Suburban Flotsam and Jetsam

This is just a little post to letcha all know that my new fiction blogging project has kicked off. It’s called Suburban Flotsam and Jetsam, or SuFaJ for short.

Basically, I scan and upload pictures of found ephemera that I pick up on my wanderings around town and I write things inspired by said found ephemera. Ephemera is my favourite word of the day.

You can check out my first story ‘The Girl with Hexadecimal Hair’, and the piece of paper with some words on it that inspired it, here.

In June, I plan to write a piece a week for SuFaJ, as one of my goals for National Young Writers Month. It’s already June 10 though, so I gotta get onto the next one soon! And if you read it and want to give feedback of any sort, or submit your own guest post to SuFaJ, please do! More details on the aforementioned website!

Other than that, I’ve been doing pretty well with my other two goals: writing for a focussed hour every day (in fact, I’ve been getting up most mornings and writing for a good two hours before doing much else! crazy!) and being an awesome NYWM Ambassador!

Anyway, hope you enjoy the story/are going well with NYWM/are having a frabjous day!

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NaYoWriMo-a-go-go!

Yep, National Young Writers’ Month is up and happening, online and off.

We have badges (see, I’ve already put mine on).

I have a piece up on the NYWM blog that I like to call ‘Why I (Don’t) Write’.

And we have heaps of other good stuff goin’ on, on the blog, on the forum, on Twitter and on Facebook. Not to mention we ambassadors and our impending travels around our respective states and territories, and the workshops, and who knows what else.

One way to find out: get amongst!

Anyway, I hope to still make time to keep blogging here over the next two months, but I may be overly engaged with NYWM, along with my other online writing project (and one of my NYWM goals), SuFaJ, which I hope to reveal soon.

Acronyms and excitement all around!

Melbourne Writers Fest 2010: Days 1 + 2

As I said, I’ll be blogging for the Melbourne Writers Festival. Indeed, I’m planning to blog about every day of  MWF festivities in which I partake. With two days down, and many more to go, I haven’t seen heaps, but I’ve made a good start. Things are just getting warmed up.

So first off: Friday, Day One!

I went along to The Morning Fix at Feddish. I got there a little late, and missed Joe Bageant and Jon Bauer, but arrived just in time to see Benjamin Law, then Benjamin Law’s mum, and then Benjamin Law reading this story to a room of mostly old folks. Nothing like cockroach massacre and casual cursing with your morning coffee. Kim Cheng Boey then had to follow that up with his sincere recollections and musings on memory, childhood and the father-son relationship. Estelle Tang summarises it much better than me on the official blog, which you should all be all over already.

Later that day, I went along to the launch of Above Water. 2010 sees the sixth issue of this (free!) little publication by the Uni of Melbourne Arts and Media Department. Although it started half an hour later than scheduled, and then only went for about half an hour, they managed to pack in a lot. There was some nice awarding of awards to some of the up-and-coming literary newbies at Uni of Melbourne, along with a great stack of readings from said lit-n00bs. You should head on over to the University of Melbourne campus, to Union House maybe, and hunt down one of the free copies doubtless just sitting there waiting to be snapped up. With stories of domestic tension, identity, lost marbles, mutilated mermaids and more, the collection looks pretty strong, especially for a bunch of folks only just getting started on this writing caper. I think I’ll give it a review here someday soon.

After that, I had to head on home, but that night there were keynotes, and people saw these keynotes and lo, they did blog about them, and said that they were good.

The next day, Saturday, Day Two: I busied myself with such important activities as not leaving the house, and then later I spent several hours partaking in proofreading and snacks with my Voiceworx krew. So as it was, I only got along to one session before calling it a day. But I chose well, as it was quite a spesh sesh indeed: readings and discussion from two of the Age Book of the Year winners.

In fact, only the previous night, the Age Book of the Year awards had been announced. Jennifer Maiden won the poetry prize for Pirate Rain, Kate Howarth won the non-fiction prize for Ten Hail Marys and Alex Miller’s Lovesong took the fiction prize and the Book of the Year award. Alex Miller and Kate Howarth were in attendance at this session, chaired by Jason Steger, and it was a cracking session indeed.

First, Kate Howarth spoke about her harrowing, but ultimately triumphant memoir. People have asked her, after reading her story, ‘How could you abandon your son?’. She rejected the word ‘abandon’, and tells how she was forced to leave, to come back later, to do what was best for her child in a terrible situation, in a far-too-recent time when women were essentially powerless. She read two excerpts from the end of her book, where she finally leaves her son, and then is later reunited with him years later. The emotion got to her — she’d never read that section in public before — and it was the sort of moment where it seemed almost wrong to say anything more. She may have been in awe of sharing a stage with Alex Miller, but when Jason asked Alex if he’d liked to read, he replied ‘not really, after that reading’.

Alex was compelled to instead give his own response to Kate’s story. But, eventually, he did read from his book Lovesong.  I’d never seen him before or read his books (despite hearing lavish praise), but Alex Miller is a great writer to witness. At times a gently cynical, no-bullshit curmudgeon, other times a remarkably thoughtful and humble man. When he did start reading from Lovesong, he read slowly, calmly and softly. His voice had some special timbre or hidden quality that scratched past my inner ear, into my brain and rustled around comfortably somewhere in my body. I could have listened to him read all day. When he said the phrase ‘a bag of sesame biscuits’ in his reading, it was like a warm crackling aural fire. A strange, rare quality in a speaker that I notice sometimes.

After his reading, the trio discussed a wide variety of subjects. Kate spoke of the joy of being published and thus realising a childhood dream; of her wonderful publishers at UQP; how she taught herself to write rather than attend creative writing classes; of the driving forces of rage and truthtelling that motivated her to write; of her hundreds of drafts and her perfectionism in writing, that she likened to unpicking a bridal gown. And how she’s planning a sequel.

Alex Miller spoke about the power of the informed imagination’s daydream, how it can spark ideas that grow into novels, which seemed to worked for both him and for Tolstoy. He said how having a child changes your life way more than any book. He spoke of how he can’t stop writing or he gets cranky, because writing for him is a kind of therapy. And he said after he’d exhausted all other options,  he had to just learn and write novels. Now he can’t help it.

All in all, it was assuredly a thoroughly satisfying session, except for that one person who didn’t turn their phone off, let it ring, and then proceeded to answer it mid-session. Let me just say: WHAT.

But all in all: a great first two days. Looking forward to the rest of the fest!

* * * * *

My picks for Sunday, which will quite possibly fill my next embloggenations to bursting: another Morning Fix of several of your soon-to-be-beloved writers; The Lifted Brow and friends getting up to all sorts of shenanigans in a shipping container on the riverbank; an In Conversation with Kim Stanley Robinson, the ace author of The Years of Rice and Salt and the Mars Trilogy; gettin’ wordy n nerdy at A Wordsmith’s DreamMeanjin, Overland, Going Down Swinging: Birthday Stories; and Dog’s Tales at the Toff and moooooooorrrrrre. See you at the Fest?

(2011 Post-script: I went to a lot of other great stuff at the Fest, but never got around to blogging it fresh. Wups. Sorry. Sam Cooney, however, wrote a bunch of great stuff about the Fest, which you can read via his blog, which is full of other excellent things you should also read if you read this.)

Freeplay 2010

Aw snap, before I get down to Melbourne Writers Festival blogging, I almost forgot I was gonna write about another recent date in Melbourne’s chock-a-block festival calendar: The Freeplay Independent Games Festival! Okay then. Quicksmart!

Righto, so the other weekend there was the 2010 Freeplay festival. This was my first time going along, and although I didn’t get a full ticket to the festival, there was still plenty of free stuff open to the public, within the State Library of Victoria’s Experimedia section. I WAS going to buy a ticket, but the main festival had already sold out (score for Freeplay!). In retrospect, it’s probably just as well I didn’t pay for a ticket, as pretty much everything I wanted to see was within the free public exhibition. A lot of the stuff in the paid festival was more for people deeply involved with all that tricky coding/programming/design/3D modelling stuff. You know, for people who actually make games.

Not me though. Well, there was Klik n Play. And I did make a Frogger-like game (called Froggo) for my Software Design and Development class in Year 12, and it was a goddamn marvel that took me weeks to get working. But I still haven’t worked out how to get the VisualBasic program working on my newer computer so I can show it off. BUT, while it was satisfying to make in the end, the arduous process of writing the code and fixing the bugs and remembering the jargon and getting the darn thing working assured me that building games from scratch was not my idea of an ideal career path. My talents lay elsewhere.

So yes, anyway, I figured a while ago that I’m not a Maker of Games, and although it would be awesome to write dialogue or the story for games, until I become a Renowned Writer, I will remain content with playing them. I don’t spend days upon days playing video games, like I did back in the day, though events like Freeplay always inspire a reminder of what I love about games, and thus inspire a brief return to the gaming frenzy. Still, my newest console is a Playstation 2, and I’m mostly still playing games of roughly that era or earlier, every now and then. I do keep up with what’s happening in gaming, but with a few exceptions, I’m pretty much a decade behind in games, which is okay by me. Maybe I only pay attention to those that have truly stood the test of time. That’s what I like to think.

In any case, games are awesome. Computer games. Video games. Board games. Card games. Or just good old fashioned, unmediated, unstructured play, like a kid with nothing but the world around them and their imagination.  And thus, the theme of the festival: Play is Everywhere.

And there was definitely a lot of play to be had within Experimedia.

Among the games on display, the first to catch my eye was Jolly Rover. If you’ve ever played any of the classic Monkey Island adventures, then think that, but with pirate dogs instead of pirate people. This one is now on my buy + play list. Check it out:

Two others of note: Mine Quest, which will soon be on Facebook to challenge Farmville’s time-sucking powers, and Hazard, which is just downright trippy.

Later I found out that some of these, and plenty of others, were featured in the Freeplay Awards Winners list and the shortlist. Yarr, thar be some super fun and super interesting games in them thar lists.

Beyond the games, I also caught a few panels.  The first: Everything Old is New Again. Being one of the first panels of the fest, there were a few teething problems with sound and presentation, but they soon started enthusiastically chowing down on things like retro revival, abandonware, the role of memory and nostalgia in a generation that has grown up with video games, and how things come in different cycles, refreshed for each new generation that doesn’t share the direct experiences of the last. They also touched on how games can (and should?) be deep, difficult, complex and original, but this kind of game often doesn’t find as much of an immediate market because it’s not easily compressed into a tweet, a marketing slogan, a recognisable genre or an existing franchise.

The next panel I saw was Getting Started. This was about all sorts of 3D modelling programs and industry tips for those just starting. Judging by my notes, I spent the whole talk contemplating the differences between games and other mediums, like movies, songs and novels. I pondered interactivity, narrative, the imagination, and the roles they play in different mediums in different ways. And I just mulled over the originality and experimentation in independent creative works.  I’m sure the talk was great for others, but I guess my mind wandered because I wasn’t too interested in learning all that technical jibbajabba. See? Writer, thinkerer, not a Game Maker.

Then there was the Play is Everywhere panel, taking its title from the theme of the festival. Appropriately, the panellists explored the topography of the topic far and wide. They questioned the value of play, intrinsically and otherwise. What can play offer us, besides pleasure and relaxation? What can play teach us? Can play be political? Can it make us more virtuous? It’s been shown that surgeons who play games can be better at doing their job. And games bring diverse people together, both online and off, to play. Children are teaching adults. Kids aren’t babysat by games, unlike with TV. It’s a less passive medium, in a sense. People are learning complex systems through interaction and experimentation. Play = risk = experimentation = learning = reward = life. One speaker made the note that play has always been everywhere, that’s nothing new. It’s games that are now widespread, often literally via mobile devices. Games are a unique fusion of art, science and technology.

I particularly liked what one panellist, Morgan Jaffit, said: that games should be more dangerous. Truly rebellious. Exploring scary stuff and controversial ideas (Escape from Woomera was given as one of the few examples out there). Not just mindless shoot-em-up violence and gore, which has actually become fairly safe. Games need to step beyond their association with kids, and get into complex, adult territory, like some of the best films and novels have. And this is partly why video games need to be able to have 18+ classification, rather than being refused classification. So yes, like play, this panel went everywhere and it was super interesting.

Finally, there was the Sleep is Death panel. If you want to know what Sleep Is Death is about, then just go watch the explanatory slideshow at their website. But basically, it’s a two-player collaborative storytelling game and it was something of a revelation to see it in action. It’s simple, yet it has essentially endless possibilities. It can be used to create interactive narratives of madcap surrealism, or elegant wonder, or who knows what else. It’s up to the two collaborative storytellers. In the demonstration we had, a member from the audience played as a judge who reluctantly slayed a wolf that was terrorising the community. But the game essentially has no limits, as far as the stories you can tell and play around with.

From the slideshow on sleepisdeath.net

Yup.

It’s utterly responsive and unpredictable, and I just found it hugely inspiring. Even better, you can watch back past games (yours or others) like a slideshow. I’m keen to buy this, but I’m holding off, just because when I do get it, I know I’m gonna be hooked. But you can bet you’ll hear more about it from me eventually.

So. Sleep Is Death. Storytelling meets play. This is another thing I’m super interested in. I’ve always been interested in games where the story is integral. And I guess in a sense storytelling is in itself a kind of play. But then hang on, I’ve realised that with Sleep Is Death, I kind of can make games, in the sense that I can create an interactive narrative. Now I really want to download it. Who knows where that will lead? Maybe I’ll even play around with VisualBasic and get Froggo working again. And where will my tinkering take me from there?

I guess one overall lesson I took from Freeplay 2010 is that play is important. Sometimes it gets a bad rap. Some call it childish. But I also learnt a new word — neoteny: the retention of juvenile characteristics in adult life. Sure, it’s a biological term, but it can be useful when you look at it more broadly. Really, whether you’re a child, an adult, or somewhere in-between, play is vital and enriching, and it’s good to have it as a balanced and integrated part of your daily life.

Finally, for some further, detailed, Freeplay-related reading, check out some great stuff I found, trawling via the #freeplay10 hashtag and various related links: Grassisleena’s report, an exhaustive wrap-up from Critical Damage, some deep thoughts from festival director Paul Callaghan’s blog and a great piece on Sleep is Death. There. That’ll do ya. Nearly as edifying as attending the festival yourself, no?

EWF update: Disco discourse, Quarter-hour launches, Bootcamps, Bon Scott and more!

The Emerging Writer’s Festival has been zooming along like a runaway locomotive, with plenty of events whooshing past and a weekend cornucopia rapidly approaching. Let’s see if I can make sense of the blur that has been my past five or six days.

Sunday’s Page Parlour was a jolly good time for all.  I browsed the tables thrice and then again, sat in on an interview with the wonderful Mandy Ord, got prodded with Ronnie’s attention-grabbing prodding stick and finally settled my spending at three rad-looking indie publications: Red Leaves, Caught in the Breeze and Flinch, which may all result in reviews one day. I was too tuckered out for the 48 Hour Play Generator that night, but if the reports are anything to go by, I really did miss out.

Meanwhile, there’s been a storm of TwitterFESTing, #ewfchat hashtagging, digital launches, online conversations and more, all as part of the online side of the festival. Check out all the EWFonline happenings here, or plough through the ever-growing hashtag archive on Twitter.

Back in the land of face-to-face, for four nights, four publications got their 15 Minutes of Fame.  Thuy Lin wrote a great summation of the first round on Monday. Jodie at Voiceworks/Virgule did too, but remember: it’s not a competition.

That being said, let me claim a FIRST on Tuesday night. But in an effort to rein in my logorrhoea, I’ve restricted myself to 15 words for each 15 minutes of fame-r.

1. My Pilgrim’s Heart by Stephanie Dale: ‘Journey through marriage and other foreign lands’.  Mullumbimby.  All humanity vibrating in Istanbul. Unlearning expectations.

2.  The Nine Flaws of Affection by Peter Farrar: Laconic. Carveresque. Drought. ANZAC. Comas. Wounds. Violence. Aftermath. First-person. Affection’s flipside. Kill those darlings.

3. Ondine by Ebony McKenna: Fantasy. Girl meets scruffy, black, Scottish ferret/boy at Psychic Summer Camp. Magic and love.

4. Offset journal: an unfamiliar journal, with DVD! Victoria University’s poems, songs, artworks, stories. Multimedia first publishings wonders.

Good stuff! Unfortunately, I didn’t get along to Wednesday or Thursday’s series of quarter-hour launches. Lose. Who else went along? Still, the two I did attend exceeded expectations. Even the publications I suspected might be a bit naff ended up surprising me and they all became books I’d happily snaffle.

Ooh, also on Tuesday night, I got along to You Can’t Stop the Musing, Craig Schuftan’s Disco Lecture. Working as a funny critique and defense of disco, his basic argument (full of wit and disco backing tunes) was, sure, disco is repetitive, stupid and artificial. But we like to dance to repetitive music and disco has mass popular appeal, so people can sneak into it what they want to say to a large group of people. Disco connects us to our bodies and our internal rhythms. Its stupidity challenges the mind/body dualism that forms the core of Western thought. And it may be artificial, but this can be a positive for oppressed sectors of society, such as gay people, who’ve been told their whole lives that their desires are ‘unnatural’; it’s basically challenging biologicial determinism. His lecture really did give me a greater appreciation of Saturday Night Fever, the Yeah Yeah Yeahs, and disco in general, old and new. Craig says his goal is to increase happiness in the world in this way, so that when we hear these songs on the radio, we derive greater enjoyment from them. Works for me!

On Wednesday night, I went along to the city library to try my hand at the Creative Writing Bootcamp in person, rather than the digital edition/s. Voicework’s Maddie Crofts ably guided a huge crowd of people in a variety of great exercises that I reckon I’ll re-use in the future.

After that, I went off to the Willow Bar for The Last Hurrah, which is somewhat-EWF-related, in that it was night of readings culminating in the launch of A.S Patric’s Music for Broken Instruments, which also received a digital launch at EWFonline. I was delighted to be kidnapped by the poems and stories of the Black Riders.

Thursday saw me attending my first Lunchbox/Soapbox at the Wheeler Centre, where Torpedo‘s Chris Flynn argued that, while past decades have had Lassie, Rin Tin Tin, Inspector Rex, K9 and the like, this decade needs its own heroic hound if we’re to have any hope . Pretty much one the most unique speeches I’ve seen. Great stuff.

Then that night, another Creative Writing Bootcamp, this time with Komninos. This one took a while to get started, but it too built up to some great approaches to generating stories and ideas.

Then it was time for Wordstock. This year’s theme was AC/DC. Can’t say I’ve ever been a fan, but I’d be lying if I said that night didn’t make them a little more respect-worthy. Clem Bastow dressing up as Bon Scott, visible package and all; Emilie Zoey Baker’s nostalgic bogan tribute; two ukelele tunes (one about circumcision, the other about reality TV);  Sean M. Whelan poetically applying the Schrödinger’s cat concept to Bon Scott’s life/death; Vachel Spirason again wowing us, with a construction worker’s flamenco/breakdance/aerobic  routine ; neo-feminist responses to Acca-Dacca traditions; awkward karaoke renditions; and Ben Pobje’s concluding ode to riding free and punching babies in the face.

After all of that, Friday’s lack of EWF programming was a chance to get my bearings, gather my resources, take a few breaths, make a few plans and ready myself for the weekend rush.

And now the Town Hall weekend approaches. How hectic is this program? I’m going to have a hard time choosing which panel I want to go to almost every hour. And I’ll have to pop out at some point to check out the zine bus and all the DIY wonders it holds.

Finally, before I forget, Bookseller and Publisher’s blog Fancy Goods has a wrap-up of the festival thus far. Meanwhile, their past editor, Miss LiteraryMinded/Angela Meyer has also done a wrap-up of her own.

Righo then, see you at the festival, or maybe on the other side!

First Words on EWF

I arrived about 10 minutes before The First Word was scheduled to begin. Before entering, I helped two women who looked a bit lost to find their way, assuring them that the event to the left, with its hordes of loud men drinking booze from kegs and eating sausages, was a festival of beer, not writing. The First Word was to our right at the ever-shiny BMW Edge Theatre.

Amongst a few familiar faces and plenty of new ones, I found a good seat and waited for the show to begin. A gentleman named Phillip sat down next to me and introduced himself. I later realised he was Philip Thiel, a man of impressive blogging determination who’s speaking at the Town Hall next weekend. The current subject of his blog, soliciting kisses, was not raised. In fact, before we had much of a chance to chat, it began.

The echoing and amplified voice of Lisa Dempster welcomed us, and soon we were treated to a scene from a play by, I believe, Alison Mann.

A young stripper brings an older woman back to her place. They converse, look at photographs and eventually kiss. But the older woman wants to share all the doubts and uncertainties plaguing her mind.  Neither seems to be looking for the same thing. I felt that, in keeping with night’s theme of Love and Angst, one woman represented love (or lust?), while the other was filled with uncertainty and angst. A good snippet to begin with.

Then there were the speeches by the Co-Director and the Arts Minister (am I the only one who thinks Minister’s speeches could usually stand to be cut in half?), then the 48 Hour Play Generator was launched and the playwrights were introduced and given their theme. No envelopes, just a setting of a scene. Something along the lines of: two people: one standing, one kneeling, looking into an open grave. Nice. Whatever results from that will be seen at the Malthouse.

Toni Jordan then gave a great keynote speech about the love of writing, the love that infuses and inspires her writing, and the role of writers: to record and to bear witness. To be ready so that when someone says ‘can you describe this?’ you will reply with ‘yes’. I wish I could remember the name of the Russian poet she mentioned, who sold millions of books in her home country, pre-Sovietism.

Next was the wonderful Vachel Spirason with a physical performance that had very little to do with writing but everything to do with being hilarious. He put on boots that possessed him to tap dance. He put on a Collingwood Magpies beanie and was transformed into a footy hooligan. And he danced like Michael Jackson right off the stage after putting on one white glove.

After that was a reading by Amy Espeseth from Sufficient Grace.  It featured blood, snow, ticks, dead coyotes and the ‘mangy beard of Jesus’. Great stuff.

Then Craig Schuftan took to the lectern with his laptop and proceeded to give a speech that was genuinely both funny and intelligent, tying together a dizzying blend of pop culture and high art. He talked about the future as imagined in the Bill and Ted movies and Yeasayer’s latest music video. He related the Romantics of the 1800s to both 1980’s rock power ballads and emo. He managed to tie it all together to say, I think, that what we like determines who we are, and it matters. And our feelings matter too, but they’re not the only thing, even though the Glory of Love is pretty important. I’d always been a fan of his similar Culture Club segments on Triple J, but it was great to hear a longer talk from him, even though there was so much to take in. Like many others, I expect, I’ll be very keen to see his even longer Disco Lecture on Tuesday.

Then: Interval. Toilet. Beer. Tweet. Return. Sit.

And we were back with another reading. This time, a time-twisting story about art, read by Mike Bartlett. I believe it was Out of the Picture from his  Salmon and Dusk podcasts.  Another great, well-read piece, that reminded me somehow of the Dirk Gently novels by Douglas Adams.

And finally there was the Two Sides of the Coin Debate: Love vs Angst. With Michael Williams as chairman, Josh Earl, Michaela McGuire and Kate McLennen debated themselves on the topic. Each speaker stood up twice, once for Love, and then again to argue against themselves for Angst. The laughs came fast, whether it was after lines from Michaela’s teenage asthma-inspired angst poetry, Kate’s jaunty rendition of ‘All You Need is Love’  or Josh’s comparison of an infinite numbers of monkeys writing about love or angst.

All three were hilarious, no matter their argument, but in the end, though it sounded like Angst won, Michael Williams declared a ‘draw’ on the clap-o-meter. Love and Angst remained the partners they always were.

And then with final pronouncement from the booming Voice of Lisa, it was over. I felt that, with only two acts after the interval, it needed a finale or a coda to tie it all together. Maybe a short poem or a musical piece? Still, a minor gripe in a great night.

As I left, more drunk men and Collingwood Magpies footy fans were swarming Fed Square and the rest of the city. It all seemed fairly appropriate, both as a counterpoint to all the wonderful talk of angst, love and writing, and an apt reminder of a certain dancing man in a Magpies beanie earlier in the night.

*

With the First Word finished, there’s plenty more EWF stuff I intend to get involved with:

  • Today saw the first event in the online program: a Blogger’s Brunch wrapped up just as I posted this. It’s still open to be commented on, and there’s plenty to read. But then from 12-5PM today is the Page Parlour. I’ll be seeing what’s on offer, feebly attempting to not spend all my money, and lending a hand at The Lifted Brow‘s table. I may or may not go along to the 48 Hour Play Generator tonight too.
  • From Monday to Thursday, 7PM, is 15 Minutes of Fame. I’ll be getting along to as many of these as I can to find out about some new publishings.
  • Tuesday night is ‘You Can’t Stop the Musing‘ a disco lecture with Craig Schuftan. I’d better buy my tickets to this, because after his piece at the First Word, I think it’s gonna be pretty popular and awesome.
  • (8PM Wednesday Night means ‘Black Rider presents The Last Hurrah‘. Not an EWF event, but near-bursting with literary talents!)
  • Thursday day sees a Lunchbox/Soapbox at the Wheeler Centre with Chris Flynn talkin’ ’bout heroic hounds.
  • Then on Thursday night: Wordstock. I’m not a fan of AC/DC, but I’m still hoping to go to this.
  • Then there’s the Stuck in a Lifts, Creative Writing Bootcamps, TwitterFEST and all the other parts of the online program throughtout the week. Hoping to get into as many of these as possible.
  • And finally, the gargantuan cherry on top, the Town Hall Weekend Program, which is far too massive to even think about now. I just hope I find time amongst it all on Saturday to get on the Zine Bus.

I think after all this I’ll be bloated with words, ideas, inspiration, bloggery and good festival vibes for quite a while.