sometimes I can’t wait to get home from a day out, however good it’s been, so that I can write. It’s a hunger.

- How does it feel to have your work acknowledged, whether through being a finalist in a competition or having it published?

It’s a wonderful feeling – the best! Sticking my writing in a drawer wouldn’t do it for me. (Are there people who are happy with that?) I want to reach people and have an impact. But acceptance/rejection can be a dizzying rollercoaster, and I’m trying to get off it. Now, when I get rejected, I tell myself, ‘Nuisance, not disaster.’ But I don’t always listen!

- What’s the most rewarding and challenging aspect of writing a story or poetry?

Sometimes the blank page stares back at me, sniggering at my blank mind. Sometimes, I go down rabbit holes of research mid-sentence. Sometimes I’m stuck and there’s no un-sticking, and it’s better to put the draft away for another day; other days, it’s all about pushing on through the rubbish until you find a glint of buried treasure.

The most rewarding is when you crack something and you know the words are working their magic. Maybe capturing a complex concept in a few sparse or poetic words. I love the challenge of a limited word count; it’s like solving a maths puzzle. And I’m happy when a weighty theme becomes beautiful through lyricism - it’s a sort of transcendence.

- How did you come up with the idea for your LISP-selected story? Is there a story behind your story? And, how long have you been working on it?

It began with a SmokeLong prompt that included moving into the surreal. It took shape quite easily (they don’t always), although of course there were edits. I’ve always been a fan of David Bowie, but I was curious about Terry, the creative older brother who inspired him. Terry was eventually hospitalised for schizophrenia, but he managed to slip away and kill himself. Who knows what mental torment he was trying to escape? Such tragedies are still happening today, due to underfunding, understaffing, and bad attitudes, but ignorance about mental illness fuels stigma, so no one cares enough, other than the families whose lives are devastated. Only today I read a similar story in the news.

I wanted to pay tribute to Terry’s gifts and strengths because, like anyone with this diagnosis, he was clearly so much more than his illness. And I feel sure Bowie was affected by his brother’s death and had regrets, so I wanted to offer a dreamlike form of closure for him.

- Please share a few tips on writing poetry/stories.

Although I don’t always stick to my own tips…lock away your inner critic until you’re ready to edit. What’s the worst that can happen? You write something dreadful – no one dies! Look for where the action is, take that paragraph out and stick it at the beginning. Highlight all the dull, overworked words and replace them. Delete unnecessary adjectives. Delete adjectives. Write the weird and find a way to make it universal.

(Sometimes I fall at the universal part!)

- What is the best aspect and the most challenging aspect of competitions?

The wait is tough! You almost need to forget about it. And it stings when you’re particularly attached to a piece, but it gets nowhere.

Being placed, or winning, is obviously the best buzz. But maybe the real joy is getting your fiction out into the world. You’re sharing a part of yourself, a part that sometimes feels deeply personal, but it may make your reader laugh, or cry, or shudder, or identify with a universal emotion or experience. Or maybe just say (as I often do), ‘ Wow, I wish I’d written that.’

- Finally, would you recommend that the writers consider submitting to LISP?

Of course! It’s an honour to be a finalist, and having an interview published when you’re not famous is a rare bonus. I’m happy to join the LISP movement of writers.