GUEST BLOG: Flash Fictions – Key Words and After-Images by Angela Meyer

Franz Kafka

Franz Kafka

There’s a very short story by Franz Kafka, called On the Tram, where the narrator, ‘unsure of his footing in this world’, watches a woman move towards the steps, ready to alight. He is taken in completely by this vision:

She is as distinct to me as if I had run my hands over her.

He describes her appearance and dress, ending with this:

Her small ear is close-set, but since I am near her I can see the whole ridge of the whorl of her right ear and the shadow at the root of it.

He wonders, at the close of the story, how she is not amazed at herself.

The narrator never tells you that the woman is attractive, or beautiful, but she comes alive to the reader, due to words that convey intimacy (and we must acknowledge that word choice in this case involves the work of the translators Willa and Edwin Muir).

In a short story, every word must count. What is left out is as important as what is left in. The writer must create and maintain a particular tone, or mood, and create a piece that feels whole (not a fragment) but that may evoke much outside its confines. With my own very short stories (also called flash fictions or microfictions), I want the characters, images, themes to live long in the reader’s mind. I want them to have some impact.

You might compare a very short story to a complex painting – a narrative-based painting – where the symbols nestled in the setting and upon the figures work together to not only suggest a particular story but hopefully move you to feel something, something you may not even fully, consciously comprehend.

Angela Meyer

My own stories are not abstract paintings, they are figures in a landscape, though some are expressively warped: the stories in Captives range from dark Edvard Munchs to (superficially) bright Andy Warhols.

I’ve always been a visual person, and I think that’s one reason short stories appeal. Often they centre around an image, or a series of images. Think of Hemingway’s Hills Like White Elephants, or the new cloak in Gogol’s The Overcoat. In flash fiction, the central image might burn on the reader’s retina, difficult for them to blink away.

One of my favourite very short stories by Janet Frame, The Linesman, is about a woman watching a man repair a telephone line from her window. She cannot seem to move away from this image, despite being hungry and thirsty. The final line is: ‘You see, I was hoping that he might fall.’ The images are sometimes related to epiphanies or indications of character. Often, they are absurd and tell you nothing overt at all (which may really be telling you more).

Mine include a man pointing a gun at his beloved, a woman swallowing objects, an empty cradle, a locked toilet, a newspaper headline, a man on a tightrope, and actor Anthony Perkins’ bum. I hope that the characters will come alive, like the woman on Kafka’s tram did for me, that the stories will produce a range of effects, and that an image or two will remain long in your mind.

Angela Meyer is a Melbourne-based writer and reviewer. Her short stories, articles and reviews have been published widely.

Her new book Captives contains touches of Annie Proulx, the way a lonely death can creep up on you and the way our sexuality will not be denied, though we may try to cover it up. There are many glimpses of ordinary people struggling with everyday madness in extraordinary ways.

Grab a copy of Angela Meyer’s Captives here


by Angela Meyer

Short, intense and mesmerizing. Read these very short stories on a train, a tram, a bus, or waiting in the check out line. Captives by Angela Meyer will fit into your pocket, your handbag or tucked into the cover of your ipad.

Captives opens with a husband pointing his gun at his wife. There’s a woman who hears ‘the hiss of Beelzebub behind people’s voices’, a photographer who captures the desire to suicide, a man locked in a toilet who may never get out, a couple who grow young, and a prisoner who learns to swallow like a python.

Movie stars appear throughout reminding us that people live on through images: Paul Newman, Anthony Perkins, Divine, and a girl who died in a car crash are all caught eternally on film.

Grab a copy of Angela Meyer’s Captives here


Joanna Trollope on Jane Austen

The Austen Project
Sense & Sensibility
A Q&A with Joanna Trollope

1. Sense & Sensibility is launching the Austen Project –  what was it about the idea of a modern re-telling of Jane Austen’s novel that caught your imagination?

My first – and I have to say, last – reaction when the idea of updating those novels was put to me, was: how brilliant! Jane Austen’s preoccupations – romance, money and class – are timeless, which is one of the main reasons that puts her at the head of the much beloved, as well as classic, category. She is also completely serious about any character or emotion that requires respect, while at the same time displaying a wonderful capacity for mockery and spot-on censure for folly and unkindness in any form. And so, while determined that any novel I wrote would be unquestionably a tribute to her genius, and in no way an imitation, I could immediately see that her characters and her narrative would translate absolutely seamlessly to 2013 – which, indeed, they have.

2. The characters that Austen creates are timeless but still, transferring them to current times must have been an enthralling task. Did you find the presence of an existing plot and characters liberating or limiting?

The whole process was a liberation. The characters almost felt that they were transferring themselves to recognisable modern people with very little help from me, so vivid are they. And being freed from the need to invent a theme, a narrative or a cast list for myself, I felt little short of exhilarated the whole time. Of course there were elements that had to be modernised since the characters in the original, a lot of them living on the proceeds of the slave trade (although that is never mentioned as it would have been such a contemporary commonplace) have the kind of leisure that is absolutely unthinkable nowadays. And the outrages – Willoughby’s impregnating of Eliza, say – have to be updated to convey the same level of shock. But these changes were really details in what was an extraordinarily engaging project.

3. In Chapter 5 Belle says: ‘Then he’d be at complete odds with my Marianne. And me for that matter. We believe in the love of a life, you see.’ Marianne really is the living embodiment of the sensibility that was so fashionable in the eighteenth century. How did you manage to update her romantic fervour and make her so likeable?

The thing is that Marianne is likeable, as well as close to impossible, in the original. We know that by the time Jane Austen came to write Sense and Sensibility, her own appreciation of the qualities of level-headedness that Elinor displays far outweighed the current philosophical vogue for sensibility. But Marianne is as much a child of her times – 1809 – as she is, with a slightly different modern interpretation, of ours. It’s just that we have a different way of describing, and of seeing, the same utter belief in emotional self-indulgence and the prioritising of individualism, as she does. What she would call sensibility, we recognise as entitlement. Her belief in finding the love of her life equates to our desire for a soulmate. She may exhibit an exasperating level of self-involvement which is very recognisable today, but she is also warm and welcoming and sincere in her attachments. And she loves her sister, Elinor, she really does. We can all look round our circles of friends and see people in it who are ‘Mariannes’ – maddeningly self-absorbed, and emotional, but also sweet and responsive and sympathetic. Jane Austen’s Marianne is a very modern girl, with all the plusses and minuses that that entails.

4. Sense and Sensibility is so much about how we declare our love, and how the public and private versions of love exist. How did you find writing this interplay? Do you think public declarations through social media such as Facebook and Twitter have changed our modern view on love?

I would guess that no amount of social media actually changes the way people feel, even if it might have enabled, rather than actually changed, the way they express those feelings. The desire to be loveable, and popular, and fancied is as old and as enduring as humanity is itself, and I would guess that the number of modern girls pressured by their peers or their own insecurities into making fools of themselves on Facebook and by Instagram, is exactly the same as it was before these alarmingly public fora existed. You can imagine very easily, can’t you, the Steele sisters taking avidly to Twitter! And I think the fact that I could insert a little modern media so effortlessly into Jane Austen’s narrative is the only proof you need that humanity doesn’t change, even if codes of conduct do!

5. Edward Ferrars is described in Chapter 2 as the ‘redeeming attribute’ of the Ferrars clan. But he has little direction and behaves submissively, at first, towards Lucy’s insistence that they are an item, in contrast to Elinor’s composure and intelligence. Did you find it hard when writing to see them as an equal match and can readers be fully satisfied that Elinor is to marry him at the end?

Oddly enough, I thought that Edward Ferrars was one of the most modern characters in the whole book – or, at least, one of the most recognisable as modern. He has had a bullied and neglected childhood, despite material comfort, and is clearly what we would now diagnose as a mild depressive by nature. There is an unquestioned sweetness in his disposition, but his upbringing – thrusting new money and ambition – is not in the least interested in sweetness, but only in success. His overbearing mother has accustomed him to obeying bossy women, and his sweetness makes him anxious to oblige. So he is easy prey, as a lonely teenager whose family have written him off as hopeless, for a gold digger like Lucy Steele. And Elinor, interestingly, for all her intelligence and self control, is the family missionary. She has appointed herself the Sensible one, the Saffy from Absolutely Fabulous, whose task it is to steer her chaotic little family ship to a safe harbour. If she didn’t like sorting volatile people, she would not be so unbelievably patient with her mother and sisters. Sorting them all is her chosen role – so Edward Ferrars is a natural choice for her. He may not be completely worthy, but he is what she wants.

6. The novel’s themes of status and money imply that some things are never out of date and that men with wealth and power will always be more attractive to women. Would you agree and do you see this ever changing?

I entirely agree. In fact, I would go further and say it’s mainly money that gives both power and sex appeal – and of course, the latter is a form of the former. Looking back at history, emperors, statesmen, successful industrialists, soldiers and entrepreneurs may not have made a universal success of their private lives, but they have never not taken what they wanted – or what they thought they wanted! And to look at the present day, it is only money that stops Fifty Shades of Grey from being a novel about sexual abuse – and I see that the new Sylvia Day will feature ‘a young billionaire’ hero … Now, I wonder why that should be?!

7. What would you like readers to take away from this novel?

I would love readers to take away several things. First, obviously, a sense of pleasure and satisfaction. Secondly, a sense of having been in the company of people they can both recognise and believe in. But thirdly, and most importantly, I would like them to feel a renewed and enormous admiration for Jane Austen, and a strong desire either to re-read the original, or actually, to read it for the first time.

8. Do you tend to read when you are writing a novel and, if so, what?

I read all the time … And what I read is not particularly deliberate, but more often than not, whatever is next on the pile of books waiting to be read because I have been asked to read them or am longing to, anyway! This year, one of my huge reading joys was the entire shortlist for the Womens’ Prize for Fiction – six dazzling books. I can’t think when there has been a stronger shortlist – everyone a winner in my view!

9. Did you re-read Austen’s Sense and Sensibility and if so, did you refer to it as you wrote or did you prefer to keep a distance between you and the text?

I read and re-read it exhaustively, to the point of cannibalising several paperbacks of it to work out the scenes I was going to use, and where I would have to add scenes to bring the narrative circumstances up to date. So I ended up with a tattered re-configured sequence of the original, heavily highlighted. I have left one line of the original in the updated version – I wonder if you can find it?

10. As a hugely successful, bestselling novelist, would you have any guidance or advice for young writers starting out today?

The first thing I would say is that there is plenty of time. You can be too young to write – simply because you haven’t had time to live enough – but you can hardly be too old. Think of the wonderful P.D. James, in the bestseller lists at 94! I remain of the opinion that most people write better after 35 than before, for that very reason. So, don’t be in a hurry! And while you are waiting, train your powers of observation, because that is the hallmark of all successful novelists. Maybe even keep a notebook – not a diary, but a notebook you have with you in which you can record ideas or observations, or snatches of a conversation you overhear, or scraps of dialogue. No amount of noticing of other people is ever, ever wasted for a writer … Good luck!

Joanna Trollope, OBE, is the international bestselling author of 30 novels and has written historical fiction, contemporary fiction and non-fiction. When Joanna considers what has happened to her career in the last ten years, she often thinks, as her friend Jilly Cooper once said, ‘You’d believe it, wouldn’t you, if it happened to someone else‘.

Paullina Simons, author of Bellagrand, The Bronze Horseman and more, answers Six Sharp Questions

bellagrandThe Booktopia Book Guru asks

Paullina Simons

author of Bellagrand, The Bronze Horseman, Tully and more, answers

Six Sharp Questions


1. Congratulations, you have a new book. What is it about and what does it mean to you?

Bellagrand is a story of a passionate, troubled love affair between Harry and Gina, who are the parents of Alexander, my hero in The Bronze Horseman books. Writing about them allowed me to immerse myself again in one of my favorite types of fiction: a personal and emotional story of real people against the backdrop of transformative historical events such as World War I and the Russian Revolution.
There is another reason: I love going back to the world of Tatiana and Alexander. I sometimes hear from my readers that they have trouble letting go of my characters. To them I say, tell me about it.

Click here to buy Bellagrand from Booktopia,
Australia’s No. 1 Online Book Shop

2. Times pass. Things change. What are the best and worst moments that you have experienced in the past year or so?

Best: My new renovated house.
Worst: Living in our unfinished basement for three months while the house was being renovated. I have a lifelong healthy respect (okay, dread fear) of basements. My husband and kids, of course, love the cave-like atmosphere—and there is my life in a nutshell.
One moment stands out. For Thanksgiving last year I cooked the family dinner on a stove set up in the wreckage of my demolished-to-studs kitchen. We ate on a folding table in the cold basement. Was that the best or the worst? The answer is yes.

3. Do you have a favourite quote or passage you would be happy to share with us? It doesn’t need to be deep but it would be great if it meant something to you.

“Oh, what a lucky man he was.” (Emerson, Lake and Palmer)

4. Writers have often been described as being difficult to live with. Do you conform to the stereotype or defy it? Please tell us a little about the day to day of your writing life.

I am a delight to live with. I’m hardly ever home. I spend my days in my studio, with my laptop, my piano, and my coffee machine. Oh, and I like to pretend that I defy all stereotypes.

5. Some writer’s claim not to be influenced by the needs of the marketplace, while others seem obsessed by it. Would you please describe how the marketplace affects your writing (come on, tell the truth!).

I don’t think in terms of the marketplace, exactly. More in terms of what my readers and I like best. Since I try to write the kind of books that I myself prefer to read, I hope that my readers will want to read the books I like to write.

6. Unlikely Scenario: You’ve been charged with civilising twenty ill-educated adolescents but you may take only five books with you. What do you take and why?

The Summer Garden, for the lifelong soul of a marriage.
A Song in the Daylight, for the unfathomable human heart (both of which make great Christmas gifts, by the way).
East of Eden, for the Pandora’s box of good and evil.
Macbeth, because it has the best lines.
The Bible, for everything under the sun.

Paullina, thank you for playing.

Click here to buy Bellagrand from Booktopia,
Australia’s No. 1 Online Book Shop

Matthew Reilly chats to John Purcell about his latest book The Tournament

Grab a copy of Matthew Reilly’s The Tournament here

The Tournament by Matthew Reilly

(Review by John Purcell)

Bestselling author Matthew Reilly is one of Australia’s most reliable writers. Every couple of years he delivers his fans quality popular fiction and every couple of years he can be counted on to break Australian sales records. But till now, all of his successes, Ice Station, Seven Ancient Wonders, Temple, The Five Greatest Warriors, Scarecrow, to name just a few, have one thing in common, the breakneck speed of their narrative.

The Tournament is a departure for Reilly, gone is his trademark breakneck speed. Instead we find a narrative with gravitational pull. Enter The Tournament’s orbit and you cannot escape, you must read on to the final page.

That said this book still jogs along. You don’t get to where Reilly is without learning a trick or two. He has chosen a point in time, 1546. He has given us a narrator, Queen Elizabeth I, no less. He has booked a stage, a chess tournament in Constantinople held by Sulleiman the Magnificent, Sultan of the Ottoman Empire. And hired only the best talent to walk his boards, St Ignatius Loyola, Michelangelo, Ivan the Terrible, and a 13 year old Elizabeth Tudor, who is accompanied by her teacher, Roger Ascham, the real hero of the story, a Renaissance Sherlock Holmes.

ReillyBefore the first page there is a warning from Matthew Reilly stating that this is most definitely an adult book with adult content. And what I think he means is that there is sex in it. Because sex was the only thing missing from his other books, all which contain violence aplenty. In The Tournament the sex is illustrative, designed to show the decadence of the Sultan’s court and we, the readers, are observers only, never participants as is the case with erotic fiction. Any 15 year old with an iPhone has seen much, much worse. And besides, the sex and violence are the carrot which keeps us turning the pages. The Tournament is essentially a didactic tale, with lots of discussions about morality, religion, philosophy, history and politics. Ascham is the future queen’s teacher and he is convinced that she must know of the world to rule it well. Matthew Reilly, a great fan of Star Wars, has created a pair to rival, Obe Wan and Luke Skywalker.

This is a book which will entertain thousands of Australian readers this summer holidays. It is not too heavy, not too light, just right.

Grab a copy of Matthew Reilly’s The Tournament here

Kathryn Heyman, author of Floodline, answers Ten Terrifying Questions

floodlinesThe Booktopia Book Guru asks

Kathryn Heyman

author of Floodline

Ten Terrifying Questions


1. To begin with why don’t you tell us a little bit about yourself – where were you born? Raised? Schooled?

I grew up in New South Wales, mainly in Lake Macquarie, where I sailed, kayaked and swam – pleasures that continue to sustain me. I was the youngest child of five, in a single parent household and I was both the wild one and the precociously studious one, which must have been an infuriating combination for those around me.  As a student I headed off to the UK and stayed for well over a decade, studying, writing, falling in love, getting married and then, later, having babies. The wildness had been massaged out of me by then. Most of it, anyway.

Continue reading

Meg Cabot, author of The Bride Wore Size 12, answers Ten Terrifying Questions

The Booktopia Book Guru asks

Meg Cabot

author of The Bride Wore Size 12

Ten Terrifying Questions


1. To begin with why don’t you tell us a little bit about yourself – where were you born? Raised? Schooled?

I was born, raised, and educated in Bloomington, Indiana, known world wide as the “Gateway to Scenic Southern Indiana.” Continue reading

BREAKING NEWS: 900-Page Debut Novel Fetches Nearly $2 Million

Garth Risk Hallberg

Is the big fat novel back?

Donna Tartt’s exquisite novel The Goldfinch has 771 pages. Eleanor Catton won the 2013 Man Booker Prize for her 834 page masterpiece The Luminaries. And now City on Fire, the 900-page debut novel by New York writer Garth Risk Hallberg, has been acquired for nearly $2 million.

In a two-day bidding war that took the industry by storm last week, 10 publishers bid more than $1 million for the work already being compared to Michael Chabon and Thomas Pynchon.

According to Hallberg’s agent Chris Parris-Lamb, “[the events] revolve around a central mystery: what exactly is going on behind the locked steel doors of a derelict townhouse in the East Village, and what might it have to do with the shooting in Central Park in the novel’s opening act?”

Scott Rudin

To add to the hype even more, the film rights have already been bought by Scott Rudin, the award-winning producer of The Queen, No Country for Old Men and The Social Network.

“The scale of it, the vision of it, the big political ideas, how tightly knitted all the stories are to each other and how densely and pleasurably plotted it is, made me feel like, for the purposes of a movie, he had done the lion’s share of the work that anyone would have to do,” Rudin said. “It doesn’t need to be massively reinvented to be a movie.”


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