What if a media crew goes to great lengths to construct rather than record an event? With this question at heart, Asst Prof Viroj Suttisima, a lecturer at Bangkok University's Faculty of Communication Arts, illuminates the dark side of media ethics in his short story The Last Night Of A Documentary Filmmaker -- winner of the Phan Waen Fah Award in 2024.
The story follows a content creator who assists his senior in compiling footage for a project that, if successful, will catapult them into the limelight. As filming continues, he finds himself in a morally dubious position that raises the question of truth and ethics that underpin documentary filmmaking.
"The idea had been running through my mind for some time. What if a content creator goes over to the dark side to the extent that compassion is completely gone? It forms the basis of this short story against the backdrop of a political event [a protest]," he said.
Meanwhile, Rangsiman Junrik, a teacher at Triamudomsuksanomklao School, explores the dream of Thailand in his award-winning poem A Country We Read Before We Grow Up. In this poem, in an anti-corruption class, a teacher asks students to envision the country's future and write their ideas on a blackboard.
Literary critics and authors join a seminar at Parliamentary Building to mark this year's Phan Waen Fah Award. (Photo: Thana Boonlert)
"I was inspired by books, but it took a long time to settle on the idea. Eventually, I wrote it in half an hour before deadline," he said.
On March 15, two award-winning writers shared their experience at Parliamentary Building to mark this year's Phan Waen Fah Award, which is running until April 9. The annual literary contest was established by the Secretariat of the House of Representatives in 2002. Its aim is to recognise the role of literature in promoting politics and freedom of expression.
Growing up an avid reader, Asst Prof Viroj studied communication arts and worked for a film magazine. He started writing short stories around eight years ago and submitted them to literary contests in the belief that they guarantee quality work. His hard work paid off when he received the Phan Waen Fah Award in 2020 for best short story titled What's Waiting Behind The Finish Line.
"At the time, I was interested in a marathon where participants run together in the same way people search for common ground in democracy. Still, each wants to cross the finish line. I combined the idea with protests, injuries and compromise," he said.
National Artist Thanya Sangkhaphanthanon, a recipient of the SEA Write Award. (Photo: Thana Boonlert)
Rangsiman followed the literary path from a young age. Growing up in Nakhon Si Thammarat, he joined improv poetry contests and failed several times. At university, his teacher introduced him to the circle of southern poets who influenced him profoundly. It was Nittaya Poonperm's award-winning poem which inspired him to compete for the Phan Waen Fah Award.
"I have learned that by drawing on personal experience, poets can deliver more emotional impact. I used to force it and that flopped," he said.
A total of 786 pieces -- 318 short stories and 468 poems -- were submitted to last year's Phan Waen Fah Award. After going through the shortlist and finalist rounds, contestants are awarded for their works in each category as follows: first prize, two second prizes and 10 honourable mentions. Subsequently, the works are published in physical and electronic format.
The Last Night Of A Documentary Filmmaker and A Country We Read Before We Grow Up are examples of works that portray "everyday politics", according to critics and authors.
Participants join a seminar at Parliamentary Building to mark this year's Phan Waen Fah Award. (Photo: Paen Wan Fah)
"Over the past seven years, the scope of political short stories have become more non-formal and diverse," said Asst Prof Areeya Hutinta, a lecturer at Silpakorn University's Faculty of Arts, who has been serving as a committee member for the Phan Waen Fah Award since 2017.
Asst Prof Areeya, who conducts research on the pursuit of democracy in literature, explained that works initially revolved around electoral politics. In recent years, however, contestants have explored concepts such as rights, freedom and equality and given voice to diverse groups of people, especially those from indigenous and LGBTI backgrounds. Moreover, they engage with contemporary issues, such as marriage equality, the pro-democracy movement and the relationship between humans and artificial intelligence.
"Writers have a sharp eye for democracy. But the question remains, how will they stand out from one another? I suggest they stay focused on the main topic rather than cram too many ideas into an eight-page short story. Saroch [Asst Prof Viroj's pen name] did a good job," she said.
Last year's collection of political short stories and poems. (Photo: Thana Boonlert)
National Artist Chamaiporn Bangkombang, also a committee member for the Phan Waen Fah Award, dismissed the idea that politics are tied to those in power. She said poets can show how our quotidian life is political. Still, they should present eye-opening ideas and pay attention to little details, including spelling and rhyming.
"Last year, I was miserable because contestants often compare democracy to cliche images like trees. Rangsiman's poem, however, is a breath of fresh air, even though others can write better," she said.
Critics echoed the same view. Charoonporn Parapakpralai described a literary trend as shifting to "politics at individual level", such as the theme of violation of professional ethics in Saroch's short story. Meanwhile, Chen Songsomphan, founder of Nakorn Publishing, said writers have "broadened interpretation of politics". Saroch deftly injected personal experience into his work.
National Artist Thanya Sangkhaphanthanon, a recipient of the SEA Write Award, said writers can turn to various sources for inspiration, including personal history. He shared his favourite short story Portrait by Mochtar Lubis -- an Indonesian author and journalist -- which depicts the life of an old street vendor who gets left behind by Suharto's New Order.
"Write about a soldier, not a war. Write about something small like Mochtar Lubis. You can't draw a map for the whole world, but can make a point," he said.
Parliamentary Building. (Photo: Thana Boonlert)
Still, it can go amiss. Asst Prof Areeya said submissions are rejected for a number of reasons, such as lack of clarity and direction. As judgement varies from person to person, she expects that writers should get straight to the point within the first two pages, otherwise it means they lose control of their stories (characters and conflicts are not clear enough to hold the reader's attention).
"Having said that, I have learned a lot from writers. As a committee member, works unable to get through to the final round allow me to see how people overcome challenges in this country. Write it. I am rooting for you. Your day will come," she said.
Asst Prof Viroj said rejection is not the end of the world. "At least, for writers, our jobs are done. If works get recognised, it is a bonus."
