ISSUE 253 JUNE–AUGUST 2016

STAND OUT IN THE SLUSH PILE

WORKING WITH NETWORKS

THE LEGEND OF THEFULL-TIME WRITER: FACT OR FICTION?

ISSUE 253 JUJUNENE––AUAUGUGUSTST 22010166

STAND OUT IN THE SLUSH PILETHE SLUSH PILE

WORKING WITH NETWORKSNETWORKS

THE LEGEND OF THEFULL-TIME WRITER: FACT OR FICTION?

THE REAL LIFE OF A PROFESSIONAL AUTHORNatasha Lester

MAKING YOUR SUBMISSION STAND OUTSophie Hamley

TOP FIVE NETWORKING TIPS FOR AUTHORSAngela Slatter

FEATURES

REGULARS

LISTINGS

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HOW TO DE-CLUTTER YOUR WRITINGSusan McKerihan

A CONVERSATION WITH CORY TAYLOR ON DYING

Interviewer: Lesley Synge

WRITING IN THE PEA SOUP

Anna Krien

TRACK FINANCES NOW – AVOID PAIN LATERLauren Sherritt

HOW I WROTE THE RAINBOW SNAKE SCENE IN SING FOX TO MESarah Kanake

HOW TO WRITE THE PERFECT PITCHEstelle Tang

GET SET, EVERYBODYInterviewer: Katie Rowney

WRITERS GROUPS

EVENTS

COMPETITIONS & OPPORTUNITIES

GUEST ARTIST

SARAH BEETSON

Australian-based British illustrator and artist Sarah Beetson has been a freelance illustrator for more than 10 years. She creates her illustrations by hand, using a wide variety of mixed media. Her extensive client list includes The Telegraph (UK), The Times (UK), Penguin Books, The British Fashion Council, MAC Cosmetics, Delta Airlines, The Wall Street Journal, Smithsonian Magazine, Ford Germany and Perth Fashion Week. Her work has exhibited in London, Paris, New York, Portland, Ottawa, Melbourne, Sydney, Adelaide, Gold Coast and Brisbane. Her luggage always includes art supplies and an A4 scanner and her art explores politics, celebrity and popular culture.

sarahbeetson.com

JUNE–AUGUST 2016

ISSUE 253

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EDITORIAL2

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EDITORIAL

SHARON PHILLIPS

The metallurgical image of nuts and bolts is a far cry from the more alchemical processes of creative writing, but when we talk about the nuts and bolts of writing in this issue of Writing Queensland, we’re talking about the elements that help to hold together the business side of your writing.

If you’ve completed a manuscript or collection of poems, short stories or articles, or are embarking on a writing career – congratulations, that’s a huge achievement! – then now is the time to build some scaffolding so you can safely take the next steps along your writing journey.

Whether that’s publication and a career as a full-time or part-time author or freelance writer, printing copies of your book for friends and family to enjoy, or some other writing-related goal, as you proudly, albeit somewhat nervously, peer down that road ahead, you will need to make a number of decisions to help you stay on your selected path.

WQ 253 is a great starting point. In this issue, acclaimed feature writerand 2014 Stella Prize shortlisted author Anna Krien shares her insights about ‘perfect’ writing days. You’ll hear from business writing consultant Susan McKerihan about how to ‘trim the fluff’ from your work, and literary scout, editor and writer Estelle Tang shares some tips on writing the perfect pitch for your finished articles.

Hachette Australia publisher Sophie Hamley shows you how to make your manuscript submission stand out from the crowd. Award winning author Natasha Lester bursts a few myth-bubbles and replaces them with solid advice in The Real Life of a Professional Author.

‘Networking isn’t a dirty word,’ says World and British Fantasy Awards winner Angela Slatter, who offers five ways to help you think differently about this important aspect of a professional writing career.

Aurealis Award winner Peter M. Ball shares the most useful piece ofadvice he’s received in his writing career as he explains the importance of tracking your rights as an author, while playwright and freelance writer Lauren Sherritt says ‘track finances now – avoid pain later’, and gives you some very practical means to do so.

These and other articles await you, so make a cuppa, have a read, then grab your spanners and tighten those nuts and bolts that underpin the very important business of your writing…

THE NUTS AND BOLTS OF WRITING

THE REAL LIFE OF A

PROFESSIONAL AUTHOR

NATASHA LESTER

But I wonder whether such a thing as a full-time writer actually exists? Are there any writers outthere who only write books?

Even ridiculously famous and best-selling authors like Elizabeth Gilbert still speak at writers festivals, do author talks, connect with readers via a Facebook page, or spend time doing things other than just the writing. And I think that is, in reality, what a professional author looks like these days—someone who splits their time between many different writing-related activities.

So what does it take to be a professional author?I believe it takes three things:

Firstly, recognising that you have two different audiences: readers, and those in the writing industry who can pay you for your time atfestivals, events, talks, etc.

Secondly, being recognisable, which meansletting people know who you are and providinga space where people can find and talk to you.

Thirdly, and most unsexily, managing yourtime well.

Recognise that you have two different audiences: ReadersLet’s start with the first point: recognising that you have two different audiences. One of my audiences is, of course, my readers, the people who buy my books. I have a Facebook page, a Twitter account, an Instagram account, a blog, a website, and all those different platforms where I can engage with readers. But do you know what is, by far, my most powerful and preferred way of connecting with readers? It’s good, old-fashioned, face-to-face interaction.

The readers I meet at the author talks I give, or at the courses I teach, or at the conferences I go to are, without question, my most loyal and supportive readers. They are my champions. They give the best word-of-mouth promotion about me and my books and, what’s more, they do it without any prompting. They do it because they’ve met me, we’ve talked and had a brief conversation, or they’ve sat in a workshop room with me for two hours, or they’ve chatted to me at a lunch table at a conference. Nothing beats face-to-face, and I think that’s easy to forget in a world that’s all about the 140 character tweet (which I also love, don’t get me wrong!).

As an example, the bound proofs for my next book, A Kiss from Mr Fitzgerald, have recently gone out and I sent copies to about a dozen writers and bloggers

Many authors dream of becoming that mythical creature: the full-time writer, a

person who is able to support themselves by doing nothing other than turning

words into books.

4

4 THE REAL LIFE OF A PROFESSIONAL AUTHOR

I’d met, hoping that maybe they’d read it, that maybe they’d like it. I couldn’t have asked for a more wonderful response. All of those people tweeted, Facebooked and Instagrammed photos of the book and how much they were enjoying it.

It was the kind of marketing support that had my jaw dropping—that these wonderful people voluntarily and without being asked spread the word about my book just because I knew them, I’d sent them a copy, and also hopefully because they really did like it! A key point to make here is that I’ve never struck up a conversation with anybody because I hoped to get something out of it one day; I did it because it’s nice to talk to people and to make connections.

Recognise that you have two different audiences: The industryBut how do you get invited to give author talks and workshops and thus meet the readers who might become your champions? The major step is recognising that you have another audience: the people who run the festivals, who organise courses, etc. The trick is to get your foot in the door somewhere, and then do a damn good job—do such a good job that people talk about what a great teacher/speaker you are.

That’s how I started off. By teaching one class at university, then by contacting a library and asking if I could give an author talk there. That one little class at uni grew into an adult community education course at a different university, which grew into teaching for the Australian Writers’ Centre and the Queensland Writers Centre, and running my own private workshops. That one library talk grew into another library talk, which then grew into an opportunity to teach a course at a library, which has now grown into regular paid workshop sessions at different libraries.

Another example: in 2015 I didn’t have a book out. So I contacted the Perth Writers Festival and asked if they needed anyone to chair any sessions at the festival. They said yes. This is paid work; it gets your name out

to a whole group of new people coming to see other authors, and to other festival organisers. The result is that, this year, I already have invitations to three other festivals to talk about A Kiss from Mr Fitzgerald.

Another example: last year I attended the Romance Writers of Australia conference. It’s a massive conference and I met lots of people, face-to-face. This year, when they opened up to expressions of interest to present at the 2016 conference, I sent them a proposal. I’m now speaking at that conference, which is one of the biggest in Australia, in August. All it takes is simply recognising that you have another audience to target, and then going out and targeting them.

Be recognisable; let people know who you areMy second point is about being recognisable and letting people know who you are, some of which ties into the points I’ve covered above. But you could also, on your website, have a list of all the courses and workshops you can teach and the topics you

could speak about at an author talk. If someone finds your website and can’t see any information that indicates you are willing and available to teach courses, then they’re unlikely to ask you! Also make sure there’s a contact form on your website, a way for people to get in touch.

And here’s a bit more about face-to-face contact. Go to stuff. Go to writers festivals, writers centres, literary salons and author talks. Introduce yourself to the people who run them. That way, if you send them an email to ask about teaching or other opportunities, it’s more meaningful because you’ve actually met.

Manage your time wellMy third and most unsexy point is all about managing your time well. Because, let’s face it, we do have to write the book, as well as do the networking and the teaching and festivals and conferences. You must create a system for recording all the things that have

Try one thing.

Out of that, more

things will grow.

ABOUT WQ

WQ is the quarterly publication of the Queensland Writers Centre. It is not just a magazine for Queensland writers – it examines issues and topics relevant to writing and publishing in Australia and around the world. It also publishes member milestones and lists of workshops and events, competitions and opportunities.

The WQ you get in your mailbox or inbox seasonally should be read in tandem with the magazine’s online counterpart:

writingqueensland.com.au

EDITORIAL & PRODUCTION

Sharon PhillipsEditor

Elliott BledsoeManaging Editor

Wadzi ChikwiraListings Editor

Sharon Phillips, Zoe BiddlestoneProofreading

Paradigm Print MediaPrinting

SUBMISSIONS

Information on how to include your Milestones, or details for the Workshops and Events, Competitions and Opportunities listings is available at qwriters.co/qwc-submissions.

QWC reserves the right to edit all submissions with regard to content and word length.

ADVERTISING

Advertising rates, deadlines and dimensions and other information on how to advertise in WQ is available at qwriters.co/qwc-ad-info. For advertising inquiries please contact Elliott Bledsoe.

QWC members enjoy a reduced advertising rate. Before booking an advertisement potential advertisers should read QWC’s Advertising Terms and Conditions, qwriters.co/qwc-ad-terms.

ABOUT QWC

QWC is the leading provider of specialised services to the writing community throughout Queensland. Through its annual programs, QWC promotes creative and professional development of writers, and advances the recognition of Queensland writers and writing locally, nationally and internationally.

qwc.asn.au

STAFF

Katie WoodsChief Executive Officer

Sharon PhillipsGeneral Manager

Aimée LindorffPublic Programs Manager

Stacey Clair Project Officer

Elliott BledsoeMarketing & Communications Manager

Lauren SherrittContent Producer – Membership & Program

Wadzi ChikwiraMarketing Coordinator

Peter BallThe Australian Writer’s Marketplace Manager

Catherine MollerThe Australian Writer’s Marketplace Project Officer

Simon Grothif:book Australia Manager

Samantha Schraag Customer Service Officer

Terry Sheather Finance Officer

Elizabeth Georgiades, Carol LibkeWorkshop Coordinators

MANAGEMENT COMMITTEE

Julie BarnettChair

Leanne DoddVice Chair

Greg McBrideTreasurer

Stephanie RoweSecretary

Andrea Baldwin, Kylie Chan, Kathleen Jennings, Jock McQueenie, Jo-Ann Sparrow, Ian WaltersOrdinary Members

ISSN 1444-292

Published by

Queensland Writers Centre is supported by the Queensland Government through Arts Queensland and is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

QWC Management Committee and staff present WQ in good faith and accept no responsibility for any misinformation or problems arising from any misinformation. The views expressed by contributors or advertisers (including advertising inserts) are not necessarily those of the Management Committee or staff.

to be done, as well as all the deadlines, and then you must allocate time to them. If you deliver great content, on time, then you’ll probably be asked back. If you don’t, you won’t.

I use a year planner on my wall, where I block out all of my festivals, talks, and teaching commitments. I block out time for a first draft of one book, the structural editing of another, and the launch and marketing of a third. Then I use a monthly planner on my desk, under my keyboard, and I list all the things that have to be done that month in a column, and then I go through that month and schedule them in to days and nights, so they all get tackled.

So, those are my tips about being a professional author. It’s a great job; I love it, and I consider myself very lucky to be able to do it. But remember, you have to make a start. Try one thing. Out of that, more things will grow. I promise.

Natasha Lester’s third book, A Kiss from Mr Fitzgerald, was published in April 2016 by Hachette Australia. She is also the award winning author of What is Left Over, After and If I Should Lose You. The Age has described her as ‘a remarkable Australian talent.’

MEMBER MILESTONES

6 FEATURE

MAKING YOUR SUBMISSION STAND OUT

SOPHIE HAMLEY

No matter how good a manuscript is, it does not speak for itself. Hachette Australia’s Sophie Hamley talks about talking up your manuscript.

After months or years of crafting your manuscript, putting it in the proverbial ‘bottom drawer’ for a while and perhaps soliciting feedback from friends or members of your writing group, you will be ready to send your work out to the wider world.

The first contact your manuscript will have with the publishing industry will likely be through a submissions process, either to an agent or publishing company, or both, and probably to multiple places at the same time.

It would seem logical that writers who are finally ready to test their work in the ‘market’ – the industry – would take some care in doing that. They would check submission guidelines; they would write a proper letter or email to accompany their manuscript or partial manuscript; they would make sure their manuscript is in the best possible state it could be. They would, in short, be professional about the submissions process. They’re interacting with professionals – again, the industry – and they would expect those professionals to behave professionally.

Yet the vast majority of writers who send in submissions don’t do this (having read thousands of submissions, I can state this from experience). They have spent all that time writing a novel or a children’s book or a memoir, yet they take no time at all to write a proper submission letter or even to think about whether or not they’re submitting to the right agent or publisher.

Unfortunately for the writer, what this immediately signals to the publisher or agent reading their submission is that the writer isn’t professional and, therefore, their manuscript isn’t likely to be professional either. It’s a really bad way to try to start a business relationship, and it also signals that the writer doesn’t take themselves or their work very seriously. And if you’re not going to value your own work and try to make sure other people see that value, who is?

It is not enough to believe that your novel speaks for itself, because it won’t – especially if your first piece of contact with an industry professional is an email in which you simply say, ‘Here is my novel’ (such emails exist). When you buy a book, you are likely to look at the cover and read the blurb – those are two pieces of professional information about the

book that publishers put a lot of care into creating. Why shouldn’t you give your fledgling book the same amount of care and, also, presume that the person you’ve submitted to needs the same sort of information you do? Agents and publishers are, in effect, your first readers. Just as you, as a reader, require certain pieces of supplementary information in order to decide if you want to buy a book, so do we.

Happily, there are some fairly straightforward things you can do, and things you shouldn’t do, in order to give your submission the best chance of being noticed. Let’s start with the shouldn’t-dos.

1. Impatience is a big enemy of writers. Too often writers finish their manuscript and, in the excitement of doing so, send it out to agents and publishers before they’ve had a chance to properly review it. Never send a draft as soon as you’ve finished it – go back to it at least two weeks later, or longer if you can stand it, and polish it as best you can. We don’t expect you to have a perfect manuscript but we expect it to be as good as you can make it.

2. Do not submit to a publishing company or agent who does not handle your type of writing – it is often children’s writers who make this mistake and submit to people who aren’t interested in children’s books. Always check the submission guidelines to see what is being looked for, and

Fiona Robertson’s story ‘To See the Sun’ was awarded second place in the Launceston Tasmania Literary Awards and ‘The Ground Beneath’ was highly

Agents and publishers

are, in effect, your

first readers.

MAKING YOUR SUBMISSION STAND OUT 7

also check the books on the company’s website, and if you’re still not sure call and ask. Think that’s too much research? Remember, you’re trying to establish a business relationship. Research is professional behaviour.

3. Do not give the opinions of your best friend and mother in your submission letter. These are not relevant to whomever is reading your submission.

4. Do not state in your letter that you think your novel can win the Miles Franklin/Man Booker – let the industry professional reach that conclusion themselves (and they will if your work is good enough).

5. Do not state how many years it’s taken you to write the manuscript – this is usually included as if it’s a badge of honour when it’s just a statement of fact.

Now, let’s get to the heart of your submission package and what it needs to contain.

First: read the submission guidelines – most agency and publishing company websites have these. Some people want only a letter; some want the first three chapters or the first few thousand words. It is unusual for any publisher or agent to want to see a full manuscript in an initial submission. If you are writing non-fiction, the requirements may be different – again, if you’re not sure, ask.

Second: write a letter. Even if the publisher or agent doesn’t ask for a letter, write one anyway. Agents and publishers receive so many submissions that a good letter will help you stand out, especially compared with the very piecemeal missives that often accompany submissions. If you’re submitting via email, the letter can be the body of your email. (And make sure you have no typos or spelling mistakes in your letter – these also appear quite often and they, too, signal that the writer hasn’t taken much care.) There are quite a few resources online to help you write a decent letter, but here’s a guide anyway:

Your cover letter should clearly state, in the opening paragraph, without too much ancillary text:

1. The title of your work.

2. The genre – or, if you can’t define the genre, just say that, but then clearly describe the storyline so that the agent or publisher can attempt to guess a genre.

3. The word count.

4. Anything defining about the setting (place and/or time) or the main character, although these things can be saved for the pitch.

As an example: ‘TITLE is a young adult novel of 50 000 words set in Australia during the 1950s.’

In the following one or two paragraphs, pitch your work1 then include a short description of the story – not the whole synopsis – and mention of the main characters. This doesn’t have to be a ‘perfect pitch’ – you just need to be able to state clearly what’s good/different/appealing about your manuscript. Start with the pitch and then lead into the description. You may also say that the manuscript ‘may appeal to readers of …’ but don’t be grandiose and say that you write like so-and-so author (try to avoid mentioning JK Rowling).

Then, in one short paragraph, provide any other information that is relevant (e.g. if you are a journalist writing about a subject you’ve covered for years; if you have had short stories published; if you’re a member of a writers’ centre or association). If you don’t have any ‘writing credits’, that’s okay – just say what inspired you to write the story.

If you have met the industry professional at a festival or function, mention that in the letter as they may well remember you. And you can use a conversational tone in the letter – you do not have to be overly formal.

If you are submitting to other agents and publishers, mention this in your closing lines – you do not have to say who you’ve sent it to, but it’s a courtesy to mention that it’s gone elsewhere so that there are no surprises (you may receive an offer of representation, for example, and need to let the other parties know in case they want to speed up their reading of your submission).

As a final point, we’ll go back to the start: be patient. People who read submissions usually aren’t reading them during work hours, and they have large numbers of them to read at any given time. If you hurry them along after a week, they’ll go to their default answer: ‘no’. If they indicate a response time, you can remind them after this has passed but do not do it before; if no response time is indicated, allow six weeks before you contact them. If this seems like a long time, remember: you took longer than six weeks to write your novel …

commended in the Boroondara Literary Awards and accepted for publication in Gargouille. • Anita Heiss launched a children’s book, Matty’s Comeback, at Where the Wild Things Are.

Sophie Hamley is Publisher – Non Fiction at Hachette Australia, and former President of the Australian Literary Agents’ Association.

1 Writing a pitch is a skill in itself and it can take some time to do this properly – please see above point about impatience.

8 FEATURE

TOP FIVE NETWORKING TIPS FOR AUTHORS

ANGELA SLATTER

Networking is about sharing and beneficial exchange. Angela Slatter assures you that it doesn’t

have to ‘set you acquiver’.

‘Networking’ isn’t a dirty word. Unfortunately, sometimes it feels dirty. Some writers will tell you that the entire idea of networking dilutes or sullies your art − that you should get back to starving in your garret, producing a masterpiece that people will magically know about when it’s done.

The word networking has most certainly received a bad rap courtesy of all those movies about high finance, serial killers, and people who compare the size of their business cards. But it needn’t be a word to set you all aquiver in a bad way. Let’s reframe it as a useful word, a helpful word, a word that doesn’t make you think of some wanker in an expensive suit ahead of you in the queue ordering a half-caf decaf vanilla mocha frappuccino with a light sprinkling of lemongrass. So, here are five ideas to get you thinking differently about networking and to help you identify networking opportunities.

1. Learn to play nice with the other

kids and share your toys

If you know of a market, share it around. Especially if you’re not a good fit for it − why would you keep that information to yourself? What good will that do anyone? Similarly, even if you know of a market you are a good fit for, don’t be a dog in a manger: be generous, share the information. Someone else who has some success from a tip you passed on mightjust remember you kindly when they have a useful piece of intel.

2. Not all facets of writing are

solitary

Just as it takes a village to raise a child, so it takes a lot of people to raise a writer. Often those people are beer and winemakers, but there are also others who are not entirely booze-related. Writing groups − okay, those are

often booze-related − fulfil a valuable series of functions, which may include, but are not exclusive to, the following:

Contact with others is important as it reminds you how to speak and interact with someone other than the cat. Sometimes it even gets you out of the house to a place where you can exchange money for goods and services such as cupcakes and the making of coffee. This is good.

Critiquing of your work by others, which can help you see problems you’ve been blind to as well as finding ways to fix said problems. One of my favourite maxims is that you can’t proofread your own work because you know what you meant to write, so oftentimes you’ll see it there (even when it’s missing or there’s a typo or you’ve played fast and loose with sentence construction). So, outside eyes on your work is also good.

A writers group is a great place to do that whole sharing of your toys thing. Getting leads on agents and publishers with open submission periods, anthologies that are looking for work, and/or − and this one is very important − those ‘writer beware’ moments when you can learn which publisher doesn’t pay on time (or at all); which editor, while terribly enthusiastic, cannot actually spell or place an apostrophe to save their life; or which ‘agent’ wants to charge you a reading fee (hint: NONE of them should).

Given that many of us are fairly antisocial and socially challenged, we can get very nervous at the idea of talking to people we don’t know, but this is where the writers group can be perfect. You can nominate some of your group aside for ‘practice runs’: talking to people, role playing (with or without costumes, as you prefer), and just running through a series of small talk and questions can sometimes help make the whole idea of ‘networking’ a little less daunting.

Sarah Ridout will be publishing her novel Le Chateau with Echo Publishing in September 2016. • Sue Reynolds was awarded third place in for the 2015 Luke Bitmead Bursary

TOP FIVE NETWORKING TIPS FOR AUTHORS 9

3. Find people who know more than

you and learn from them

As a writer you need to be ever vigilant against the idea that you’ll reach a point where you know everything − you don’t and you won’t. There’s always something to learn or something you might have forgotten and need to remember. There’s something to be picked up from everyone you ever meet, even if that something is, ‘Don’t behave like a complete pillock’.

Where can you find such fonts of knowledge? Writers centres, conventions, conferences, institutions of higher learning with good, practical writing programs, and writers festivals. Some writers centres run Publishers & Agents seminars, where you can listen to a panel of publishers and agents (funnily enough) talk about what they’re looking for and how best to approach them.

As with all of life’s experiences, some behavioural hints can be helpful:

When you work up the courage to talk to someone at a seminar or con or what-have-you, don’t monopolise them, especially if they’re the special guest at an evening or someone on the last leg of a long book tour. Like good readings, this sort of interaction should be no longer than five minutes long (unless you get on famously, in which case buy them a drink). Exchange pleasantries, ask your most pressing question, then depart gracefully and graciously. Say ‘thank you’.

If you feel you’ve made a connection with someone, then offer a business card or contact details, but for the love of all that’s holy or otherwise, don’t be insistent. Also, remember that people in the industry talk; they talk to each other, they compare notes. Don’t be the

nutter or the rude person that everyone knows about. If you find yourself foundering, or indeed floundering, then give a cheery ‘Well, I must be moving on’, and abort, abort, abort! But do not be disheartened, don’t decide you’re never talking to an Important Person ever again. Perfecting the art of networking, of talking to people, takes time. Go back to your writers group and do a few more role plays. Don’t give up.

I cannot emphasise this enough: be grateful and gracious. Even if the person you’ve spoken to has behaved like the proverbial pillock, don’t stoop to their level. Remain polite and dignified.

4. Build mutually beneficial

relationships

This is the core of good networking. What that means is that networking isn’t all about you. You see, in order to get something, you need to give something in return. You want to pick someone’s brains about their specialist subject? Then buy them coffee and cake; be respectful of their time; take notes while they’re talking; don’t be checking your phone for Facebook and Twitter, or texting your best mate ‘OMG Neil Gaiman is talking to me!’. And be prepared to pay for their time: You’re not entitled to help just because you want it. Consider barter options: perhaps the person whose expertise you’re harvesting - Blacksmithing? Sword fighting? Raising giant poodles? − perhaps that person needs assistance with writing or proofreading a promotional brochure or some such. ‘I propose a trade: an hour of your time for a proofread/edit of your brochure.’ Once again, it’s not all about you – it’s mutually beneficial.

5. Pay it forward

Jeff VanderMeer talks a lot about this, and I guess it’s kind of the summary of what I’ve said above about networking in general. When you get a few steps up the ladder, be sure to remember those who are still in your writing group, people who haven’t made it as far along as you. Offer a helping hand when you can because (a) it’s good for your karma and (b) it’s easier to slide down the ladder than it is to climb it, and at some point in the future your grip may slip − you’re going to want the people you helped to remember you kindly. Sew a few favours, do some kindnesses, and they will eventually pay you back.

Perfecting the art of

networking, of talking

to people, takes time

Angela Slatter has won a World Fantasy Award, a British Fantasy Award, a Ditmar Award, and five Aurealis Awards. She’s

published six story collections, has a PhD, and was an inaugural Queensland Writers Fellow. Jo Fletcher Books will publish her

debut novel Vigil in 2016, with Corpselight following in 2017.

for Temporary Spaces. • Kate Kelsen has self-published The New Neighbors. • Tammy and Lesley Williams have been long listed for the 2016 Dobbie Literary Award for

10

Do you find that your writing sometimes wanders from the point or becomes unclear? You’re not alone. Most of us write from the heart, and therefore believe we’ve expressed our thoughts and ideas exactly – which makes it hard to step back and assess whether the message is clear to someone else.

Readers are quick to judge, and can be impatient. If what they’ve chosen to read doesn’t make sense, or requires a lot of effort to understand, they’re likely to move on. So if your goal is to have your writing read, understood and valued, it could be useful to know some of the secrets of clear writing.

The editing tips that follow are not intended to inhibit your instinctive writing process or your personal style. Rather, they are guidelines to help you streamline your writing before you show it to anyone else. Our first drafts are frequently longer and wordier than we would like, so these tips are a tool you can use to take a step back and review your own work.

1. Trim the fluff

A common feature of unclear writing is rambling, long-winded sentences. These can be a turn-off for readers, who lose track of the point the writer is trying to make. Writers are not always aware that their sentences are getting out of control, and also find it difficult to edit their own work. Below are some tips to help you remove the fluff and streamline your prose.

Remove unnecessary qualifiers

Qualifiers – that is, adjectives and adverbs – are the words that describe or qualify another word or phrase in the sentence. They’re versatile, colourful words and can be powerful, but we sometimes use them to the point of overkill.

Adjectives describe a noun. You can see in these examples how they can be superfluous:

The chandelier fell with a crash onto the hard concrete.The noisy birds woke us at dawn.

Here you can see the unfortunate effect of their overuse:

The priceless antique chandelier fell with a deafening crash onto the hard, unforgiving concrete.

Dawn’s soft early gold and red-tinged light woke us just as the greedy squawking birds descended in their noisy flocks to attack the breadcrumbs our well-meaning but misguided neighbour had provided.

Adverbs describe how, when, where, etc:

He ran fast.Unfortunately, I don’t believe you.

As with adjectives, less is more:

She unwrapped the present slowly and folded the paper neatly before placing it carefully on the glass table, then cautiously opened the box and peered inside excitedly.

Be careful with really and very, as they are too easily overused and will weaken the impact of your sentence.

Replace wordy phrases with one word

Sometimes a phrase is used where one word would do. Many are clichés, and we use them out of habit. Be careful, because using a cliché is a sign of an unthinking writer.

In the event that the weather turns bad, we will move to Plan B. (If)Please remain in your seats until such time as we are given the all-clear to leave. (until)I am writing to you in connection with my recent submission. (about)

Check for repetition

There are different causes of repetition, such as tautology, redundancy and doubling, but they all boil down to the same thing – too many words.

Tautology: saying the same thing twice (or three times):

They arrived one after the other in succession.The estimated approximate value is in the region of about $10 million.

Redundancy: words that add nothing to the meaning:

A database of information is essential for the research team.Do you think the book should include a glossary of terms?

Doubling: a pair of words that mean essentially the same thing. This might have been done originally for

HOW TO

HOW TO DE-CLUTTER YOUR WRITING

SUSAN McKERIHAN

Not Just Black and White. • Ian Laver's short story ‘Picture Imperfect’ was awarded a Commended Writer prize in the Positive Words End of Year Short Story Competition.

HOW TO DE-CLUTTER YOUR WRITING 11

rhetorical effect: any and all; each and every; first and foremost; needs and requirements; unless and until; wordy and verbose.

2. Don’t interrupt the flow

The essential components in a sentence are the words representing ‘who did what’ (or ‘what did what’) – known in traditional grammar as subject, verb and object. They contain the sentence’s core message. If they are interrupted by qualifications or circumstances, it takes the reader longer to process the meaning.

The writer can also lose track of how the sentence started, and get tangled up in both grammar and style, producing a convoluted sentence that Mark Twain would describe as 'a sea-serpent, with half of its arches under the water'.

You can solve this problem by moving any qualifying clauses to the beginning or end of the sentence, or by putting them in a separate sentence.

We simply cannot, this far out from Christmas, give any indication of timing. – This far out from Christmas, we simply cannot give any indication of timing.Jane Austen, in the first paragraph of Pride and Prejudice, presents one of the most memorable sentences in English literature. – In the first paragraph of Pride and Prejudice, Jane Austen presents one of the most memorable sentences in English literature.

3. Be aware of ambiguity

Sometimes written English can be interpreted in a way that wasn’t intended by the writer. This can be humorous (as in the shop sign TATTOOS WHILE YOU WAIT), but can also result in confusion and even misunderstanding. Consider these examples:

Subtract this year’s revenue from last year’s revenue before analysing it.After eating my lunch, the waiter engaged me in conversation.We are organising protests against human rights abuses in city centres.

Here’s what to look out for:

Unclear pronoun references

Pronouns such as it, he, she, they, which, etc, replace a named person or thing. But the particular person or thing they’re replacing can sometimes be unclear, and

this causes confusion in the mind of the reader.

Subtract this year’s revenue from last year’s revenue before analysing it. Question: What does ‘it’ refer to? This year’s revenue, or last year’s?

John told Robert’s son that he must help him. Question: Who is ‘he’, and who is ‘him'?

We can’t answer these questions from the text alone.

There’s no ‘quick fix’ for this; you will need to use your judgement, and sometimes it’s better to spell out the full reference or even to rewrite the sentence.

Dangling participles

Dangling (or ‘hanging’) participles – usually -ing words – cause confusion because the first half of the sentence doesn’t match the second half. (To be grammatically correct, the participle must refer to the subject of the sentence.) Sometimes the context makes the meaning perfectly clear, but more often it doesn’t, and good writers take care to make sure there is no possibility of confusion.

After eating my lunch, the waiter engaged me in conversation.

Grammatically, this says that the waiter (subject of the sentence) ate my lunch. Change to: After I’d eaten my lunch …

Resuming negotiations after a break of several days, the same issues confronted both the staff and management.

Although we have no problem understanding this, it’s ungrammatical. The issues (subject) did not resume negotiations. To be grammatically correct, we need to match ‘resuming’ with the subject of the sentence. For example, we could write:

Resuming negotiations after a break of several days, both the staff and management were confronted with the same issues.

After adding the chopped filling, the custard forms a second layer over the tart. (This is scary custard!)

Misplaced modifiers

Modifiers are words, phrases or clauses that describe, or ‘modify’, another word in the sentence. It’s important to place them next to the word they logically describe.

We are organising protests against human rights abuses in city centres.

Wanted: Babysitter for 6-year-old who does not smoke or drink.

Susan McKerihan is a specialist and consultant in effective business writing with over twenty years experience. She advises corporate clients on how to write clearly and succinctly, with the aim of making sure their documents are easily understood by the intended audience. Visit her website: plainenglishconsulting.com.au.

Clive Johnson’s first novel, Eye of Egypt - The Pharaoh’s Greatest Gift Trilogy Part One, is available on Amazon and Kindle. • Waiting for Euthanatos, by Graham Mitchell won the

12

Novelist Cory Taylor (Me and Mister Booker and My Beautiful Enemy) was diagnosed with melanoma in 2005, just before her fiftieth birthday. In December 2014, she suffered a seizure and underwent surgery to remove a brain tumour. She had to face the obvious – that death was not far away. On the eve of the release of Cory’slast book, and the facing of her inevitable death,Lesley Synge spent some time conversing with her, Japanese-style, over cups of green tea.

LS: What motivated you to write Dying: A Memoir?I wanted to win back some dignity for the dying, because I don’t think silence serves the interests of any of us. While my body is careering towards catastrophe, my mind is elsewhere, concentrated on this other, vital task, which is to tell you something meaningful before I go.

LS: I’m amazed that you’ve brought your characteristic sense of humour to this taboo topic.Humour’s always helpful when approaching difficult subjects, and writing shapes the world and makes it bearable.

LS: In your memoir you reveal that you’ve purchased a euthanasia drug online.Yes, it’s in a vacuum-sealed bag in a safe and secret place, along with a suicide note. I call it my Marilyn Monroe gift pack. What could be easier than to swallow a fatal dose and never wake up again? Surely that would be preferable to the alternative, which is a lingering and gruesome demise? And yet I hesitate.

LS: You’re concerned about Australian laws about assisted suicide and their impact on your family?Yes, one can do harm to others by going rogue and acting alone. I joined Exit International and attend meetings where terminally ill people grapple with the philosophical and practical questions of death.

LS: Are you scared?I’m used to dying now. It’s become ordinary and unremarkable, something everybody, without

exception, does at one time or another. If I’m afraid of anything it’s of dying badly, of getting caught up in some process that prolongs my life unnecessarily. I’ve put all the safeguards in place. I’ve made it clear in my conversations with my palliative care specialist and my family that I want no life-saving interventions at the end, nothing designed to delay the inevitable. But I can’t help worrying. I haven’t died before, so I sometimes get a bad case of beginner’s nerves, but they soon pass.

LS: Brisbane has been your home since 1998, but you’ve had a well-travelled life.I’ve never lost my wonderment at Japan in particular. I’ve travelled around the country many times since that first trip [in 1982] and I still thrill at the sights and sounds and smells: the sugary cloud of charcoal smoke billowing from the grilled eel shop, the soupy vapour you inhale with your ramen, the cut-straw sweetness of new tatami mats.

LS: Japan is where you met the Japanese artist, Shin, who became your husband and the father of your two sons.Without Shin I’d be lost. He’s been so good-humoured and loving. A slow death, like mine, has that one advantage. You have a lot of time to talk, to tell people how you feel, to try to make sense of the whole thing, of the life that is coming to a close, both for yourself and for those who remain.

LS: Your book will be launched soon. How are you feeling as it approaches?I will not miss dying. It is by far the hardest thing I have ever done, and I will be glad when it’s over. I find it’s the small losses that mount up, such as walks by the river with my husband. With envy, I watch the passing cyclists, gliding along the way I used to. I even envy drivers. How I’d love to pack the car and head off to some deserted beach for a swim. But I weigh less than my neighbour’s retriever.

*The full interview can be found online at writingqueensland.com.au.

INTERVIEW

A CONVERSATION WITH CORY TAYLOR ON DYING

INTERVIEWER: LESLEY SYNGE

Lesley Synge’s latest essay ‘Keeping a Town Beautiful’ is published by Griffith Review. Cory Taylor’s latest book, Dying: A Memoir,

was published in May by Text. The conversation above is essentially a compilation of selected quotes.

2015 Polestar Literary Poetry Award. • Warren Ward has won the New Philosopher Writers’ Award for his essay ‘50,000 at a Funeral’, which will be published in the May edition.

‘When I am working on a book or a story I write every

morning as soon after first light as possible,’ Ernest

Hemingway told The Paris Review in 1954. ‘There is no

one to disturb you and it is cool or cold and you come

to your work and warm as you write.’

Ah, dear Hemingway, I used to feel the same way

about my writing day. Pre-children, I would sit up in

bed at 7am, sometimes 6am, prop myself up against

the pillows, and open my laptop. I typed in silence.

An obedient lover would bring me a coffee, learning

early on to leave me to it. I envisaged my workday as

a swimming pool, in that I wanted to be the first one

to dive in, to crack its surface and slice away at its

stillness. By the time the public were due to dive in,

I’d have finished my metaphorical laps.

These days by the time I sit at my desk, that

swimming pool resembles pea soup. My day has

already endured 100-odd mindless questions, rattled

long into banality and I’m covered in specks of food

and avocado fingerprints. My olfactory can’t quite get

rid of the smell of poo. And then, I type. Surprised,

I’ve found that I can still string the odd sentence

together. My previous preciousness was not only

a luxury, but also maybe a superstition. But one’s

source of writing, I’ve discovered, is not that fragile.

Writing and children, particularly the toddler variety,

are often seen as a bad combination, and

in many ways this is true. There is the

sleep deprivation, the lack of space,

and the ‘million other things’ to do.

But for the writer – be it of fiction,

poetry or journalism, or in my case,

all three – there

are unexpected

revelations.

Your perspective changes – and while at first it

may seem much has receded into the unreachable

distance – there are, if you remain open to them, new

stories and depths of understanding and empathy to

tap into.

My most recent essay in The Monthly, ‘The Strange

Life and Tragic Death of Julia the Gorilla’, would

never have been written if not for the excursions I

took to the Melbourne Zoo with my boys. The essay

was such an effortless pleasure to write, the story so extraordinary that Longform.org picked it up and it is now being translated into Spanish for the Mexican publication, Letras Libres.

It is as though my height has been altered, and from this different eye-level, I can see underneath things, stories previously hidden, tucked tight into shells.

New publications with information and issues I’d never considered now cross my path. ConsiderChild: The Real Guide for Parents, a free publication that lies in the doorways of shops next to gig guides and dance party flyers. It is a magazine my previous self would have dismissed, thinking it would be about vinyl elephant decals and the like. Now I am obsessed with it, flicking straight to the magazine’s classifieds to read advertisements like this, of which there are numerous:

EGG DONOR WANTED We are a healthy, loving and financially secure couple. Having been happily married for four years we are beginning to ache to have a child of our own, to raise our own family…we are both from loving and supportive families and we are confident that we will be able to provide a child with a loving, caring, stable home, a good education and a happy upbringing. Sadly we have been unable to conceive……our only hope is for a generous donor to help us. If you are a mother under 35 and are willing to help us, please contact ....

sleep de

and the

But for

poetry

Writing in the pea soupAnna Krien

are unexpected

revelations.

Actual expenditure incurred on medical expenses and associated travel costs will be reimbursed.

This advertisement has been approved by the Victorian Minister for Health, as required by s.40 of the Human Tissue Act 1982 (Vic) (August 2014).

The peculiar mix of science fiction and deep human sadness and longing these advertisements reveal are stories aching to be told. A common misconception about journalism is that one needs to be ‘where the action is’, and yet I found one of my least productive stints was when I was in the newsroom, supposedly in the thick of it, at The Age newspaper. Rather than feeling like I was on the pulse and surrounded by stories, I felt adrift from the rest of the world. When I quit and went out on my own, picking up waitressing shifts to survive, some of my best feature stories were the result of talking to customers whose tables I’d waited on.

A writer’s circumstances, I am learning, may not always be conducive to those consistently ‘perfect’ writing days, as Hemingway demanded, but the stories, those flickers of curiosity, will always be there, waiting for you to see them in a new light. You just have to keep your eyes open. That’s the tricky bit.

QWC is delighted to host Anna Krien as part of our Program of Events July–December 2016. Anna will be teaching FEATURE WRITING CLINIC. Full details for the Clinic are in the next column.

FEATURE WRITING CLINICBRISBANE

This is a rare opportunity to work with Anna Krien, one of Australia’s most respected feature writers, who will reveal how to make it as a feature writer. Over a two-day intensive masterclass you’ll learn the essentials of feature journalism, including types of essay and features, how to approach researching your topic, and tips to improve your writing and make it engaging and entertaining. Gain insider insight on identifying the right publication for your article, perfecting the pitch and how to stand out when making contact with editors. You will also receive critical feedback from Anna and your peers.

Admission to this course is by submission. Submissions are to ensure projects are at a suitable stage of development. You will not be assessed on your writing.

It’s a MasterclassWith Anna KrienFor Writers with a regular writing practice; writers pursuing publication; and writers looking to try new formsTime & dates 10.00am–4.30pm, Saturday 13 and Sunday 14 AugustVenue Queensland Writers CentrePrices Members $270.00 ($243 conc);Non-members $350.00 ($315.00 conc);Young people (25 and under) $199.00Information & to book qwriters.co/shortlink

Anna Krien is the author of Night Games: Sex, power and Sport, Into the Woods: The Battle for Tasmania’s Forests and Quarterly Essay 45 ‘Us and Them: On the Importance of Animals’. Her work has been published in The Age,The Big Issue, The Best Australian Essays, The Best Australian Stories, Griffith Review, Colors and Dazed & Confused.

MEMBER MILESTONES

INSIGHT/HINDSIGHT

TRACK FINANCES NOW – AVOID PAIN LATER

LAUREN SHERRITT

If there’s one rule I live by in my freelance business, it’s: Track finances now – Avoid pain later.

Making the switch to freelancing can be both liberating and daunting. You have to find your own work. You have to build your own professional networks. You have to motivate yourself. You have to meet deadlines. And on top of all that, you have to take responsibility for your own finances.

I’ve been freelancing on and off for a couple of years now. I used this time as a “trial and error” phase of building sound financial habits – creating a system of financial tracking and budgeting that was efficient for my (very) small business needs. Having this structure in place when I decided to commit more time, and

a hefty chunk of my income stream, to freelancing allowed me to focus on my creative output, knowing that I had the business side of my work under control. Here are some tips I’ve learned along the way.

Financial tracking tools

While there are many handy financial tracking tools that you can download or buy, I still use a simple spreadsheet to track money spent, money owed and money received. I get satisfaction from transferring the figures over manually, especially from owed to paid. And it saves me from ‘professional procrastination’; spending my time testing and tweaking a new system instead of getting on with my creative work.

‘Bliss’ by Kelley Mether was long-listed for the Needle in the Hay short story competition. • HarperCollins will publish Shannon Horsfall‘s picture

17TRACK FINANCES NOW - AVOID PAIN LATER

Ad-hoc tracking

Some items I track on an ad-hoc basis – work-related travel costs, professional development fees and memberships with organisations like QWC. I have a folder for each financial year into which I save any business-related receipts and invoices, and I put these amounts straight into my spreadsheet.

Home expenses

I also keep records of how often I work from home, and therefore what percentage of my rent, internet, phone and energy costs is devoted to my creative business. By keeping a logbook of these details, I’m able to claim them as tax deductions. Details and templates can be found on the ATO website and are quite easy to work with. While this can seem quite time consuming, in most cases I only need to track my work routine for a month to provide satisfactory proof, and potentially save myself hundreds of dollars in the process.

Calculating future income

Keeping track of my finances isn’t only useful for tax time. It also allows me to calculate my future income, follow up unpaid invoices, predict seasonal lulls and busy periods and decide when it’s time to increase my rates.

Deciding on charge rates

It can be challenging when starting out to decide what rate to charge for your work. I work backwards, calculating my yearly budget first, then setting income goals that inform my rate. I tally up my guaranteed income from other income streams, like my day job, then subtract this from the amount I will need to earn to cover all my needs and wants. I then divide the difference by the number of freelance working hours available during an average week, and see if this hourly rate is realistic within my industry.

I don’t always stick hard and fast to this rate, depending on the client and the value of the relationship, but it gives me the perspective to know which opportunities are worth a low fee plus ‘exposure’, and which aren’t.

Be realistic, and go for it!

It’s important to be realistic when setting freelancing goals. I don’t calculate my hourly rate based on working fifty-hour weeks on top of my day job, because I know I wouldn’t be able to cope with the stress. I also keep in mind that I’m still starting out, and there will be potential for growth as I build relationships with clients who can pay more and offer larger projects.

I transitioned slowly into freelancing, and that’s worked well for me. While there’s freedom in freelancing, it can be hard to match the peace of mind that comes with a fortnightly pay cheque. If risk-taking leaves you paralysed, starting out with a part-time job can ease the transition into being freelance-dependent. If you know you’ll never take action unless you’re forced to, however, perhaps saving a back-up fund and then diving in full-time is for you.

My advice when starting out is to do your research; find out what reporting and tracking you’re going to be required to do by law, then design a system that you can manage and stick with it for at least six months to see if it really works for you. Be diligent with your business practices so you can prioritise your creative work time, and set yourself on the path to success.

book Was Not Me! in July. • Elina Juusola’s book Love on the Line: How to Recover from Romance Scams Gracefully and Without Victimisation was published. • Pauline Cattell launched her

Lauren Sherritt is a playwright and freelance writer based in Brisbane. Her monologue ‘The Panel’ can be found in The Voices

Project – Encore Edition, published by Currency Press in 2016. Lauren’s non-fiction work has been featured online at Junkee, The

Financial Diet, Birdee, LifeMusicMedia, lip magazine and Australian Stage. Her website is laurensherritt.wordpress.com.

18

book The Tide in February. • Roz Glazebroook has written seven history articles published in the Townsville Bulletin last year. • Diane Demetre‘s debut novel Dancing Queen

Sarah Kanake is a doctor of creative writing and author of ‘Sing Fox to Me’ (2016). She has been published in The Southerly, The

Lifted Brow, Kill Your Darlings and Award Winning Australian Writing (2014). Sarah lives on the Sunshine Coast and is one half of the

country music duo The Shiralee.

My debut novel Sing Fox to Me (2016) is about lots of things: Tasmania, thylacines, twins, loss, grief, displacement, dementia, kookaburras, sibling rivalry, masculinity, and Down syndrome.

I don’t want to say that my novel is mostly about Down syndrome but it is, at least in my mind, mostly about fourteen-year-old Samson Fox, and Samson Fox has Down syndrome.

The Rainbow Snake scene where Samson chooses to keep his Down syndrome (on pp.223–231) was, in many ways, the most difficult scene to write and, ultimately, I ended up building it from Frankensteinian parts of other stories. Stories that are a part of me, but don’t really belong to me.

Let me explain…

Samson Fox is a collector. He collects words, images, and stories. He collects them in order to make sense of his life and understand the world around him. He collects the story of biblical Samson and Jonah, Ned Kelly, and Optimus Prime. He collects sentences carelessly left by his poet father, advice from his stay-at-home mother, experiences from his closest friend, Mattie Kelly, and misunderstood colloquialisms from his grandad. He collects the story of the Shere Khan from ‘The Jungle Book’, the story of his own birth and the birth of his twin brother, Jonah. From Murray Bishop – an Aboriginal man living on Tiger Mountain – he collects the story of the Rainbow Snake and the stolen generation.

The Rainbow Snake scene in Sing Fox to Me is a crashing together – inside Samson Fox – of allthese stories.

The scene is, on the surface, about Samson choosing to keep his Down syndrome but it’s also about the jumble of stories that make up contemporary

Australia. We are many parts coming from many places; bible, bushranger, Transformer, Rainbow Snake, thylacine, Shere Khan. Every story becomes part of who we are, and how we see these stories together is the alchemy of how we come to seethe world.

The Rainbow Snake scene has always been my favourite from Sing Fox to Me but it isn’t one that I included in the novel lightly. Borrowing stories respectfully isn’t an easy thing to do. Especially when some of these stories emerge from sacred ground. I hope I did this sensitively. Certainly, I feel as changed as Samson by having written this scene. It forced me to face the Frankensteinian limbs inside my own writing and question what kind of story I have the right to tell. But, mostly, it allowed me to create a character with Down syndrome who could accept his disability without accepting its limits.

HOW I WROTE

HOW I WROTE THE RAINBOW SNAKE SCENEIN SING FOX TO ME

SARAH KANAKE

19

Pitching stories is a vital part of writing non-fiction. Unfortunately, the process can feel like hacking out a part of your soul and offering it to someone. It’s an act that exposes your ambition and vulnerability at the same time. Fortunately, however, it’s a skill like any other: you can learn how to do it and hone your abilities every time you try.

Here are some tips for putting together a perfect pitch.

Read some sample pitches

While every publication, editor and writer is different, there are some basic elements you should aim to include in every pitch:

name of the editor

description of the story idea

author bio or list of past publications

Looking at real examples will illustrate how to flesh them out stylishly and effectively. (See note at end of article)

Read the publications you want

to write for

All editors say it’s obvious when a writer isn’t familiar with the publication they’re pitching to. As a rule, what you see is what you should pitch, and there are various elements to keep in mind:

Subject matter: Some publications, like trade magazines, have very narrow remits, while others cover a broader range of topics.

Audience: Who’s the intended reader of the publication? A magazine for teenage girls will feature different writing styles and material than a regional newspaper.

Types of content: What kinds of stories does the publication contain? Perhaps it’s known for in-depth reviews, newsy listicles, or longer features plus interviews and shorter front-of- book pieces.

Frequency of publication and timing: If you know how regularly a publication needs new material, you can send your pitches at the right time. If a website publishes daily opinion pieces, the lead time will be a matter of days or weeks, while glossy magazines lock down content months before publication.

As with publications, you also need to know what editors want. The general format of pitches doesn’t change that much from editor to editor, but each will have their own preferences. Some editors abhor full drafts. Others hate receiving pitches about cats. Follow editors on social media because this is often where they broadcast their interests, both explicitly and indirectly. And you won’t want to miss their call-outs for pitches on particular subjects, or links to pieces they’ve recently published.

Some editors have gone to the trouble of explaining exactly how and what they like to be pitched. (See note at end of article) These valuable insights are as close to personal pitching advice as you can get.

Know the difference between

a story idea and a topic

A topic of interest isn’t the same as a story idea, and a pitch must contain the latter. For example, ‘I want to write about cake/Iggy Pop’ won’t cut it, because that doesn’t tell the editor what you’re going to say about the subject matter or why they (or a reader) should care about your story. A story must have an angle and/or an argument. What is the unique, curiosity-sparking take that will reel a reader in? Is there a hook, like a related and timely current affairs story, film release or anniversary? Your story idea might be, ‘Instead of despairing that cake sales are at an all-time low, local bakers are unexpectedly diversifying into party planning’, or “Iggy Pop’s iconic first album, which is 60 years old next month, changed the sound of rock music forever thanks to its use of untuned lutes’.

Support your idea with research or convincing opinion, depending on the type of piece you want to write.

HOW TO

HOW TO WRITE THE PERFECT PITCH

ESTELLE TANG

won Best Book and Best Cover in the 2015 Luminosity Publishing Reader’s Choice Awards. • Lesley Synge had a number of essays published including ‘Punting in Paradise’ in

20 HOW TO WRITE THE PERFECT PITCH

Make your pitch concise, stylish,

grammatical and informative

Even if you have written a full draft of your story, a pitch is usually the first encounter an editor will have with your writing and idea (and, sometimes, with you). As with all first impressions, aim high.

Editors are busy folk, so explain your idea efficiently—a paragraph or two will usually suffice. Tailor your pitch to the style of the publication; this shows that your piece will be a good fit. Then, check whether it clears the bar for appealing and effective writing. If you haven’t done the work of wading through and eliminating any purple prose or vague wording, you can be sure disinterested editors won’t want to either.

Briefly mention exciting key aspects of your proposed story—you might have a renowned expert to interview on the topic, but the editor won’t know unless you mention it.

Finally, proofread your pitch to catch any errors that might turn an editor off. A pitch full of mistakes suggests there’ll be more of the same in the final product.

Explain why you should be the one

to write the story

You don’t have to be the only person who could write your story, but you should be able to say why you’re a perfect option. Do you have personal experience with the topic? Are you a lifelong fan of the artist you want to cover, with extensive knowledge of their work? Is there any training or education in your background that can help you understand the issues deeply?

Highlight the special tools and skills you have atyour disposal.

Ask a fellow writer or friend to

read over your pitch

If you’ve never pitched before or are anxious about a pitch you’ve laboured over, ask someone to look at it. This might rattle you at first, but the short-term pain is worth it if you can refine your argument or catch any glaring gaps. Don’t know any writers? Try joining a writing class at your local writers’ centre or online.

Just hit send

Once you’ve written and checked over your pitch, send it. Really. It’s not going to do any good sitting on your desktop or in your email drafts.

Don’t let rejection stop you from

trying again

Even if you tick all the boxes, there are several reasons your pitch might be rejected: the publication has no space in its schedule, there’s a similar piece already in train, or the editor might just not be interested. No matter what it feels like, though, pitching isn’t life and death. It’s a professional skill like any other, and you’ll live to pitch another day. Try, try again; you’re well on your way.

* For useful resources on pitching, see writingqueensland.com.au/how-to-write-the-perfect-pitch

Estelle Tang is a literary scout, editor and writer who has been published in The New Yorker.com, The Guardian, The Age,The Australian, Pitchfork, Rookie, and elsewhere.

Transnational Literature, a book review of Alice Hungerford’s oral history Upriver in Social Alternatives and ‘Keeping a Town Beautiful’ in the April newsletter of Griffith Review.

21

Katie Rowney talks to Claire Varley and Kirsty Eagar about setting ...

One of the beautiful things about a good book is the

ability to travel from your armchair. A book can act as

a passport to another country, another time – even

another world. And in some books, the setting is as

much of a character as the novel’s protagonist. What

would Harry Potter be without Hogwarts, or Game of

Thrones without Westeros? Imagine if Anne of Green

Gables had her adventures in suburbia rather than

Prince Edward Island? What would Bryce Courtenay’s

epics be like if they didn’t take place in such rich

outback or South African locations?

To the reader, the setting appears effortlessly. It just is – you don’t notice the details that the writer has put in to give you that sense of time and place. But as a writer, it’s a long process of research and rewrites, making sure you’re true to the setting and your characters without starting to sound like a travel book. Australian authors Claire Varley (The Bit in Between) and Kirsty Eagar (Summer Skin) share their process of creating a setting that anchors the story. Both novels are love stories with complicated characters who need to be sure of themselves before they can be sure of someone else. But both have wildly different settings – Varley’s work is set in the tropical Solomon Islands, a beautiful country facing its own challenges, while Eagar explores a setting familiar to much of Queensland: the sandstone and 70s brick buildings of St Lucia’s university campus.

The Bit in Between was inspired by Varley’s two years of working in the Solomons in community development, a time she describes as one of the ‘most meaningful’ of her life.

‘I wanted to write what I thought of as my love letter to the country,’ she said. ‘I also wanted to write something that was conscious of the history of colonial authorship and the romanticism of the South Pacific, which is just a fancy way of saying I hoped to create a story that gave all its characters the complexity and respect they deserve.’

Varley said the location played a big role in the story, which follows a young couple who have moved to the Solomons while he writes a book and she decides what to do with her life next.

‘Travel has this incredible capacity to set us outside ourselves and allow us real insight into both ourselves and the things we accept as our social norms,’ she said.

‘I had these two central characters who were both learning and questioning things about themselves in this completely new, and at times confronting, setting, but also engaging with the people around them, whether they were travellers, development workers, expats or Solomon Islanders.’

Readers are aware of the setting almost immediately in The Bit in Between, as the characters make a conscious choice to travel there a few pages into the story.

‘For the rest of the book, I had to find a way to balance including information about the country’s history and story with not wanting it to sound like a travelogue,’ Varley said.

‘This was a fun challenge, and it helped that one of the characters was writing his own book, so that’s where a lot of this info went.’

For Varley, it was essential that she got the details of the setting right so as to not do a disservice to the country. Her time living there served as research, but she also talked to colleagues and friends from the area to get a complete view of the Islands.

‘Sometimes I’ve read things and been so offended by the simplistic, patronising or offensive way whole nations of people are represented, I’ve refused to keep reading,’ she said.

‘If I get that angry and frustrated, I can’t imagine how it feels to be part of the group being represented. As writers, we have a responsibility to really know what we’re writing about. You wouldn’t write about car mechanics without researching it, so why would you do so for people or culture or place?

‘My favourite research tool is spending time somewhere and just talking to people. One of my favourite things to ask is how don’t people want to be represented? What stereotypes or clichés are they sick of? That’s a pretty good place to start.’

INTERVIEW

GET SET, EVERYBODY

KATIE ROWNEY

June Perkins published Magic Fish Dreaming, illustrated by Helene Magisson. • Jo-Kin vs Lord Terra (Super Space Kids 2), written by Karren Tyrrell and illustrated by Trevor Salter

22 GET SET, EVERYBODY

Varley used her experiences to shape the story, with the location setting the pace and tone of the book.

‘It naturally fell into the slower pace of life in the Solomons, as well as the inherent good-natured humour people tend to have,’ she said.

‘It also influenced what the characters were doing – at times they were too hot to argue, or were kept awake by the breeze-less night, or got lots of headaches from sweating so much. Landscape and climate certainly impact who we are and what we spend our time doing.’

In Summer Skin the weather also plays a role – if it wasn’t obvious from the seasonal title. Eagar writes scenes as hot as a Queensland summer, set at balmy rooftop parties, or watching thunderstorms roll in. As Eagar is a former University of Queensland (UQ) student, the campus was an obvious choice to set her new adult novel in.

‘It was handy knowing the patterns of college life there, because it became a lot easier to throw my two main characters together,’ she said.

Even though she had first-hand experience of college life, Eagar still took the time to fact-check to make sure her setting was accurate.

‘In the early drafts I wrote the setting from memory and double-checked things using Google Earth and the UQ map,’ she said.

‘But towards the end I made a couple of trips back to campus. The obvious touchstones hadn’t changed – the great court will always be there – but I’d written a couple of scenes with the girls in my story trading innuendo with workers on a building site. When I got there, I was struck by how built-out everything was, and wondered whether I’d have to delete those scenes. But low and behold there actually was a building site right where I’d imagined it to be. I took that as little sign, a kind of permission slip.

‘I also got obsessive over small things, like checking exam timetables, until I found a location where my characters, Mitch (Law) and Jess (Economics), would see each other.’

All this background research informed the book, but when it came to writing, Eagar was less exacting.

‘I didn’t overthink it, to be honest. I hit on the details that brought it to life for me,’ she said.

Lecture theatres, bars and bookshops will be recognisable to locals, without them being explicitly named, and Eagar said she included ‘little things like the sound of an irrigation system flaring to life on a sports oval, bringing with it the smell of water on a hot night’ to help set the scene.

‘What I really wanted to do was capture the energy of life in your late teens and early twenties, all those hours spent with friends and lovers, talking about everything and nothing, those witty conversations that at the time seem to be the whole purpose of life,’ she said.

‘Placing it at UQ made all of that very immediate.’

As a reader, you might not be aware of all the effort that has gone into creating those settings, but subconsciously you appreciate it. Finishing Summer Skin, you feel a longing for those student days, a desire to roam a spacious campus and gossip with friends under sandstone archways. Readers of The Bit in Between will be transported to a different culture – a place where the simple things matter, where a cold beer and a night on sandy sheets is normal, where the history is complex and life moves at a slower pace. In both books, the location speaks as loudly as the characters, and tells a story all of its own.

Katie Rowney is a recovering journalist, current communications wizard and twitter addict. She reads at least three books a

week, has an unhealthy obsession with David Bowie and tries to live her life as Indiana Jones would. Her debut Front Page News

was selected from Penguin’s slush pile and published in 2016.

has been published by Digital Future Press. • Mocco Wollert published ‘River Therapy’ in TAT magazine and ‘Warning’ and ‘Rosie the Border Collie’ in the Australia Times.

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23

‘Dancing On Water’ by the Dust Poet was in the Dayboro Grapevine Christmas issue and was Cafe Poet in Residence at Rendezvous Bookshop and Café, Dayboro. • Christine Wells

ASSOCIATION OF WRITERS AT WORK

Location ToowoombaContact Keith Meredith-Bramwell, krembee@bigpond.comMeets 10:00–1:00pm, second and fourth Wednesday of each month

BRISBANE BOOK AUTHORS

Location BrisbaneContact Carolyn Martinez, contact@hawkeye publishing.com.au

BRISBANE CITY WRITERSLocation BrisbaneContact Jade Black, brisbanecitywriters@gmail.com

BRISBANE WRITERS GROUP

Location South BrisbaneContact Lee Finn, brisbanewritersgroup@gmail.comMeets From 10:00am, first Wednesday of each month at State Library of Queensland

BRISBANE SCREENWRITERS

Location South BrisbaneContact Ellen Shanley, brisbanescreenwriters@gmail.comMeets 3:00–5:00pm, fourth Saturday of each month at State Library of QueenslandInformation facebook.com/groups/BrisbaneScreenwriters

BROTHERHOOD OFTHE WORDLESS

Location SandgateContact Joan Beddoe, jbeddoe@gil.com.auInformation brotherhoodofthe wordless.com.au

BUNDABERG WRITERS’ CLUB, INC

Location BundabergContact D. Esmond, esmond@internode.on.netInformation bundywriters.com

BUSH CURLEWSLocation Charters TowersContact Maria Caesar, bushcurlews@hotmail.comInformation bushcurlews.blogspot.com

CAPRICORN WRITERS GROUP

Location YeppoonContact Malcolm Wells, capcoastwriters@yahoo.com.au

CARINDALE WRITERS’ GROUP

Location Carindale Contact Debby Raymond, carindalewritersgroup@gmail.comMeets Second and fourth Wednesdays of each month. Contact by email if you wish to attend an introductory meetingInformation carindalewriters group.org

CATENA COLLECTIVELocation BrisbaneContact Ben Gordes, catenacollective@outlook.comInformation catenacollective.com.au

EAST CREEK WRITERSLocation East Creek, ToowoombaContact Sally Fischer, opap@eastcreek.com.au

FAIRFIELD WRITERS GROUP

Location FairfieldContact Carol, fairfieldwritersgroup@gmail.comMeets From 10:30am, second and fourth Saturdays of the month at Fairfield LibraryInformation fairfieldwriters groupqld.org

FELLOWSHIP OF AUSTRALIAN WRITERS

Location Mount GravattContact Nancy Cox-Millner, fawgwrite@gmail.comInformation writers.asn.au

GARDEN CITY CREATIVE WRITERS’ GROUP

Location Upper Mount GravattContact Boyd Craig, gccwriters@gmail.comMeets 9:30am–12:00pm, second Thursday each month at Garden City Library

GEEBUNG WRITERSLocation GeebungContact Jan Jorgensen on 07 3264 7330 or Rae Newman on 07 3265 4991

GYMPIE WRITERS GROUPLocation GympieContact Gympie Regional Library, 07 5481 0859Meets Monthly at Gympie Regional Library

INCUBATOR CRITIQUE GROUP

Location BrisbaneContact Michelle Vlatkovicmichellevlatkovic@yahoo.com.auMeets Monthly at State Library of Queensland

LICUALA WRITERS GROUPLocation Wongaling BeachContact Tara Webster, svcatalpa@yahoo.comInformation licualawrite.wordpress.com

MACKAY WRITERS GROUPLocation MackayContact Paul Vander Loos, mkywriters@gmail.comInformation paulvanderloos.wix.com/mackaywriters

MACLEAY ISLAND INSPIRATIONAL WRITERS’

GROUPLocation Macleay IslandContact Robbie Kirk, robbiekirk50@hotmail.com

MOUNT ISA CITY LIBRARY WRITERS GROUP

Location Mount Isa City LibraryContact Astrid Hancock, astridh@mountisa.qld.gov.au

NOOSA WRITERSLocation NoosavilleContact Kerri McDonald, info@noosawriters.com

RAVENSHOE WRITERSLocation RavenshoeContact ravenshoewriters@yahoo.com.auInformation ravenshoewriters.com.au

REDWRITESLocation RedlandsContact redwritesredlands@gmail.com

ROMERO CENTRELocation Dutton ParkContact Marcela Moreno Ramirez, 07 3013 0100, admin@romerocentre.org.au

ROSECITY WRITERSLocation WarwickContact Paul Elliot, rosecitywriters@gmail.com

SCRIBES (HERVEY BAY COUNCIL FOR THE ARTS)

Location Hervey BayContact Lynn Harris, harlynn@iprimus.com.au

SISTERS IN CRIMELocation Brisbane (and Melbourne)Contact Carmel Shute, cshute@internode.on.netInformation sistersincrime.org.au

SOCIETY OF WOMEN WRITERS QUEENSLAND

Location BrisbaneContact Heather Jacobs, heather.jacobs2@gmail.comMeets At Brisbane Square LibraryInformation womenwritersqld.net

WRITERS GROUPS

24

launched The Wife’s Tale in April, published by Penguin Books Australia. • Pamela Jeffs short story ‘This Wild Stretch of Ocean’ was published in the Brio anthology and short-listed for the

EVENTS

NOOSA LONG WEEKEND A coastal celebration of literature featuring renowned authors in intimate gatherings and conversation series.

Dates Wednesday 15-Friday 24 JuneLocation Noosa, QueenslandInformation readersandwritersdownunder.com

EMERGING WRITERS FESTIVAL

Australia’s premier festival for new and emerging writers.

Dates Tuesday 14 June-Friday 24 JuneLocation Melbourne, VictoriaInformation emergingwritersfestival.org.au

STORY LAB

School holiday workshops at the State Library of Queensland (for ages 8–14).

Dates Monday 27 June–Friday 8 JulyLocation Brisbane, QueenslandInformation slq.qld.gov.au/ whats-on/calevents/general/children/story-lab-winter-2016

21ST BUNDY BUSH POETRY MUSTER

Bundy Bush Poetry Muster incorporating the Queensland Bush Poetry Performance Championship.

Dates Friday 1–Sunday 3 JulyLocation Bundaberg, QueenslandInformation abpa.org.au

11TH CHILDREN’S AND YOUNG ADULT WRITERS

AND ILLUSTRATORS CONFERENCE

Join other illustrators and authors in this professional development conference.

Date Saturday 2 JulyLocation Brisbane, QueenslandInformation cyaconference.com

DIVERSE VOICES – 12TH AUSTRALIAN LIBRARY

HISTORY FORUM

2016 forum will be a conversation about the library as a home for diverse voices in the Australian context.

Dates Thursday 7 and Friday 8 JulyLocation Brisbane, QueenslandInformation slq.qld.gov.au/whats-on/programs/diverse-voices-australian-library-history-forum

WHITSUNDAYS VOICES YOUTH LITERATURE

FESTIVALA unique cultural experience with literary heavyweights.

Dates Wednesday 13–Saturday 16 JulyLocation Mackay, QueenslandInformation whitsundayvoices.com.au

STANTHORPE WRITERS GROUP

Location StanthorpeContact Cecelia Adams, communicationart1@gmail.comMeets 5:00–7:00pm, first Wednesday of each month at 157 High Street, Stanthorpe

STRATHPINE LIBRARY WRITERS GROUP

Location StrathpineContact Suzanne Cowell, writeonsuzanne@gmail.com

SUNSHINE COAST LITERARY ASSOCIATION

Location Sunshine CoastContact Alison Quigley on07 5445 1479, info@scliterary.orgInformation scliterary.org

SUNSHINE COASTWRITERS’ GROUP

Location BuderimContact Irena Sprey, thewinstanleys@westnet.com.au

SYMPOSIUM SOCIETYLocation St LuciaContact symposiumUQ@gmail.com

TIN CAN BAYWRITERS CLUB

Location Cooloola CoveContact Roma RavnEmail romaravn@spiderweb.com.au

TOOWOOMBA WORDSMITHSLocation ToowoombaContact Emma Mactaggart, writers@writersweb.com.auMeets From 2:00pm, third Sunday of each month at Toowoomba Regional Library

TROPICAL WRITERSLocation CairnsContact Paul Freeman, secretary@tropicalwriters.com.auInformation tropicalwriters.com.au

WRITE LINKSWRITERS GROUP

Location BrisbaneContact yvonvonon@hotmail.comInformation brisbanewritelinks.weebly.com

WRITERS IN NORTH QUEENSLAND

Location InnisfailContact barbufi@bigpond.com

WRITERS INTOWNSVILLE SOCIETY

Location TownsvilleContact ELori Hurst, witsnq@gmail.comMeets CityLibraries Townsville AitkenvaleInformation witsnq.blogspot.com.au

WRITING WITH A VISIONLocation BrisbaneContact Wendy Dartnall, wendydartnall@hotmail.comMeets Monthly at Brisbane Square Library

To update details of your listing, or to request to add your group or club to the listings, contact us on 07 3842 9922 or by email on qldwriters@qwc.asn.au.

WRITERS’ GROUPS

VOICES ON THE COAST

A South East Queensland literary highlight where students, emerging writers and readers are invited to workshops, talks and author presentations.

Dates Saturday 4 June-Wednesday 8JuneLocation University of the Sunshine Coast, Sunshine Coast, QueenslandInformation voicesonthecoast.com.au

BOOK LINKS LECTURE IN CHILDREN’S

LITERATURE

Join the current Australian Children’s Laureate Leigh Hobbs on an insightful lecture into the world of children’s literature.

Date Thursday 23 JuneLocation: State Library of Queensland, South Brisbane, QueenslandInformation booklinks.org.au/lecture-in-childrens-literature/fiction

25

THE RICHELL PRIZE FOR EMERGING WRITERS

Open to unpublished writers of adult fiction and adult narrative nonfiction. Winner receives $10,000 and 12-month mentorship. Supported by Hachette Australia, Guardian Australia and Emerging Writers’ Festival.

Closing date Wednesday 1 JuneFee No feeInformation & to enter emergingwritersfestival.org.au/the-richell-prize-2

OVERLAND VICTORIA UNIVERSITY SHORT STORY

PRIZE FOR NEW AND EMERGING WRITERS

Open to short fiction by new writers. First prize $6,000.00, second prize $1,000.00. Both receive publication in Overland.

Closing date Sunday 12 JuneFee $12.00 (must be subscriber)Information & to enter overland.org.au/prizes/vu-short-story-prize-for-new-and-emerging-writers

2016 WALKLEYBOOK AWARD

Celebrates the value and importance of long form journalism. Open to submissions by writers and journalist who have published work between Thursday 1 September 2015 and Wednesday 31 August 2016.

Closing date Friday 17 June and Wednesday 2 AugustFee $260.00 per entry; fee waived if member of MEAAInformation & to enter walkleys.com/awards/walkleys/walkley-book-award-2

COMPETITIONS & OPPORTUNITIES

Toowoomba Writers Festival Literary Prize. • Lauren Sherritt’s article ‘How Facebook’s Message Filtering System Stopped Me from Maybe Becoming an Olympian’ was published on Junkee.

EVENTS

USQ BOOKCASE

An off-the-page writers’ festival showcasing USQ’s alumni authors and writers, featuring novels, ebooks, blogs, poetry, illustrations and more.

Dates Friday 22 and Saturday 23 JulyLocation Sunshine Coast, QueenslandInformation usq.edu.au/usqbookcase

NATIONAL PLAY FESTIVAL

A celebration of richness and imagination, the National Play Festival is a glorious palette of new Australian stories.

Dates Wednesday 27–Saturday 30 JulyLocation Melbourne, VictoriaInformation pwa.org.au/programmes/national-play-festival

BYRON BAYWRITERS FESTIVAL

Enjoy a cultural and literary bonanza in a picturesque stetting. Workshops commence from Monday 1 August.

Location Byron Bay, News South WalesDates Friday 5-Sunday 7 AugustInformation byronbaywritersfestival.com.au

BOOK WEEK 2016

Celebrate Australian Children’s Literature. This year’s theme is Australia: Story Country.

Dates Friday 26 August–Sunday 4 SeptemberLocation NationalInformation bendigowritersfestival.com.au

MELBOURNEWRITERS FESTIVAL

Melbourne’s annual, two-week celebration for writers, readers and thinkers.

Dates Friday 26 August–Sunday 4 SeptemberLocation Melbourne, VictoriaInformation mwf.com.au

IGNITE THE MIND BURDEKIN READERS ANDWRITERS FESTIVAL

The second Burdekin Readers and Writers Festival takes place in Ayr again this year. This year’s program features Tammy and Lesley Williams, Matthew Condon and more.

Dates Friday 15-Sunday 17 JulyLocation Burdekin Library, Ayr, QueenslandInformation burdekinreadersandwriters.org.au

QUEENSLANDPOETRY FESTIVAL

An independent festival and arts organisation that exists to support, cultivate, and promote a vibrant poetry culture in Queensland.

Dates Friday 26–Sunday 28 AugustLocation various locations, Brisbane, QueenslandInformation queenslandpoetryfestival.com

CAIRNS TROPICAL WRITERS FESTIVAL 2016

Escape to the tropics for a weekend on the waterfront overlooking the Coral Sea for the boutique Cairns Tropical Writers Festival. Magda Szubanski will present the festival’s keynot address. See the website or subscribe to the newsletter for program updates.

Dates Friday 12-Sunday 14 AugustLocation Rydges Tradewinds, Cairns, QueeslandInformation cairnstropicalwritersfestival.com

2016 QUEENSLAND LITERARY AWARDS

The Queensland Literary Awards celebrate and promote outstanding Australian writers. Categories include:

Queensland Premier’s Award for a work of State Significance;

The University of Queensland Fiction Book Award; The University of Queensland Nonfiction Book Award; Griffith University Young Adult Book Award; Griffith University Children’s Book Award; University of Southern Queensland History Book

Award; University of Southern Queensland Australian Short

Story Collection – Steele Rudd Award; State Library of Queensland Poetry Collection – Judith

Wright Calanthe Award; Unpublished Indigenous Writer – David Unaipon Award; Emerging Queensland Writer – Manuscript Award; Queensland Premier’s Young Publishers and Writers

Awards; and The Courier-Mail People’s Choice Queensland Book of

the Year Award

State Library of Queensland proudly manages the Queensland Literary Awards.

Closing date Friday 3 JuneFee $50.00 per categoryInformation qldliteraryawards.org.au

CAREER FUND –CREATE CAREER FUND

The Copyright Agency’s Career Fund operates four rounds a year through the Ignite Career Fund and the Create Career Fund. Next Create Career Fund round is open to mid to late career writers and visual artists to write, research and create. Indvidual grants of up to $20,000 will be awarded.

Closing date Friday 10 JuneInformation copyright.com.au/culturalfund/career-fund

26 COMPETITIONS & OPPORTUNITIES

2016 KATE CHALLISRAKA AWARD

Awards Aboriginal and Torres Strait Islander novelists, poets, musicians, painters and playwrights. Open to writers who published fiction between January 2011–January 2016. Winner receives $20,000. Supported by The Australian Centre, University of Melbourne.

Closing date Friday 24 JuneFee No feeInformation & to enter australian-centre.unimelb.edu.au/kate-challis-raka-award

GRIEVE PROJECT

Open to short essays and poems on the theme of grief. First prize $1,500.00, second prize $1,000.00. Selected submissions will be published.

Closing date Sunday 26 JuneFee $11.00Information & to enter hunterwriterscentre.org/grieve-project.html

SCRIBES WRITERS POETIC LICENCE COMPETITION

Open to unpublished poetry and free verse of up to sixty lines. First prize $100.00, second prize $200.00.

Closing date Thursday 30 JuneFee $7.00Information & to enter scribeswriters.com/poetry

COUNCIL OF HUMANITIES, ARTS AND SOCIAL SCIENCE

AUSTRALIA PRIZES

Four prizes will be awarded in 2016:

CHASS Australia Prize for a Book in the Humanities, Arts and Social Sciences;

CHASS Australia Prize for Distinctive Work in the Humanities, Arts and Social Sciences;

CHASS Australia Prize for a Future Leader in the Humanities, Arts and Social Scicences; and

CHASS Australia Prize for a Student in the Humanities, Arts and Social Sciences.

Closing Date Thursday 30 JuneFee No feeInformation & to enter chass.org.au/2016-australia-prizes

HADOW/STUART SHORT STORY PRIZE

Fellowship of Australian Writers WA short story competition. First prize $500.00 and one-week residency at Mattie Furphy House, second prize $100.00.

Closing Date Thursday 30 JuneFee $10.00 per entryInformation & to enter fawwa.org/#!competitions/hbi02

REES PRIZE FOR YOUNG WRITERS

Inaugural Fellowship of Australian Writers WA short story competition open to writers 21 years and under. First prize $100.00 and $100.00 gift voucher.

Closing Date Thursday 30 JuneFee No feeInformation & to enter fawwa.org/#!competitions/hbi02

FOURW TWENTY-SIXCALL FOR SUBMISSIONS

Open to unpublished fiction, poetry, prose and artwork. Selected works will receive $250.00 and publication in FourW.

Closing date Thursday 30 JuneFee No feeInformation & to enter csu.edu.au/faculty/arts/humss/booranga/submission-guidelines

UNIVERSITY OF CANBERRA VICE-CHANCELLOR’S

POETRY PRIZE

International poetry prize. First prize $15,000.00, second prize $5,000. Supported by the International Poetry Studies Institute, Univeristy of Canberra.

Closing date Thursday 30 JuneFee $25.00 per entry ($10.00 per entry univeristy students)Information & to enter canberra.edu.au/about-uc/competitions-and-awards/vcpoetryprize

THE JOHN MARSDEN & HACHETTE AUSTRALIA

PRIZE FOR YOUNG WRITERS

Open to poetry words, fiction and creative nonfiction by writers 18 years and under. First prize in each category $500.00.

Closing date Friday 1 JulyFee No feeInformation & to enter expressmedia.org.au/jmp

THE PETER BLAZEY FELLOWSHIP

Open to writers of biography, autobiography and life writing. Winner receives $15 000.00 and one-month residencey at The Australian Centre, University of Melbourne.

Closing date Wednesday 15 JulyFee No feeInformation & to enter arts.unimelb.edu.au/scholarships/peter-blazey-fellowship

CANBERRA SPECULATIVE FICTION GUILD/

CONFLUX 12 SHORT STORY COMPETITION

Open to short stories in any speculative fiction genre on the theme red fire monkey. First prize $200.00 and Conflux 13 membership; second prize $50.00 and discounted membership; third prize $25.00 and discounted membership.

Fee $5.00 (CSFG and Conflux members and writers 16 years or under Free)Date Sunday 31 JulyInformation & to enter csfg.org.au/2016/05/05/csfgconflux-12-short-story-competition-red-fire-monkey

TRUDY GRAHAM/JULIE LEWIS LITERARY AWARD

FOR PROSE

Open competition for unpublished prose by writers with no previous awards wins. Includes an encouragement award for writers aged 12–18. First prize $400.00; second prize $200.00; third prize $100,00.

Fee $15.00 per entry, $25.00 for two entries; $35.00 for three entriesDate Friday 12 AugustInformation & to enter pcwc.org.au/competitions/trudy-grahamjulie-lewis-literary-award-for-prose

Hazel Barker has signed with Armour Books for Heaven Tempers the Wind and with Rhiza Press for The Chocolate Soldier. • Virginia Miranda self-published Flash Fiction Volume One.

14TH ANNUAL IPSWICH POETRY FEAST

An initiative of Ipswich City Council which provides prizes and mentorship for young, aspiring and established poets. Open prize categories include Local Poets, Bush Poetry and Other Poetry, Encouragement Award.

Also includes categories for young poets aged 5-7 years, 8-10 years, 11-13 years, 14-15 years and 16-17 years. Total prize pool of $7,500.00. Supported by City of Ipswich

Closing date Friday 24 JulyFee $5.00 per entry to open categoriesInformation ipswichpoetryfeast.com.au

THE SCRIBE NONFICTION PRIZE FOR

YOUNG WRITERS

Development award for writers aged 30 and under writing memoir, journalism, essay, and creative nonfiction. Winner receives $3,000.00, editorial mentorship and Scribe book pack.

Closing date Sunday 10 JulyFee No feeInformation expressmedia.org.au/scribe

THE DOROTHY HEWETT AWARD FOR

AN UNPUBLISHED MANUSCRIPT

Multi-genre publishing prize open to writers with a completed fiction, narrative nonfiction or poetry manuscript seeking publication (includes hybrid genres such as verse novels or memoirs).

Winner receives $10,000.00 and will be offered a publishing contract by UWA Publishing. A Highly Commended writer will receive $1,000 and an offer of publication.

Supported by UWA Publishing and Copyright Agency.

Dates Monday 1 AugustFee $15.00Information uwap.uwa.edu.au/pages/the-dorothy-hewett-award-for-an-unpublished-manuscript

COMPETITIONS & OPPORTUNITIES 27

AFFIRM PRESSDetails General email submissionsInformation affirmpress.com.au/submissions

BLACK INCDetails General email submissions, not accepting unsolicited poetry or children’s booksInformation blackincbooks.com/submissions

BLOOMSBURY SPARKDetails Bloombsury YA digital imprint, general email submissionsInformation bloomsbury.com/au/bloomsbury-spark/submissions

CARINA PRESSDetails Harlequin digital-first imprint. Submit through an online formInformation carinapress.com/blog/submission-guidelines

DESTINY ROMANCEDetails A Penguin Australia digital imprint, online submission formInformation destinyromance.com/writers-centre

ESCAPEDetails Digital imprint of Harlequin Australia, online submission formInformation escapepublishing.com.au/submission

GIRAMONDO PUBLISHINGDetails Online submission formInformation giramondopublishing.com/contribute

HACHETTE AUSTRALIADetails General email submissionsInformation hachette.com.au/Information/ManuscriptSubmission.page

HARLEQUIN BOOKS AUSTRALIA

Details General email submissionInformation harlequinbooks.com.au/submissions

HARPERCOLLINSDetails Wednesday postInformation wednesdaypost.com.au

HARPER IMPULSEDetails Digital-first imprint of Harper Collins, general email submissionsInformation harperimpulseromance.com/write-for- us

LACUNA PRESSDetails Will accept hard copy submissions onlyInformation lacunapublishing.com/index.php/submissions

MILLS & BOONDetails Accept general postal submissionsInformation millsandboon.com.au/submissions

ODYSSEY BOOKSDetails Online submission formInformation odysseybooks.com.au/submissions

PAN MACMILLANDetails Submit manuscripts on MondaysInformation panmacmillan.com.au/manuscript-monday

PANTERA PRESSDetails General email submissionsInformation panterapress.com.au/fiction-and-non-fiction-how-to-submit

PENGUINDetails Monthly Catch (first week of each month, from the 1st to the 7th)Information penguin.com.au/getting-published

RANDOM HOUSE AUSTRALIA

Details Will accept, hard copy general submissions only that are separate from PenguinInformation randomhouse.com.au/about/manuscripts.aspx

RHIZA PRESSDetails Will accept unsolicited YA fiction only, online submission formInformation rhizapress.com.au/submissions/all-submissions

TEXT PUBLISHINGDetails Will accept hard copy submissions onlyInformation textpublishing.com.au/manuscript-submissions

TICONDEROGA PUBLICATIONS

Details General email submissionsInformation ticonderogapublications.com/web/index.php/about-us/submissions/novels

WOMBAT BOOKSDetails Will accept unsolicited picture books only through an online submission formInformation wombatbooks.com.au/authors/submissions

XOUMDetails Online submission formInformation xoum.com.au/submissions

The following guidelines for literary competitions are recommended by the Australian Society of Authors: where a prize is more than $1,000, a $5 fee is acceptable. A $20 entry fee is generally unacceptable. Information given should include the name, phone number and street address of the organiser – be cautious where only a post office box is given. The names of the judges should be published on the competition’s form and results should be publicly announced. Authors should receive publication fees (minimum ASA rates in appropriate category) where their entry has been published.

Unfortunately many competitions in WQ, for one reason or another, do not meet all of these guidelines. Members need to secure full information and satisfy themselves that they are happy to enter a particular competition.

For Australian Society of Authors guidelines for literary competitions send a self-addressed stamped envelope (SASE)to Suite C1.06, 22–36 Mountain Street, Ultimo NSW 2007 or phone 02 9211 1004.

FURTHER INFORMATION

International competitionswww.kimn.net/contests.htmwww.writelinks.com (go to search and type in competitions)www.nzwriters.co.nzwww.poetrykit.org/comps.htmwww.fundsforwriters.com

Scam and hoax competitionswww.sfwa.org/Beware/http://windpub.com/literary.scams/www.winningwriters.com/contests/avoid/av_avoid.php

Predatory publishers and authors’ experienceshttp://poetrynotcom.tripod.com

Please note: Not all information is listed for every competition or opportunity. QWC advises writers to obtain guidelines and entry forms before entering or submitting work.

COMPETITION GUIDELINES

Aboriginal Studies Press will publish Jacki Ferro’s book, Alice’s Daughter: lost mission child. • M. J. Tija’s Heloise Chancey Mystery series will be published by Legend Press (UK).

OPEN CALLS

FOUNDING PATRONS

Thea AstleyBruce DaweGeoffrey DuttonDavid MaloufMichael NoonanJill ShearerOodgeroo Noonuccal (Kath Walker)

HONORARY LIFE MEMBERS

Hilary BeatonMartin BuzacottHeidi ChopeyLaurie HergenhanHelen HortonPhilip NeilsenCraig MunroRobyn Sheahan-BrightKevin Gillespie

LIFE MEMBERS

Lynette Kellow

GROUP MEMBERS

Brisbane City WritersBrisbane Writers GroupBundaberg Writers’ ClubBurdekin Readers’ and Writers’ Association IncCapricorn Writers and FriendsCarindale Writers GroupFairfield WritersGarden City Creative WritersGeebung WritersHearts of Gold Writers GroupKenmore State High School Readers GroupMackay Writers GroupMacleay Island Inspirational Writers GroupMount Isa City Library Writers GroupOur Words, Our StoriesRedWrites Writing GroupSociety of Women Writer’s Queensland IncStanthorpe WritersTropical Writers IncU3A WritersVision Writers GroupWriting with a VisionYon Beyond

INSTITUTIONAL MEMBERS

ACT WritersAromasAustralian Society of AuthorsBrisbane Square LibraryBrisbane Writers FestivalChildren’s Book Council of Australia – Queensland Branch Griffith University Library (Gold Coast)Queensland University of Technology (Kelvin Grove)Moreton Bay Region Libraries, Northlakes LibraryThe NSW Writers’ CentreNorthern Rivers Writers’ CentreNorthern Territory Writers’CentreRiverbend BooksSA Writers CentreSt Patrick’s Senior College LibraryTasmanian Writers’ CentreTownsville Writers & Publishers CentreUniversity of Queensland PressVoices on the CoastWriters VictoriaWritingWA

MEMBERSHIP BENEFITS

As a member of the Queensland Writers Centre, you have access to a wide variety of resources and information.

Information and advice

The Centre’s professional and friendly staff are available to answer queries by phone, mail, email or fax.

The Writer’s Surgery

Offers members the chance to discuss their projects (including grant applications) face-to-face or by telephone with an experienced editor or published author.

QWC Program

An annual program of workshops, masterclasses and industry seminars.

Members’ bookshop

Stocks a range of practical writing guides and handbooks sold online and at QWC with exclusive discounts for members.

Advertising discounts

Members receive a 25 per cent discount on advertising in WQ and our fortnightly e-bulletin, a fantastic way to promote their business to an engaged, educated readership of thousands, with wide interests in culture, music, food, family and travel as well as reading and writing.

MEMBER DISCOUNTS

Presentation of your membership card will provide you with discounts at the following stores:

Bookshops

12 per cent discount at Queensland Writers Centre

10 per cent discount (includes mailing facilities):Book Nook, Brisbane CityByblos Bookshop, Mareeba (discount on second-hand books only)Dymocks, Brisbane CityDymocks, TownsvilleFolio Books, Brisbane CityThe Jungle Bookshop, Port DouglasThe Library Shop, SLQ, BrisbaneMaleny Bookshop, MalenyMary Who, TownsvilleRiverbend Books, BulimbaRosetta Books, MalenyThe Written Dimension Bookshop, Noosa JunctionThe Yellow Door Books and Music, Yeppoon

Cinemas

$10 tickets at Dendy Cinema, Brisbane

Other discounts

10 percent off Aromas coffeeLa Boite Theatre tickets $25 (preview) $39 (in season), all shows.Chinese Remedial Massage, 20 per cent discount to all female writers, phone Sara 07 3844 2331.Good Reading Club cardholders receive members’ prices at QWC events.Olvar Wood Writers Retreat offer a 10 per cent discount to QWC members on all their writer services. Find out more at www.olvarwood.com.au.

LEGAL ADVICE

We advise contacting the Arts Law Centre of Australia:www.artslaw.com.au, T 02 9356 2566, F 02 9358 6475, toll free 1800 221 457. Alternatively, the Australian Society of Authors offers a contract advice service – details are available on their website www.asauthors.org. There are also contract FAQs on the site. Alex Adsett Publishing Services offers commercial publishing contract advice to authors and offers a discount to QWC members, www.alexadsett.com.au.

TERMS & CONDITIONS REFUND/RETURNS POLICY

QWC does not offer refunds on books, magazines or other products purchased from QWC, except where the goods are defective by fault of the publisher, manufacturer or distributor.

In the event that you have purchased an event ticket and Queensland Writers Centre must cancel that event, we will try to reschedule it for a later date. If we cannot reschedule the event, or if you are unable to attend on the amended date, your payment will be refunded in full.

If you cancel a booking for, or are unable to attend, an event such as a workshop, seminar or masterclass, Queensland Writers Centre will not provide a cash refund. If your cancellation is made at least 5 business days prior to the event, you may use your original payment as credit towards the cost of attending another QWC workshop, seminar, masterclass or event (space permitting). If the alternative event is valued at less than the value of the original booking, no cash will be refunded for the balance. The alternative event you select must take place in the same calendar year as the original booking. If there are no available places in another event, your credit may be used to purchase or extend QWC membership.

If you have paid a deposit to secure a place in a Year of the Writer course (Year of the Novel, Year of the Edit etc.), your deposit will only be refunded in full if you cancel more than six weeks prior to the course start date. Cancellations after this date will not be refunded.

All credit must be allocated within 30 days of issue by making a subsequent booking. Please note: credit cannot be used to purchase books or other products available from the QWC shop.

ABOUT QWC MEMBERSHIP

We love hearing about our members’ successes. Submit your milestones online on writingqueensland.com.au or by email to editor@qwc.asn.au or call us on 07 3842 9922

Postal address:PO Box 3488South BrisbaneQueensland 4101

Contact details:07 3842 9922qldwriters@qwc.asn.auFax: 07 3842 9920

Connect with us:Newsletter: qwriters.co/newsTwitter: @qldwritersFacebook: fb.co/qldwriters

QUEENSLAND WRITERS CENTRELevel 2, State Library of Queensland, Stanley Place, South Brisbaneqwc.asn.au

Postal address:PO Box 3488South BrisbaneQ l d 4101Queensland 4101

Contact details:07 3842 9922qldwriters@qwc.asn.auF 07 3842 9920Fax: 07 3842 9920

Connect with us:Newsletter: qwriters.co/newsTwitter: @qldwritersF b k fb / ld iFacebook: fb.co/qldwriters

QUEENSLAND WRITERS CENTRELevel 2, State Library of Queensland, Stanley Place, South Brisbane, y Q , y ,qwc.asn.au