Tag: publishing

The Whiter the Socks

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Read the PDF version here

Buy it here

Westerly Magazine (issue 64.1) has published a creative non-fiction story of mine, ‘The Whiter the Socks’ about my grandmother (babcia) and her time at Hohenfels Stalag 383 displaced persons camp after WWII.

This story tells three stories of survival: My babcia, Two young men, A cow.

Image: Australian War Museum (AWM)

 

[excerpt]

 

Babcia has sun-splotched hands, with skin that stays peaked after it’s pinched. She says it’s because she’s old and the skin has lost its spring. I think it’s because she carries too many secrets around and they’ve made her hands heavy.

…

The cow stood, body long to the wind, nose twitching. Dusk fell over the valley and a white frost crept up each blade of grass until the rolling green became rolling white.

…

The young lad raised his eyebrows as the older man tossed cloth into his hands. ‘What are these?’

‘Socks. To keep her hooves quiet.’

‘The Cow?’

‘Yes. Haven’t you ever put socks on a cow before?’

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The Long and Grinding Road

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Read a PDF version of the story here

Buy The Big Issue here

The Big Issue Australia have published my personal essay, The Long and Grinding Road, as a feature article in their New Year magazine (No. 578).

This was a think-piece inspired by one of the most difficult years of my life in which I spent many hours aboard the Firefly Express night-bus from Adelaide to Melbourne and back again.

Mother

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ISLAND 155 2018 COVER noBarcode LRG

Read a PDF version of the story here

Buy it online here

Mother is a psychological horror inspired by:

… a notorious Adelaide Hills firebug who was sentenced to 13 years prison in 2007 for the deliberate lighting of 21 fires around the town of Harrogate using customised mosquito coils.

$7000 damage was done to fencing and the largest blaze blackened 180ha of land. Residents describe the year before her arrest as a period of terror.

Links to news reports: The Australian, ABC, Adelaide Now,

My partner was witness to one of these fires at his family home in Oakbank. He remembers waking up during the night and seeing the fire at the end of the driveway to the property. During interviews with the CFS and the police, he learnt the incident was one in a long string of suspicious fires intentionally lit that summer.

It was believed, at first, that the culprit was male and from Harrogate. Many meetings were called by the local town council to discuss and condemn the terrorising actions of this individual.

The incidents became so serious that locals took to taking shifts, sitting in their cars and monitoring the entry to the town and recording suspicious vehicles passing through.

When White, loving mother of two and one of the most vocal advocates for catching the perpetrator during this time, was convicted, it sent shock waves through the community.

White told the court she had been suffering from post-traumatic stress due to an incident in her childhood, post-natal depression and anxiety.

She remembered watching the blazes but didn’t remember lighting the fires.

She was released on bail in 2016.

 

[excerpt]

 

Mother didn’t bother finding out my sex, so sure she was that I was a boy. ‘Gave a kick like a ginger hare in a ferret’s mouth,’ she told me once at Christmas, saluting with her empty scotch tumbler. ‘Near broke me ribs.’ As she laughed, the smoke from her Winnie Blues choked the tiny square space of kitchen.

…

Mosquitoes, a black storm cloud of them, rush the porch, blocking moonlight, wings beating a sound like static, angry humming becoming murderously loud. Once inside, I can hear the pebble bulk of their bodies battering the windows and doors, catching on the thin wire mesh of the fly screen.

…

‘There’s something wrong with my baby,” I say.

The Moon and The Sundarban

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Cover pic

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Pencilled In Magazine has published my short story THE MOON AND THE SUNDARBAN in issue 1 of their new literary magazine dedicated to publishing works from Asian-Australian artists and creators.

Sundarban: ‘Beautiful Forest’ (Language: Bengali)

This short story was inspired by a documentary I saw on the BBC UK channel in 2013 entitled, ‘The Man-Eating Tigers of the Sundarbans’. The documentary was about the Bengal Tiger living in the tidal mangroves of the Sundarbans, Bangladesh—the only place in the world where tigers actively seek out human prey (up to 300 people are attacked and killed each year). While it is a phenomenon that continues to stump ecologists, it has been loosely attributed to global warming (rising tide levels leading to a decrease in tiger’s rainforest territory). This is a concern for both the villagers and the tiger conservationists, who have seen a rise in poaching and ‘revenge killings’ of the endangered creature as a response.

The most fascinating part of the documentary was the conservationists’ innovative plan to train local stray dogs as a pack to warn villagers when a tiger is near. The bravery, intelligence and instinct for survival of these previously mistreated strays was what inspired me to write this story about Dukhe, a stray dog from the streets of Khula, Bangladesh, who finds his leadership of the Chadpai pack threatened by a mysterious creature lurking on the outskirts of the forest. He goes to investigate, and in the course of a single turning tide, changes the hierarchy of the forest forever.

SOUTH AUSSIES AT THE NATIONAL YOUNG WRITERS FESTIVAL 2016

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Now in its 19th year, the National Young Writers’ Festival, creative partner of the much celebrated TiNA (This is Not Art festival), just keeps getting better.

This year, South Australian co-director, Annie Waters and her team upheld the long-running festival tradition of diversity and inclusion. They were looking for minority voices, multi-disciplinary workshops, fresh conversations and creative interpretations on theme. No conversation was too taboo. No pitch was left unturned. This resulted in a fascinating variety of workshops, round-table discussions, panels, games, debates and stalls.

And South Australian voices were not in short supply. South Aussies and SA Writers Centre members in attendance included Sarah Gates, Royce Kurmelovs, Phoebe Paterson de Heer, Anthony Nocera (current Digital Writer-in-Residence), Shaylee Leach, Simone Corletto and Joshua Mensch to name a few – all were glad to escape the blackouts, storms and flooding for 26 degrees and blue skies.

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The 2016 festival theme, ‘Get Lost,’ attracted over 117 presenters (not to mention attendees), 23 pop-up venues, labyrinth-inspired parties and mysterious Amazing Race-esque games. So jam-packed was the program, it was hard not to get lost in the creative pandemonium. In other words, I was not the only one who was wishing for a time-turner in order to make it to all the amazing events.

“The only possible way to fit everything I want to see at this festival is to constantly rock up halfway through [each event]” – Simone Corletto

From the very first night of readings on Thursday 29th September (back by popular demand), the high standard was set. Special guest writers exchanged childhood photos and had the crowd laughing, crying and exclaiming in delight over their astounding interpretations of character, narrative and voice.

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Then came a full day of bike-decorating, learning how to produce a podcast on the museum tram with the talented crew at ‘All The Best Radio,’ writing for television with Neighbours screen writer Magda Wozniak, fortune telling through native flowers, and the heated debates of ‘Science Fiction versus Science’ over who can ‘tell us more’ about the end of the world.

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Minds warmed up as we delved into the uncertain future of arts funding and journalism, and were soothed again by poetry inspired by place and landscape. We talked about gender representation in fashion and threw away traditional ‘stand up’ comedy forms at Friday night’s open mic event.

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And then of course, there was the much loved festival ball. Labyrinth themed, showcasing some serious glitter, fairy lights and ‘out of this world’ dance moves and ending with late night dips in the Sea Baths.

There was something for everyone. Even those who were simply after some quaint sea-side reflective calm or coffee chats with other artists at the many cute cafes along the main street.

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While the future of the writing industry might be the Labyrinth of all Labyrinths, creativity isn’t going anywhere. And neither is this festival. Due to the passion and drive of its organisers and contributing artists, it’s only getting bigger and better. So, keep an eye out for the next one!

“It’s been really beautiful to be amongst what feels like … a community and where art doesn’t feel like a beauty pageant. #NYWF ” – Shaylee Leach

For more information on how and when to apply for next year’s festival:

Twitter: @NYWF

Website: www.youngwritersfestival.org

Facebook: www.facebook.com/youngwritersfestival

 

 

Article first published on the SA Writers Centre website

NYWF – Implementing Professional Advice and Feedback

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Interpreting and implementing Professional Advice and Feedback­

*Fact sheet prepared for National Young Writers Festival, Sydney, September 2016

Downloadable PDF

Reading is highly subjective and so finding the right set of eyes to give feedback on a new piece of writing can be both instructive and detrimental, making the process of interpreting and implementing feedback daunting for any writer.

Listed below are sources of feedback a writer might expect to receive:

Writing mentor:

One of the most valuable and accurate sources of feedback can come from a writing mentor (see blog post ‘Professional Mentorships’ for more information on sourcing a mentorship). This process guarantees personalised and targeted feedback from a professional in the field who may be working in a similar style and genre for a target audience. Forms of feedback can include industry, structural, copy or proof as well as general personal support (as outlined in next section).

In-house editor / publisher / agent:

If you’re at the stage where you have gained the attention of an in-house editor or publisher, some agents and publishers will request a ‘revise and submit’ from an author before signing them. This is as much to identify how well an author receives feedback as it is to determine how successfully they can integrate that feedback into their manuscript.

Critique partner / critique group / beta-readers:

This is a great way to ‘cast the net wide’ and collect the opinions of a sample of readers. Sometimes the collective opinions of a group can help a writer better identify any weaknesses / trends in their work. Formal critique partners can be sourced through most writing institutions such as state writing centres, Australian Society of Authors and through writing memberships such as Romance Writers of Australia.

Freelance Editor:

Freelance feedback services are available from most writing institutions (State Writers Centres, Australian Society of Authors) and come at a cost. Rates vary depending on the editor and the type of service (structural or other). The South Australian ‘Society of Editors’ has a list of registered editors on their website and the kinds of services they offer. Registered means that each editor has undergone and passed state standards to receive qualification. http://www.editors-sa.org.au/

Manuscript assessment services:

Manuscript assessment is usually a combination of industry, structural, copy advice on a manuscript, with a focus on the big-picture—content, voice, tone, style, plot pace, characterisation, setting, dialogue, market, audience, theme. More on these categories outlined below.

Types of advice that may be contracted or received:

Industry advice:

  • Will the story idea appeal to the market in which it’s intended?
  • Does the story idea identify a target audience in tone, theme, voice, plot, character?
  • Does the story idea hold its own in the current marketplace? (Has it been overdone? Does it offer something new? Is it following a trend?)

Structural advice:

  • How does the work read as a whole?
  • Are events logical and consistent?
  • Are there any obvious plot holes?
  • Does the world/setting/characters work? Do the characters and relationships work?
  • Does the book begin/end in a satisfactory manner?
  • Does the author’s choice of tense and voice work?

Copy advice:

  • Is spelling, grammar consistent and accurate?

Personal advice:

  • Personal advice, usually given in an informal fashion (through mentorships, discussion panels). May include advice on how to handle rejection, stress, career pressures. This can be just as important as craft, industry and career advice to some writers.

Some thoughts on interpreting and implementing feedback

It is important to be open to feedback in order to learn and improve. However, being too influenced by feedback, or making uninformed changes based on mixed feedback can confuse and water down the intended effect of a particular work. It is important to develop a strong sense of intention before approaching feedback so that subjective opinion may be strategically and implemented or considered and, sometimes, disregarded.

Remember, as Neil Gaiman stated:

“…when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.”

https://www.goodreads.com/quotes/477087-remember-when-people-tell-you-something-s-wrong-or-doesn-t-work

NYWF – Professional Mentorships

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Sourcing and Engaging in a Professional Mentorship

*Fact sheet prepared for National Young Writers Festival, Sydney, September 2016

Downloadable PDF

Why should I get a mentor?

Mentorships aren’t for everyone. Some writers may not feel the need to engage with a mentor in a formal sense—the advice, encouragement and support of trusted advisors, friends, colleagues might be enough. But in some cases, a mentorship may be a way to access specialised/in-depth/targeted advice on a specific area of interest or difficulty. In these cases, a professional mentorship might be worth considering.

What kind of advice can I expect to gain from a writing mentor?

There are many different kinds of mentorships available to writers, from project development mentorships to industry advice. Perhaps you are working on a science-fiction manuscript and want to improve the world-building elements, or you have a polished manuscript and want to know where to send it. Whatever the area of interest or difficulty, there are knowledgeable people out there who are willing to help.

Where can I source a mentorship?

Mentorships can be privately sourced (see info under ‘how do I approach a mentor?’), or sourced through professional institutions and awards. See list below:

  1. Australian Society of Authors Emerging Writers’ and Illustrators’ Mentorship Program supported by Copyright Agency Cultural Fund

https://www.asauthors.org/asa-mentorships

Professional advice for emerging writers and illustrators on strengthening a manuscript to publication standard for an elected number of hours over an agreed time period.

  1. Hachette Mentoring Program

An opportunity to work with an in-house editor at Hachette Australia on a manuscript

South Australia: https://sawriters.org.au/2015/05/19/south-australian-hachette-mentoring-program/

Western Australia: http://www.writingwa.org/programmes-services/hachette-mentoring-program-for-writers/

Northern Territory: http://www.ntwriters.com.au/news/hachette-mentorship-program/

Tasmania: http://www.taswriters.org/tasmanian-writers-centre-and-hachette-mentoring-program/

  1. Valerie Parv Award

1-year mentorship for a romance author to work with award-winning writer, Valerie Parv

http://www.romanceaustralia.com/p/110/Valerie-Parv-Award

  1. Affirm Press Mentorship award

http://www.varuna.com.au/varuna/index.php/programs/residential-programs/pathways-publication/item/342-the-affirm-press-mentorship-award

  1. Writers’ Centre Programs

South Australia – https://sawriters.org.au/mentorship-program/

Victoria – https://writersvictoria.org.au/support/mentorships

New South Wales – http://www.nswwc.org.au/support-for-writers/mentorship-program/

How do I approach a mentor?

Before applying for a mentorship or choosing a mentor, the applicant should identify what they want to gain from the process. A mentor will want to know that they are the best person for the job and that they will be able to provide the kind of advice being sought. Mentorship programs won’t consider an application unless they believe a specific outcome can be successfully achieved.

For privately sourced mentorships, the success of an application can lie in the strength of the query letter. Some authors will make it very clear on their website that they are not available for mentorships. It’s always good to do your research and find out if they’ve taken mentees before—which can be a positive indication that they would be open to doing so again.

What should I include in a query letter?

  1. Identifiable and relevant details about yourself
  2. Clear explanation of why you’ve approached the mentor including examples that express an understanding of the mentor’s strengths and expertise
  3. A detailed mentorship plan including SMART goals (measurable outcomes, timelines, mode of correspondence). More on SMART goals here: https://www.projectsmart.co.uk/smart-goals.php
  4. Details on how you’re going to recompense the author for their time and expertise. Rates can be found on the Australian Society of Authors (approximately 100 per hour).
  5. Should you be considering applying for a grant to cover the costs of the mentorship, details of grant should be supplied so that mentor can prepare relevant support letters and references. See more information about grants and funding opportunities below.

How do I fund a privately sourced mentorship?

Sourcing the right mentor is one thing, but finding a way to recompense them for their time and expertise can be the tricky part. Below is a list of grants that are specifically designed to support authors with mentorship opportunities (Apologies in advice for the South Australian focus of this blog post. Similar funding bodies can be found in each state):

Arts funding bodies in SA include:

  1. CARCLEW:

https://carclew.com.au/Funding-Program/ProjectandDevelopmentGrants

https://carclew.com.au/Funding-Program/fellowships

https://carclew.com.au/Funding-Program/quickstart-loans

  1. ARTS SA:

http://arts.sa.gov.au/grants/emerging-artists-mentorships-impp/

http://arts.sa.gov.au/grants/professional-development-imp/

  1. Copyright Agency Ignite Career Fund:

http://copyright.com.au/culturalfund/career-fund/career-fund-guidelines/

  1. Quick Response Grants:

http://www.adelaidecitycouncil.com/your-council/funding/community-development-funding/

https://www.countryartswa.asn.au/our-services/funding/quick-response-grant/

  1. Local council grants (eg: City of Salisbury):

http://www.salisbury.sa.gov.au/Council/Grants_and_Awards/Grants

  1. University Alumni grants (eg: Flinders University):

http://www.flinders.edu.au/research/researcher-support/grants-contracts/

So, you’ve successfully secured a mentorship, now what?

Now it’s time to move on to my blog post on interpreting and implementing professional advice and feedback, which will outline what to expect when working with a mentor, editor, publisher on a manuscript or project.

Mentorship with Sean Williams thanks to Carclew PD grant

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It’s official – 2016 is going to be a good year!

I just found out I have been awarded a $3000 grant to develop a YA fantasy novel under the tutelage of New York Times best-selling author, Sean Williams, commencing January next year. Thank you to Carclew for their constant and enduring support of the creative arts and for backing my proposal.

Now to morph into the biggest knowledge sponge over the new year.

For all those looking for a dependable funding body for their creative pursuits, I definitely recommend Carclew.

See information on their project development grants here.

For a full list of the 2016 round 1 recipients click here.

 

Feature image: Assisted by the South Australian Government through Carclew.

Thank you SA Life Magazine and SA Writers Centre

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Was very excited to get a text message from a workmate last week saying: “Your photo is in the latest issue of SA Life! Page 44.” Lo and behold I went and bought myself a copy and found this!

SA life article SA Life article 2 SA Life cover

It’s an article about the South Australian Hachette mentoring program I received with in-house editor Sophie Hamley for my YA speculative fiction manuscript, Gold. A big thanks to Vanessa Jones at SA Writers Centre for making this happen. It’s lovely to get an acknowledgement in such a fancy magazine!

cited to

Hachette Mentoring Program Announcement!

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I’m so stoked to be able to finally spill the beans. I’ve been chosen as a joint recipient of SA Writers Centre’s 2015 Hachette Mentoring Program alongside writer friend, Rose Hartley for my YA speculative fiction manuscript tentatively entitled Gold. Here’s what ran through my head after finding out the news. *See SA Writers Centre Press Release for full article.

Hachette Logo

“When I found out I’d be commencing a mentorship with Sophie Hamley from Hachette, I spent a good hour just hyperventilating from excitement. It was clear that this could be the most important learning opportunity in my writing journey so far.

To me, writing has always been a solitary process – highly creative, subjective, and extremely hard to contextualise within the realities of the publishing industry. Who’s my market audience? What’s my brand? These are not typically the questions running through my mind while I’m at home, alone, lost in a fantasy world, shooting my characters with ice arrows.

But the more I’ve learnt about writing and reading, the more I’ve come to realise that craft and industry go hand-in-hand. Sometimes the difference between a highly ‘creative person’ and a ‘novelist’ can be the mere integration of these two skills. This is why the chance to work with an industry professional from an established brand with a target audience in mind will be invaluable to my learning. It will give me the clarity and confidence to take my writing to a new level and bring me one step closer to my goal of sharing my stories real-life readers.

I can’t thank SA Writers Centre, Sophie Hamley and Hachette enough for this invaluable opportunity. It’s safe to say I’ve never been so eager to work so hard!”

17 Questions a Publisher Might Ask of your Novel at a Pitching Session!

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From the 24th to the 26th of July 2015, I was lucky enough to attend SA Writers Centre’s ‘Pitch Conference’ – an intensive three days of pitch workshops and 5 minute pitch sessions with publishers. It was the first time the conference was held in Adelaide and was made possible by the tireless work of SA Writers Centre staff including Director, Sarah Tooth and program director, Bethany Clark and funding bodies such as Arts SA.

pitch conference logo

Attendance was stellar and included the likes of Tim Tomlinson, President of New York Writers Workshop where the conference first began, and Australian publishers such as Kate Blake (Penguin), Sophie Hamley (Hachette), Meredith Curnow (Random House), Roberta Ivers (Simon and Schuster), Angus Fontaine (Pan Macmillan).

It was an extremely successful event with 27 out of 42 participants receiving requests from publishers and a total of 44 manuscripts being requested (some by multiple publishers). It was an invaluable opportunity for Adelaide writers to pitch their manuscripts directly to interstate publishers.

Here are some of the questions the publishers asked:

  1. Does your book have a central question / theme?
  2. What are some comparison titles?
  3. What are some comparison titles from Australian writers?
  4. Where did you set the book? Where would you imagine it being set? Why?
  5. Can you speak to broader concerns relating to the current political landscape of your novel?
  6. Main attraction of your book? Why would a reader gravitate to it?
  7. Is there a love interest? What’s the pacing of the romance?
  8. What’s the pacing of the story like? Backstory – journey – main conflict – resolution? How long does it take to get to the journey?
  9. Where did you get your inspiration from?
  10. What was your writing process in coming up with this story?
  11. Plot-driven or character driven? Why?
  12. Is there more than one main character? If so, how did you separate the voices?
  13. In what POV / tense is your novel written?
  14. What is the turning point of the novel?
  15. What are you willing to do to assist with selling your book?
  16. Why would our book be interesting to women? (Women make up 70% of market in terms of readers).
  17. Have you been published before? If not, what have you done to improve your writing?

Extra tips (nuggets of gold)

  • Answer the publisher’s questions as succinctly as possible. Don’t give convoluted answers or a scene-by-scene run-down of what happens in the novel.
  • Use buzzwords and punchy adjectives. Write your pitch in an active voice.
  • Use language that connects with the mood/tone of book’s world but make sure it’s not in the book’s prose.