Volume 08, Chapter 05 | March 2021

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Image by Stefan Keller
Guest edited by Zoe Turner, Comma Press

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Dear writers, readers and friends,

For your March inspiration, we offer otherworldly vibes via a fantastical image by Stefan Keller. This scene, with its juxtaposition of worlds, is a nod to our core objective: bring together the worlds of artists and writers to create something spectacular. A wonderful offshoot of this aim is the way our platform also brings us together with like-minded publishers, so we are thrilled to unveil the March issue in collaboration with Comma Press (https://commapress.co.uk/) , an indie publisher whose work we have long admired. Like us, Comma Press celebrates the alchemy of collaboration with collections by new and established authors, interdisciplinary collaborations between authors and experts (e.g. writers + scientists), and translation by voices from across the world, including the first ever collection of science-fiction from Palestine, Palestine +100 (https://commapress.co.uk/books/palestine-100/) . They have twice been shortlisted for the British Book Awards for ‘Small Press of the Year’
(North of England) and in 2016 they founded the Northern Fiction Alliance (http://northernfictionalliance.com/) alongside Peepal Tree Press, Dead Ink Books and And Other Stories. The Alliance is a radical publishing collective showcasing the creativity, diversity and outward-looking agenda that sets publishers in the North of England apart. Since our co-founder Preti moved to the North-East a year ago this March, now seems a good time to celebrate that anniversary with the best of Northern England’s publishing.

We kick off with a brilliant prose piece by Gaia Holmes, a freelance writer and creative writing tutor who works with schools, universities, libraries and other community groups throughout the West Yorkshire region. She runs ‘Igniting The Spark’, a weekly writing workshop at Dean Clough, Halifax, and is the co-host of ‘MUSE-LI’, an online writing group. She has had three full length poetry collections published by Comma Press: Dr James Graham’s Celestial Bed (2006), Lifting The Piano With One Hand (2013), Where The Road Runs Out (2018) and Tales from the Tachograph, a collaborative work with Winston Plowes (Calder Valley Poetry, 2017). She also contributed to Comma’s latest horror anthology, The New Abject (https://commapress.co.uk/books/the-new-abject) , and she is currently turning her attention towards writing short stories.

Sarah Schofield (http://icallitresearch.blogspot.com/) , on page two, also contributed to Comma’s horror anthology, The New Abject (https://commapress.co.uk/books/the-new-abject) , and her stories have been published in Lemistry, Bio-Punk, Thought X, Beta Life, Spindles and Conradology (all Comma Press) Wall: Nine Stories from Edge Hill Writers, (EHUP) Best of British Short Stories 2020 (Salt) Spilling Ink Flash Fiction Anthology, Back and Beyond Arts Publication, Litfest’s The Language of Footprints, Synaesthesia Magazine, Lakeview International Journal, Woman’s Weekly and others. She has been shortlisted on the Bridport and the Guardian Travel Writing Competition and won the Orange New Voices Prize, Writer’s Inc and The Calderdale Fiction Prize. An excerpt from her story ‘The Bactogarden’ featured on BBC Radio 4’s Open Book. Sarah is an Associate Tutor of Creative Writing at Edge Hill University and runs writing courses and workshops in a variety of community settings. Her debut short
story collection is due out in 2021 with Comma Press.

On page three, we welcome Karline Smith (https://www.blacksapphirepress.com/) . Born to Jamaican parents who arrived in Britain in the 1960s, Smith was one of the first black female crime writers to deal with the subject of drug gangs in inner-city Britain. She is the author of three novels, Moss Side Massive, which was dramatised by Liverpool’s Unity Theatre, Full Crew, and Goosebumps and Butterflies are Fairy Tales (published by Black Sapphire Press). She is also the author of several short stories, variously published in The City Life Book of Manchester Short Stories (Penguin), M.O.: Crimes of Practice, and Resist (Comma). She is currently working on her fourth novel.

And on page four we feature Gregory Norminton (http://www.gregorynorminton.co.uk) , whose novels include The Ship of Fools (2002), Arts and Wonders (2004), Ghost Portrait (2005) and Serious Things (2008), all published by Sceptre. Other books include The Lost Art of Losing (2012), Thumbnails (2013) and Beacons – stories for our not so distant future (editor, 2013). His stories have appeared on BBC Radio 4, and in Prospect, Resurgence, London Magazine and The Lonely Crowd. He teaches creative writing and English at Manchester Metropolitan University.

You’ll notice a large learning toward prose this month. In our recent survey a few people mention that there’s a heavy leaning toward poetry on Visual Verse. May these prose/prose-poetry pieces signal to all writers that we accept (and, indeed, welcome) all kinds of writing, not just poetry.

So, what will you write? As always, the image is the starting point, the text is up to you.

Kristen, Preti, Lucie, Isabel and Luke
with huge thanks to our guest editor Zoe Turner and Comma Press

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Volume 07, Chapter 09 | July 2020

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Image by Khadija Saye
courtesy of the artist’s estate

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Dear writers, readers and friends,

In solidarity with the Black Lives Matter movement and to mark the third anniversary of the Grenfell Tower fire which in 2017 claimed the lives of 72 people in London, most of them from Black, Asian and ethnic minority families, Visual Verse brings you an image and lead words by five extraordinary creators.

Our issue this month resonates with the idea of inspiration (from the Latin, spirare, “to breathe”). Inspiration – as breath, as life, as hope – and as a human right. Our world resounds with the phrase ‘I can’t breathe’, uttered by Black people who have suffered institutional brutality, including, in the UK, Jimmy Mubenga in 2014 (his head held down by G4S security guards whilst on a plane) and by Sheku Bayoh in 2015 (who suffered positional asphyxiation by the police: they sprayed CS gas in his face and held him down). ‘I can’t breathe’ were the words of Eric Garner in New York in 2014 as he died from a police chokehold, and George Floyd in Minnesota on May 25, 2020 who died with a police knee in his neck. The phrase also resonates terribly with the reality of the Grenfell Tower fire. ‘We can’t breathe’ were among the last words of nursery teacher Nadia Choucair as she called emergency services from her 22nd floor flat that night. The survivors of Grenfell are still awaiting justic
e, while the official inquiry refuses to recognise the systemic racism of social inequality and institutional response as contributing to the disaster. The death of George Floyd and the anniversary of the fire fell during the lockdown for a pandemic that affects our breathing, our lungs, and is most disproportionately taking the lives of the poorest from Black and Bangladeshi minority communities (in the UK).

What is the role of art and curation here? As memorial, as reckoning. As inspiration.

Our image is from the self-portrait series, Dwelling: in this space we breathe by Khadija Mohammadou Saye with the kind permission of her estate (https://www.estateofkhadijasaye.com/) . Also known as Ya-Haddy Sisi Saye, she was a Gambian-British photographer whose work was exhibited in the Diaspora Pavilion at the Venice Biennale in 2017. She died aged 24, in Grenfell Tower.

The British Library’s exhibition, Khadija Saye: in this space we breathe was due to take place in Spring 2020. It was postponed, and new dates will be announced in due course.

And so to our lead writers, with respect and gratitude for their responses to this most important work…

Kadija Sesay (https://twitter.com/kadijattug) , FRSA, is a literary activist. She is the founder/publisher of SABLE litmag, SABLE litfest, and co-founder of The Mboka Festival of Arts, Culture and Sport in The Gambia. She is the editor of several anthologies of work by writers of African and Asian descent and the Publications Manager for the Inscribe Programme for Peepal Tree Press. She has also mentored several writers and judged several writing competitions. Her poetry collection, Irki (https://www.peepaltreepress.com/books/irki) (which means ‘Homeland’ in the Nubian language) (Peepal Tree Press, 2013) was shortlisted for the Glenna Luschei Prize for African Poetry in 2014. She received an Arts Council grant for Research and Development for her second collection, The Modern Pan Africanist’s Journey which includes a poetry and Pan-Africanism app. Kadija has received several awards for her work in the Creative Arts. She is a Fellow of the Kennedy Arts Centre of Performance Arts Management
and a Kluge Fellow. She currently has an AHRC scholarship to research Black British Publishing and Pan-Africanism at University of Brighton. She is a cousin of Sheku Bayoh.

Maame Blue (https://maamebluewrites.com) is a Ghanaian-Londoner splitting her time between Melbourne and London. She is part of Jacaranda’s #Twentyin2020 initiative. (https://www.jacarandabooksartmusic.co.uk/blogs/news/twentyin2020-is-announced-and-its-quite-the-moment) Her debut novel Bad Love (https://www.jacarandabooksartmusic.co.uk/products/bad-love) is available to buy online (https://www.jacarandabooksartmusic.co.uk/products/bad-love) , at Foyles (https://www.foyles.co.uk/witem/fiction-poetry/bad-love,maame-blue-9781913090180) and all good Indie bookshops, and as an Audible audiobook (https://www.audible.co.uk/pd/Bad-Love-Audiobook/B084HLGCZY) . Her short stories and creative non-fiction pieces have appeared in Black Ballad, AFREADA, Litro Magazine and The Good Journal. She also has pieces forthcoming in the Royal Literary Fund Magazine and New Australian Fiction 2020, and co-hosts Headscarves and Carry-ons – a podcast about black girls living abroad.

Karthika Naïr (https://www.poetryfoundation.org/poetrymagazine/poems/150393/remaindering-habits) is the author of several books, including the award-winning Until the Lions: Echoes from the Mahabharata (https://www.brooklinebooksmith-shop.com/book/9781939810366) , and principal scriptwriter of Akram Khan’s DESH, Chotto Desh and Until the Lions, a partial adaptation of her own book. Also a dance enabler, Naïr’s closest association has been with Sidi Larbi Cherkaoui and Damien Jalet as executive producer of their works like Babel (Words), Puz/zle and Les Médusés, and as co-founder of Cherkaoui’s company, Eastman. She lives in Paris.

Ruby Cowling (https://rubyorruth.wordpress.com/) grew up in Bradford and lives in London. Her short fiction has won awards including The White Review Short Story Prize and the London Short Story Prize, and her publication credits include Lighthouse, The Lonely Crowd, Wasafiri online, the Galley Beggar Press Singles Club, and numerous print anthologies. Her collection This Paradise (Boiler House Press) was longlisted for the 2020 Orwell Prize for Political Fiction.

Visual Verse is a free, shared space for writers across the world collaborating in art and words. We believe that curating art and writing is an ongoing statement of who we are. We are committed to the work that making genuine, lasting equality for Black lives asks of all of us, not only as allies but as active accomplices (with thanks to The White Pube for this term).

And now dear writers, we hope you are inspired. Give yourself an hour, and 50-500 words. Make work, share it with us by 15 July.

Now, more than ever, the image is the starting point, the rest is up to you.

Kristen, Preti, Lucie and Luke

Connect with us
@visual_verse (https://twitter.com/visual_verse?lang=en)
@kadijattug (https://twitter.com/kadijattug) / @sablelitmag (https://twitter.com/sablelitmag)
@maamebluewrites (https://twitter.com/maamebluewrites) / @JacarandaBooks (https://twitter.com/JacarandaBooks)
@rubycowling (https://twitter.com/rubycowling) / @bhousepress (https://twitter.com/bhousepress)

Resources
Justice for Grenfell (https://justice4grenfell.org/)

The Grenfell Inquiry and racism Khadija Saye IntoArts Programme (https://intouniversity.org/content/khadija-saye-intoarts-programme)

The White Pube: art statements on Black Lives Matter (https://www.thewhitepube.co.uk/blm)

Black Lives Matter USA (https://blacklivesmatter.com/ )

Black Lives Matter in arts, academia, culture, research, education (UK) (https://beinghumanfestival.org/blm-resources-for-the-humanities/)

Donations and fundraisers

Justice for Sheku Bayoh (https://www.crowdjustice.com/case/justiceforsheku/?utm_source=backer_social&utm_campaign=justiceforsheku&utm_reference=339c027a16d4d9fa1d367a92c36f3228&utm_medium=Facebook&utm_content=post_pledge_page_flat_v1&fbclid=IwAR2hfGzu5RcTD1dnOlTFfBa_EbGAL-9VY5-PHQd65PlMwFJ_BEnBtfGb5oA) : Five years after Sheku Bayoh’s death at the hands of Scottish police, not one officer has been disciplined let alone charged with his murder. This campaign is raising funds to support legal costs for Sheku’s family as they continue to fight for justice.

United Families and Friends Campaign (UFFC) (https://uffcampaign.org) : All funds donated here go towards all family campaigns for those families who are members of UFFC, which is open to all family and friends whose loved ones have been violated and died at the hands of the state.

Injustice – UV (https://www.crowdfunder.co.uk/injustice—uv-1) : Injustice was named “The most important British documentary of my professional lifetime” by Peter Bradshaw, Guardian Film Critic. Director, Ken Fero was one of the founders of UFFC. This is a crowdfunder for the second Injustice film, it follows the struggles for justice of families in the UK whose loved ones have been killed by the police.
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** #DailyVisual
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Don’t forget you can join us every day on Instagram for a 15-minute, 5-50 word writing challenge.
Visit Visual Verse Anthology on Instagram now… (https://www.instagram.com/visualverseanthology/)

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Volume 07, Chapter 03 | January 2020

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Image by Charles Dana Gibson / British Library

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Dear writers, readers and friends,

Welcome to 2020. We made it! Today is simultaneously the end of an era and a new beginning and it feels like the perfect time to reflect on some of the amazing achievements of Visual Verse and of our writer community.

Visual Verse, first published in November 2013, is now in its seventh volume. We have published over 6700 pieces of original writing in 75 monthly issues. We have featured established writers like Ali Smith, Niven Govinden and Chika Unigwe; exciting contemporary voices including Amrou Al-Khadi, Irenosen Okojie, Paul Ewen, Eley Williams, Carmen Marcus and Enda Walsh and up-and-coming writers like Nisha Ramayya, Elieen McNulty Holmes, Ashley Hickson-Lovence and Sarvat Hasin whose work deserves to be read. We have also featured writers like Rishi Dastidar, Susanna Crossman and Angela Young, who are among a stable of Visual Verse contributors consistently producing work we hugely admire. Alongside our leads we have published you: more than 2500 individual writers from every corner of the globe. Thanks to you, Visual Verse is truly a living, breathing literary organism.

We are equally proud of our curatorial record, with 75 carefully selected image prompts from individual artists like Daniel Frost, Penny Byrne, Marc Schlossman, Hernan Bas and Hannah Coulson; world-class galleries and organisations like NASA, Lewis Glucksman Gallery, Bodleian Libraries and M Leuven and partners like Creative Review who published a selection of Visual Verse writers in print. Visual Verse continues to thrive thanks to the energy, creativity and generosity of our writers, readers, artists and partners. Thank you all for an incredible few years.

So let’s begin the year with a visual prompt so bold that it sets the tone for owning 2020. The image is by Charles Dana Gibson courtesy of the British Library archive.

To inspire you even more, we have three powerful lead writers all breaking new ground with their cross-genre work. We are inordinately proud and excited to start the year with a piece by Mary Jean Chan (http://www.maryjeanchan.com/) , a London-based poet, editor and critic from Hong Kong. She is a Lecturer in Creative Writing (Poetry) at Oxford Brookes University and current guest co-editor of The Poetry Review for Spring 2020. In 2019, Mary Jean was named as one of Jackie Kay’s 10 Best BAME writers in the UK as a part of the British Council’s and the National Centre for Writing’s International Literature Showcase. She came Second in the 2017 National Poetry Competition and has been shortlisted for the Forward Prize for Best Single Poem twice. She received an Eric Gregory Award in 2019 and won the Poetry Society’s Geoffrey Dearmer Prize in 2018. Her debut collection, Flèche, is published by Faber & Faber and is currently shortlisted for the 2019 Costa Poetry Award. Fingers crossed she wins!

On page two, it’s an honour to publish Noo Saro-Wiwa (https://www.noosarowiwa.com) who was born in Port Harcourt, Nigeria, and raised in England. Her first book, Looking for Transwonderland: Travels in Nigeria was named The Sunday Times Travel Book of the Year, 2012, and selected as BBC Radio 4’s Book of the Week. It has been translated into French and Italian, and in 2016 it won the Albatros Literature Prize in Italy. Noo has also written book reviews, travel, opinion and analysis articles for The Guardian, The Times Literary Supplement, Prospect magazine, New York Times and City AM, among others.

And, we gave our final page to a writer we have published regularly over our 6 years and three months in the game! With only 48 hours notice, our page 3 lead is by Anglo-French fiction writer and essayist, Susanna Crossman (https://susanna-crossman.squarespace.com/) . She is the winner of the 2019 LoveReading Very Short Story Award and has recent/upcoming work in Neue Rundschau, (2019) S. Fischer (translated into German) alongside John Berger and Anne Carson, We’ll Never Have Paris, Repeater Books (2019), Trauma, Dodo Ink (2020), Berfrois, The Creative Review, 3:AM Journal, The Lonely Crowd, Litro and more… She was nominated for Best of The Net (2018) for her non-fiction essays, her fiction has been short-listed for awards such as the Bristol Prize and Glimmertrain. Susanna just completed her debut novel, Dark Island and is represented by Craig Literary, NY. When she’s not writing, she works internationally as a clinical arts-therapist and lecturer.

What more could you ask for? Now that the holiday season is coming to an end, it’s time to sharpen your pencils, dear writers… The image is the starting point, the text is up to you.

Happy New Year!

Preti, Kristen, Lucie and Luke

Connect with us
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@maryjean_chan (https://twitter.com/maryjean_chan)
@noosarowiwa (https://twitter.com/noosarowiwa)
@crossmansusanna (https://twitter.com/crossmansusanna)

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Volume 06, Chapter 10 | August 2019

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Image by Jakob Owens

Dear writers, readers and friends,

Welcome to August. In a time of great weirdness – in the climate, in politics and all of the rest – this is the month to stretch beyond the borders of language and reality towards some other future. And here it is – we bestow upon you this little piggy, along with a bumper summer selection of writing from the finest poets, fictionists and translators we could gather.

Our wonderful, surreal image prompt is brought to you by photographer and filmmaker Jakob Owens, who you can follow on Instagram (https://www.instagram.com/jakobowens/?hl=en) .

This month’s writing lifts off with a wonderful piece by Michael Donkor (https://twitter.com/MichaelDonkor) , who studied English at Wadham College, Oxford, undertook a Masters in Creative Writing at Royal Holloway and now teaches English Literature to secondary school students. The Observer named him as one of 2018’s best debut authors for his first novel Hold (4th Estate) and this year he was shortlisted for the Desmond Elliott Prize.

On page 2 we feature Lucie McKnight Hardy (https://twitter.com/LMcKnightHardy) who grew up in West Wales and is a Welsh speaker. Her work has featured, or is forthcoming, in various places online and in print, including The Lonely Crowd, The Shadow Booth, Best British Short Stories 2019, and as a limited edition chapbook from Nightjar Press. Her debut novel, Water Shall Refuse Them, was shortlisted for the Mslexia Novel Competition 2017 and longlisted for the Caledonia Novel Award 2018 and is published this July by Dead Ink Books (https://deadinkbooks.com/) .

Next up, we are delighted to bring you Jess Thayil (https://twitter.com/JessThayil) , whose poems have featured in Magma Poetry, The Stinging Fly, Ink Sweat And Tears, Black Bough Poetry, AbstractMagazineTV, Potomac Review and Whale Road Review. She’s also engaged in self-taught abstract and mixed media art practice.

On page 4, we’re thrilled to welcome writer and translator Lucy Jones, who is British born and has lived in Berlin since 1998. Lucy studied German, film and applied linguistics and did several jobs before becoming a translator, including freelance fashion photography. Returning to her roots in literature, in 2008 she founded Transfiction (http://www.transfiction.eu/about-us/) , a collective of translators in Berlin. She also hosts a reading event called The Fiction Canteen (https://fictioncanteen.blog/) for writers and translators in Berlin.

And finally we have Durre Shawar (http://durreshahwar.com) , a writer, editor, and co-founder of ‘Where I’m Coming From’, an open mic event that platforms underrepresented writers in Wales (next event is on August 13 (https://www.facebook.com/whereimcomingfrom/) ). Durre has been published in various magazines and anthologies including Know Your Place: Essays on the Working Class (Dead Ink Books), We Shall Fight Until We Win (404 Ink), Cheval 10 – Terry Hetherington Young Writers Award (Parthian Books). Her work explores themes of identity, intersectionality and mental health. Durre has worked and written for National Theatre Wales, British Council, Metro, National Museum Cardiff and Wales Arts Review. She is a regular speaker and performer at events and festivals and was part of the Hay Festival Writers at Work scheme, as well as BBC Writersroom Wales.

So, dear readers if you’re feeling political, personal, hungry or like swimming in a sandy-bottomed sea, we hope you enjoy our amazing lead selection. May it inspire you to get writing now. You know the rules: 50-500 words, one hour. Subs close on 15 August.

The image is the starting point, the text is up to you…

Preti, Kristen, Lucie and Luke

@visual_verse (https://twitter.com/visual_verse)
@MichaelDonkor (https://twitter.com/MichaelDonkor)
@LMcKnightHardy (https://twitter.com/LMcKnightHardy)
@BacktoJones (https://twitter.com/BacktoJones)
@JessThayil (https://twitter.com/JessThayil)
@Durre_Shahwar (https://twitter.com/Durre_Shahwar)

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Volume 05, Chapter 04 | February 2018

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Image by Daniel Frost

Dear writers, readers and friends,

Here ye: we are shakin’ things up and making some changes to how we accept and publish submissions. These changes are intended to improve the process for you, our beloved writers, and help us to manage the growth of Visual Verse (something that continues to amaze us).
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New Submission Guidelines:

Henceforth we will release a new image on the 1st of each calendar month (as we do now) and accept submissions up until the 15th of the month. We will publish up to 100 submissions over the course of the month, no more. The other rules remain the same: 50-500 words, written within an hour, in response to the image. The writing must be new and original. Read more about our publishing policy (https://visualverse.org/about-visual-verse/) on the website.

We are excited to see how these changes pan out over the coming months. Both the deadline and the cap on submissions mean that we can focus on publishing the best of what comes in and ensure that these pieces are showcased on the site while the issue is still live. Please let us know if you have any feedback, either now or in the future when the new rules are underway. Email us at visualverse@thecurvedhouse.com (mailto:mailto: visualverse@thecurvedhouse.com) anytime.
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And now, without further ado, we present this wonderful, whimsical painting by Daniel Frost, an artist and illustrator whose work we have admired for so many years. Do your eyes a favour and follow his Instagram: @danielfrostillustration (https://www.instagram.com/danielfrostillustration) .

Our lead response comes from Megan Hunter, a hugely talented writer who is fast building an impressive body of work. Megan was born in Manchester in 1984, and studied English Literature at Sussex and Cambridge. Her poetry has been shortlisted for the Bridport Prize and she was a finalist for the Aesthetica Creative Writing Award. Her first book, The End We Start From, was published in 2017 in the UK, US, and Canada, and has been translated into seven languages. It was shortlisted for Novel of the Year at the 2017 Books Are My Bag Readers Awards and is longlisted for the Aspen Words Prize.

Megan has a long-standing relationship with Visual Verse. She says:

I started writing pieces for Visual Verse a few years ago, before I’d had anything published. I was working in an office and the visual prompts were an ideal creative stimulus during my lunch hour! I found the process of responding to an image, particularly within a one hour time frame, gave a freedom to my work that was so important when figuring out what I wanted to write, and is still so useful now. I think Visual Verse was probably the first time I’d ever seen my name ‘in print’ online, and it’s a real honour to now be writing the lead piece.

We’re pretty chuffed about that.

On page 2 we feature Maisie Chan, a published writer from Birmingham who now lives in Glasgow. She was recently commissioned to write stories for the Human Values Foundation and has also been published in the Penguin decibel Anthology The Map of Me. Maisie won the BBC Writersroom Competition BBC Bites and was a finalist in the 2015 Creative Futures Literary Awards. During 2016-2017, she was chosen for the Megaphone – an Arts Council/Publisher’s Association project to mentor and develop BAME writers writing their first novel for children or teens. Maisie has taught creative writing to children and adults and was an Arvon tutor in 2009. She is working on her first novel for teens about a fifteen-year-old British Chinese girl whose grandfather has early-onset Alzheimers.

Our next writer, Melissa Fu, grew up in Northern New Mexico and currently lives in Cambridgeshire, UK. Her work appears in many journals including The Lonely Crowd, International Literature Showcase, Skin Deep, and The Nottingham Review. In 2017, she was the regional winner of Words and Women’s Prose Competition and one of four Apprentices with the London-based Word Factory.

And on page 4 we have Yen Ooi, one of our favourite publishing people and a regular Visual Verse contributor. Dirty diapers, science fiction, and CreateThinkDo (http://createthinkdo.com/) is about all Yen has time for nowadays, but she did manage to pen this little piece and connect our February issue to another dimension…
There it is, writers. Submit before 15th February and as always, enjoy the challenge. The image is the starting point, the text is up to you.

Kristen, Preti and Lucie

Find us on Twitter

@visual_verse (https://twitter.com/@visual_verse)
@meganfnhunter (https://twitter.com/meganfnhunter)
@MaisieWrites (https://twitter.com/@MaisieWrites)
@WritingCircles (https://twitter.com/WritingCircles)
@yenooi (https://twitter.com/@yenooi)

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