This one-day festival in London marks the tenth anniversary of The Asian Writer. Editor Farhana Shaikh discusses why the festival was set up, while budding novelist Uzma Ali reviews one of the sessions.
 
Review by Uzma Ali
The Asian Writer Festival is organised by The Asian Writer, an online literary magazine that was launched in 2007 to give a platform to the best of writing from the South Asian diaspora.
In the same vein, the festival attempts to give established and aspiring writers a safe space in which to explore the interfaces between ‘Asianess’ and the creative process. Held on 21st October, the programme was a thoughtful mixture of sessions delivered from established writers, with masterclasses on various aspects of creative writing delivered in parallel breakout sessions.
It contained sessions aimed at first-time writers who were trying to get published, the launch of The Asian Writer’s latest anthology Dividing Lines, and a session with literary agents about the publishing industry. The festival was supported by names which would be familiar to aspiring creative writers such as Wasafiri Magazine and The Literary Consultancy.
I was lucky enough to attend the event entitled ‘Love and marriage in fiction: a road to happiness?’ with Roopa Farooki, Farhad Zama and Radhika Kapoor. The writers read excerpts from their work relating directly to the topic, often taking an atypical approach to the theme in question. Questions between the panellists and floor were frank and direct. For instance, a member of the audience applauded Radhika Kapoor for writing about sex, in the face of an often sexually conservative community. The discussion moved to the issue of how one writes a good sex scene, with all the writers agreeing that it was almost impossible, with Farhad Zama stating that he generally didn’t write sex scenes as he found the process awkward and difficult. The discussion also encompassed issues which were more specific to how Asian writers accommodate and break out of societal expectations. There was a telling discussion about whether European audiences expected South Asian writers to write solely about love within the context of arranged marriages, and what impact this had on the creative process.
Catching snippets of conversation between attendees, there was a veritable buzz in the room between people who were literary fiends, novice writers and more experienced writers. I found it energising to be among so many people of broadly South Asian origin, who had a genuine passion for creating and the written word.
The organisers have done well to put forward such a high quality and varied programme. As an aspiring novelist myself, I will certainly be attending the festival next year.
 
Words from the editor, Farhana Shaikh
I organised The Asian Writer Festival this year as a way of marking the tenth anniversary of the online publication, The Asian Writer. The day was supposed to be a one-off event to celebrate a decade of work and showcase new writing, as well as inspire new writers. The festival model enabled us to gather like-minded individuals together and introduce them to key industry figures as well those who had charted the path to publication.
What I found particularly surprising as the day unfolded was how isolated writers continue to feel and how important it was for them to come together to share their experiences. It seemed to me, that they felt largely ignored by existing institutions. Writing is tough. Having the tenacity and determination when the odds are against you is tougher still. Sometimes the places and people we look to for support don’t look like us, and that can create a barrier.
During the morning keynote critically acclaimed writer, Roopa Farooki touched on her experience of being a writer and highlighted the challenges faced specifically by Asian Writers.
“All artists fight for the right to practice their craft, and we, as Asian writers, fight more than most. We fight for our places on publisher’s lists, for our places on the prize lists, for our places in the promotions. We writers, both men and women, may be dismissed because of our appearance, because of the boxes we have been put in, the brands that publishers have built. Accused of being too political, or not political enough. Too Asian, or not enough.”
Providing emerging writers a nurturing environment where such conversations can take place, and being part of a diverse community, offers hope. I didn’t set out to launch a new festival which captures the experiences of Asian writers while offering hope to those with writing ambition. However, the feedback from the day has been overwhelming positive and taught me that until writers feel that they belong in existing spaces, it’s important for us, as a grassroots organisation, to make this valuable and necessary contribution to support their development.
 
Farhana Shaikh is a writer and publisher from Leicester. She founded The Asian Writer in 2007. She recently won the inaugural Travelex / Penguin Next Great Travel Writer competition. She tweets @farhanashaikh.
Uzma Ali is a public sector manager, with a taste for Welsh indie music, postcolonial literature and the history of activism. She runs a BAME writing group which you can follow @write_me_in.