Works-in-progress: Pages of an Autumn Journal, by M E Grey

What are you currently working on and what inspired you to start writing it?

‘Pages of an Autumn Journal’ is a series of poems I wrote in late 2016, and I am now posting them at They’re going up one at a time, a year after they were written, and the last one will go up at the end of December – so take a look, and do come back.

IMG_5994The title ‘Pages of an Autumn Journal’ originally applied to a pair of poems I wrote at the start of October 2016 – as if they could be leaves torn from a larger diaristic work, such as Louis Macneice’s Autumn Journal, which reflected on personal and public events during the autumn of 1938.  I then found myself persistently thinking about that title, and realised that I could collect a larger group of poems from that period together (that first pair now go untitled).

Macneice’s work is very engaged with political matters, yet from the perspective of an individual living within them, rather than as persuasion. I am not trying to directly equate 2016 and 1938 (a recent lecture by David Runciman details how this decade is not like that one), but last year there was certainly a feeling of not knowing what was going to happen next.

As a poet of British origin living in Brussels, this means living through the aftermath of terror attacks and the UK’s EU referendum; it means living in a town where people are trying, with and on behalf of a diverse continent, to come up with solutions for youth unemployment and the human consequences of geopolitical instability. Dealing with these ‘issues’ coexists with the experience of just getting on with life – and this quotidian aspect provides at least as much focus for the collection.

Who would be in your opinion the perfect audience for this?

Posting these poems one year later means that the pieces have had some time to breathe – yet they are still very recent. I hope that readers may be able to relate them to their own responses to some of the situations described, and also realise how things have changed in the time since. The poems are, together, a document from a particular time and viewpoint. Thus, while some readers might feel they have more in common with the narrative voice than others (for example if you live in Brussels, if you travel for work, or if you closely follow current affairs), they are intended for general consumption and not just people ‘like’ the narrator.

That said, I also hope the poems are of interest to people who can recognise aspects of themselves in the work – the number of people who proactively read poetry is tiny, so I hope people can come to the poems through interest in the content, as well as the form.

You have read some parts of it in BWC meetings. Did you find the feedback useful

Definitely. There is certainly a sense of validation when you get good feedback, but perhaps more important is to see people reacting to the poems in different ways.

Sometimes people ‘get’ what you first meant, but that isn’t the purpose of writing: a diversity of responses demonstrates the ways that a work can actually continue to exist. The feedback from the group helps me to develop my sense of what I am doing as a writer, and give me the confidence to put effort into disseminating this particular project.

If you could pick one celebrity to read out one of your poems, which poem/celebrity would it be?

I just want people to read them. I want you to read them – and why not start at the beginning. If I try and explain this impulse to myself, then I can use that idea of the poems as documentation or reportage – perhaps to serve the purpose of increased mutual understanding, integral to literature. But who really knows what it is that makes people write?

Time to celebrate

It’s always great to see writers getting rewarded for their hard work, especially when they belong to your writers’ circle.

This year has been especially fruitful for the BWC’s writers: another proof that Brussels is a city of inspiration.

Antoinette Naomi Reddick published her book, “Waiting for Oz, Follow the Lessons Along the Road”.

Colin Walsh won the Francis MacManus Short Story Competition with his “The Flare Carves Itself Through The Dark”. His short story “The best thing” was highly commended by the Bridgeport prize and was published in the latest anthology.

J. L. Morin’s “Nature’s Confession – Climate Change” is among the Book Excellence Award finalists and was listed a top 10 Best Science fiction book. “Nature’s Confession” was also chosen as The Best Climate & Environmental Fiction Book and got an honourable mention on Reader’s Favorite.

Lida Papasokrat published her story “St Roman the Melodist” in Offshoots 14: Writing from Geneva.

T. D. Arkenberg’s short story “Marguerite and the Grand Sablon” is a semi-finalist and “Parvis de Saint-Gilles” is among the finalists in the Faulkner-Wisdom Literary Competition.

Martin Jones’s “What women want” got a third prize in Story Comp and is now published in the Writer’s forum.

Patrick ten Brink’s short story “The take” got an honourable mention in Glimmer Train’s short story award for new writers. His short story “Amelia Borgiotti” is long-listed in the Hourglass short story competition.

Some of our more modest writers, Kevin Dwyer, Claire Davenport,  Joachim Schloemer and Hamed Mobasser aka Punchdog Productions, received awards for their film scripts.

Congratulations to all!

Creative Writing Workshops with Colette Victor – Brussels January-April 2016

The BWC is delighted to announce a series of workshops to be held in Brussels starting in January 2016 and hosted by former BWC alumnus and now twice-published author Colette Victor.

EVEColettePhotoCreative Writing for English Speakers is for native or second language English speakers who would like to learn the basic ingredients of qualitative creative writing, be it short or longer fiction or memoir.

Short stories, novellas, longer works of fiction and even poetry all require the same basic ingredients to draw readers in and to keep them turning the page. Collecting ideas to write about, characterisation, dialogue, points of view, plotting your work, creating tension, editing and revising – these are all topics that you will be introduced to over the course of 8 workshops. You will also learn to access your creativity and switch off your logical brain half during the initial stages of writing. This course aims to introduce you to the joy and creativity of writing as a form of self-expression.

Creative Writing for English Speakers covers a wide range of exercises to hone your creative writing skills, to write lively and vivid prose and create unforgettable characters. This course will help you cultivate a productive writing habit and teach you how to edit and revise your work.

Over the course of 8 workshops you will learn how important it is to employ your creative brain half when writing creatively, you’ll be guided through many creative exercises, experience a significant improvement in your style and quality of writing and ultimately communicate more effectively with your (future) readers. Besides the workshops, you will be expected to complete about 1,5 – 2 hours of homework per week. The exercises will be discussed in the group and you’ll receive feedback from both your peers as well as the tutor.

This course is for beginners and beginners with some experience. It is for anyone who has a good command of the English language and wants to express themselves in it creatively. It is not a language course for people still trying to get to grips with English.

EVEColetteHeadOverHeartWhat to Do With Lobsters









About Colette:

Colette Victor is a twice published author (‘Head Over Heart’, Chicken House 2014, Young Adult fiction and ‘What To Do With Lobsters In A Place Like Klippiesfontein’, Cargo Publishing 2015, literary fiction.) She is an experienced writer of many years and a trained creative writing teacher. Colette has extensive experience in coaching new writers, teaching workshops, organising writers’ retreats and giving constructive criticism.

Learning objectives:

  • Stimulate creativity during the writing process
  • Produce livelier and more readable content for your readers
  • Improve your writing skills
  • (Re)discover the pleasure of writing
  • Learn with and from your peers
  • Find new and fresh topics to write about
  • Learn new ways of releasing your creativity
  • Get a first introduction to and understanding of the following elements:
  • Genres, setting, characterisation, dialogue, point of view, plotting, descriptive language, plotting and revising…

Why this course ‘Creative Writing for English Speakers?’

  • Practical workshops with a maximum of 10 participants
  • Qualitative personal attention and feedback from the tutor
  • Learning with and from peers
  • Intensive creative writing training with many exercises
  • Cover a lot of ground in a short space of time
  • A qualified tutor with many years of writing experience
  • In the centre of Brussels, easy access by public transport


Practical Details

DATES: 30 January; 6, 13, 20, 27 February; 5, 19 March and 2 April 2016
LOCATION:   MicroMarché / MicroFactory / DIY DAY
Steenkoolkaai 9
1000 Brussels
TIME:  10h00 – 13h00
FEES: €250 for early registrations (until 31 December 2015) and €280 for students registering thereafter. Payment secures your place on the course. Confirmation of payment will be by email.
TUTOR: Colette Victor


You can register your interest in this course by sending an email to
with ‘Creative Writing for English Speakers’ in the subject line.

After registration you have 14 days in which to change your mind. Within these 14 days you are entitled to cancel your enrolment without providing a reason (by email to the above address). After this, your enrolment on the course is irreversible.

In case that there are fewer than 8 participants enrolled at the start of the course, we
reserve the right to cancel it. We will undertake to inform all enrolled participants of the
cancellation. In the case of a course cancellation, we will refund all participants the full
amount of their fees paid.