VISIONARY ISSUE 272 Paul Mason – Writing for Comics Robyn Sheahan-Bright – Australia Day Honours List Mar 2021 – May 2021 PUBLISHED BY
ISSUE 272 Mar 2021 – May 2021 ISSN 1444-2922
EDITORIAL AND PRODUCTION Contents Editor Sandra Makaresz Associate Editor 4 Meet Robyn Sheahan-Bright AM Callum McDonald Guest Artist QWC Co-ordinator 1991-1997 Paul Mason Design In conversation with Judy Gregory Aleisha Yu Printing CPX Printing & Logistics 6 Demystifying the Art of Videogame Storytelling SUBMISSIONS By Brooke Maggs Members can submit Milestones or details of Events or Competitions and Opportunities, or pitch articles for WQ, by emailing us at [email protected] 8 Writing With a Vision QWC reserves the right to edit all submissions with regard to content By Wendy Dartnall and word length.
ADVERTISING 10 3D Storytelling and Virtual Visions Advertising rates, deadlines and dimensions and other information on how to advertise in WQ is available at qldwriters.org.au/advertise. For By Mez Breeze advertising enquiries please contact editor@ qldwriters.org.au
QWC members enjoy a reduced advertising 12 Writing At The Centre rate. Before booking an advertisement potential advertisers should read QWC’s Advertising Terms By Katherine Wasiel and Conditions at qldwriters.org.au/advertise
STAFF 16 The Long and Winding Road Chief Executive Officer Lori-Jay Ellis By Shelley Davidow Program Managaer Callum McDonald Social Media Officer 18 Writing for Comic Books Charlie Hester By Paul Mason Graphic Designer Aleisha Yu Project Officers 20 How To Write A Song Craig Cauchi Aimee Cheung Dani Sharp Sue Wighton Sebastian Williams
MANAGEMENT COMMITTEE 22 Chasing The Wild Pineapple Chair Paulette Flint – by Lesley Synge Kym Hausmann Vice Chair Ann Wilson 23 Competitions & Opportunities Treasurer Mary McWeeney Secretary 7 2 2 S 26 Publisher Update Judy Gregory ORDINARY MEMBERS Sandra Makaresz Tickets on sale March 19 28 Member Milestones Andrea Brosnan Sarah Thornton Angela Samut 29 QWC Membership Benefits
WWW.QLDWRITERS.ORG.AU.MAGAZINE 1 PUBLISHED BY
ISSN 1444-2922 ISSUE 272 Uncle Herb Wharton AM 2020 Johnno Award recipient
Editorial Sandra Makaresz GUEST ARTIST Editor Paul Mason An elder of the Kooma people, Uncle Herb Wharton had Each recipient of the Johnno, awarded by the Queensland a rewarding 2020 with both a Queen’s Birthday Honour Writers Centre management committee at the end Cover Illustration and the Johnno Award. of each year, now receives a commemorative ‘Johnno “Visionary” Award’ book. Its pages are blank: a call to action to keep Late last year our regional representative, Michael Lloyd, Queensland stories being told. Biography: Visionary is the theme of this issue of WQ and I think you’ll be amazed at the drove the many hours from Longreach to Cunnamulla to There were a lot of laughs between Michael and Uncle Dr Paul Mason is an award-winning mix of old and new ways of exploring this theme. From storytelling in video personally present Uncle Herb with his Johnno Award. Herb. And there was excitement about the possibilities of cartoonist, and animation concept games and virtual reality, to the visionary leap of an author opening their work They enjoyed a long chat on Uncle Herb’s verandah, the blank pages. Uncle Herb promised to get started on designer, working for companies up to the possibility of collaboration through our Adaptable competition. despite the hot wind blowing through. his next story. We hope he might have already begun. such as Frew Publications, Gestalt There is so much to inspire us about the future of writing and the timeless Comics, and A Stark Productions. nature of great writing. He is a sessional lecturer in visual storytelling, art direction, animation Our cover design is by comic book artist and writer, Paul Mason. It contains pre-production, and comics in the a small tribute to the braille alphabet that we hope you’ll find interesting and Bachelor of Animation program at thought provoking. Take a look – you might be inspired to find out more. the Griffith Film School. www.masoncomics.com.au
The Queensland Writers Centre, 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 supplying inserts) are not necessarily those of the Management Committee or staff.
2 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 3 Meet Robyn Sheahan-Bright AM QWC Co-ordinator (ED) 1991–1997 in conversation with Judy Gregory
Dr Robyn Sheahan-Bright was Queensland Writer Centre’s Stuart Glover was responsible for literature), and the Writers’ Week on 30 September 1993 and was one of the important, as is adopting a business-like approach to the (QWC) inaugural co-ordinator (ED) and held the position Australia Council for the Arts. A real highlight for me was most memorable events I attended during those years. In work. In today’s environment, those things also include from 1991–1997. In August 2011, Robyn was awarded the the second Queensland Writers’ Train, which took place 1996, the Warana Festival and Warana Writers’ Week were being aware of online developments. Many writers are prestigious CBCA (Qld) Dame Annabelle Rankin Award for in 1992. I joined the train from Brisbane to Winton, and renamed, and Brisbane Writers Festival was established. adept at this sort of promotion, and the current public her services to children’s literature. In 2012, she received it was an unforgettable experience. Watching Thea Astley QWC was represented on the festival committee. health crisis has shown us how important it can be. Sadly, the CBCA Nan Chauncy Award, created to honour people saunter onto the stage in Longreach was one of the many great writers I know are not as recognised as they who have made an outstanding contribution to the field of funniest moments of the journey. She brought the house Right from the beginning, QWC aimed to support should be. It’s important for writers to believe in the value Australian children’s literature. In 2014, she was awarded down. Queensland’s writers through advocacy, information of their work and resist the temptation to allow rejection and professional development, just as it does today. QWC’s Johnno Award for her significant contribution to or disappointment to erode their self-belief. During my time at QWC, we celebrated many awards, We managed the Writers in the Library project, using the development of Queensland’s writing community. including three Queensland writers winning the libraries as venues for a statewide program of workshops Professional support networks and advice are valuable Australian/Vogel Literary Award (Andrew McGahan, – something that continues today. We established QWC’s for all writers – that’s why QWC and similar organisations QWC was established as an incorporated body in 1990 1991; Helen Demidencko, 1993; Darren Williams, 1994), employment service and manuscript appraisal service, remain as important today as they were in the early 1990s. by a voluntary committee chaired by the indefatigable Dr and Gregory Rogers winning the 1994 Kate Greenaway published the newsletter, organised monthly readings Craig Munro, and I was employed as the organisation’s Medal – the first Australian to do so; and Gary Crew and held seminars on the business of writing. inaugural co-ordinator (later Executive Director) on 14 winning both the CBCA Older Readers Award for Angels’ January 1991. The first AGM was held shortly after I began Gate (joint winner with Isobelle Carmody’s The Gathering) In some ways, the world of writing is different now to how work. I subsequently worked with committees chaired and the CBCA Picture Book of the Year Award for First it was in the 1990s. There are many more writers and by Adjunct Professor Philip Neilsen, and finally, Terry Light illustrated by Peter Gouldthorpe, in the same year, illustrators working in an overcrowded marketplace, and O’Connor. Helen Horton was another stalwart founding 1994. These awards helped to focus people’s attention on more public appearances, regional festivals and touring supporter, and acted as secretary during some of those the Queensland writing community and provided great taking place. Digital developments in publishing mean early years. From a sole staff member supported by a motivation for local writers. that authors need to have an online presence (either dedicated committee and volunteers (sadly, too many personally or via publishers or agents) and that they have to mention here), we later employed a senior program QWC organised many celebrations of literature during access to multiple delivery formats. There are also new officer, Helenka King, and eventually a number of other the 1990s, including the Covers Exhibitions in partnership challenges to copyright. program officers. Initially, we were based in the old DPI with Children’s Book Council of Australia (Qld) (held at the building in William Street, in a few unrenovated rooms in Myer Centre and then toured), and the Black Writers Tour But other things don’t change at all. Writers’ incomes a largely empty building. It’s difficult to believe now that of Far North Queensland in partnership with the University have remained stagnant, hovering at around $12,000 we had only an electronic typewriter for several weeks, of Queensland Press. Two regional writers’ conferences per year earned from writing. And the things that writers before acquiring a computer! The Wickham Terrace were held in Cairns in 1992 and Rockhampton in 1995, need to do to develop their craft haven’t changed – read premises we moved to in 1994 were more spacious, but working with our regional writers’ representatives. We widely, write well, write often and develop an individual no more salubrious. We were temporary government were also pleased to witness the establishment in 1994 voice. New writers need to learn from their masters and tenants in both buildings and didn’t manage to acquire of Somerset Celebration of Literature (now Somerset be aware of emerging trends, so it makes sense to take our own dedicated space during my time at QWC. Storyfest), in 1995 of Ipswich Festival of Children’s advantage of training and mentoring, but they also need Literature (now Story Arts Festival Ipswich) and in 1996 to avoid following advice slavishly. I was privileged to work at QWC during a time of great of Voices on the Coast. All three festivals continue today All writers need passion, discipline and professionalism. growth and energy in the Queensland writing community as influential regional festivals. The Menjerriba Tribute to Learning about the writing and publishing industry is and with significant support from both Arts Qld (where Oodgeroo on Stradbroke Island was organised by Warana
4 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 5 Demystifying the Art of Videogame Storytelling
By Brooke Maggs
Image from Control
Games have been telling stories who combines storytelling and writers may write multiple storylines, Games need the player to interact departments. If a level designer wants into game narrative required for a long time, but their potential game design skills, designs parts of weapon, item and ability descriptions, for the story to move forward. As the player to explore an area where me to combine these skills with for meaning and depth has the game that deliver the story and scripts for cinematic scenes, combat developers, we must communicate they’ve hidden valuable rewards, the the interactive nature of games. been questioned in the past. documents for the team. On Control, dialogue (‘look out, grenade!’), the rules, actions, and the goal of writer could write a line of dialogue Challenges lie in the way players can More recently, with technology a large story-driven action-adventure synopses and treatments, spiels for the game to the player. Narrative for the main character (‘I could look choose to engage with the story, their improving, the industry growing, game, there are several exploratory marketing and casting sheets. Us is often the context for the rules: around, see if there’s anything I can active role in gameplay, and the size and talent maturing, games are puzzle sequences. I emphasised to narrative people also have the humble the character motivations, the use’) to prompt them to look around. and complexity of a game’s story and proving they can offer a range of the team that the puzzles should duty of naming almost everything setting, and the plot. Game writers world. Solving these challenges as a Narrative is not always the main emotional experiences outside of feel ‘dream-like’ in their logic, but not in the game. Places, ships, planets, understand that the play is more game writer and narrative designer reason to play a game. It is possible heart-pounding adrenaline rushes. fantastical, so they fit the New Weird people, objects, abilities, creatures, meaningful if it is congruent with the is the day-to-day work that eventually for players to engage less with the And what of the writer’s role in tone of the game. Narrative designers enemies, modifications, weapons, character and the story. For example, results in narrative infusing every story of a game and more with other these experiences? What do those focus on the player’s experience of crafting materials… everything! It all in Control, you play Jesse Faden, who aspect of the game experience. aspects like exploring the world or story-people do in games and what the story, whereas writers focus on adds to the mood and tone of the is an outsider looking for her brother combat. Players may also forget storytelling skills can be transferred the character’s experience. narrative world. in a strange government building. As important parts of the story (easy Brooke Maggs an award-winning from other media to games? Jesse, you acquire a shapeshifting Games require more writing than In games with multiple storylines, narrative designer who has gun, gain supernatural abilities and to do when games can be over 60 the average novel or screenplay the player progresses through the worked on Control, The Gardens I haven’t done the same work on any fight monsters as you get closer to hours long) or miss them altogether Between, Paperbark and Florence. She because they may last longer. Game main story, while side stories and game project — the nature of a writer’s answers about your brother. The (not all story in a game is necessary works as a Senior Narrative Designer at items gradually become available. For work in games depends on the size gameplay and story work together. to play in order to complete it). Game Remedy Entertainment. She writes fiction example, Control is set inside a secret of the team and the size and genre storytellers know this and work with and has published academic papers government building under attack on narrative design, storytelling and of the game. I was the only writer on For the gameplay and story to work other disciplines to reinforce the look by a supernatural force. The players the links between digital and traditional the small development team of The together, writers and narrative and feel of the story world, without can find forms, letters, and messages literature. www.brookemaggs.com Gardens Between, a puzzle game with designers must collaborate with dialogue or character. We may also composed by government staff. The one storyline and two characters. I the rest of the development team. include a summary of the story in the narrative team worked together to discussed story structure, character Everyone in the team is trying to player’s menu that updates as they plan, write, and track this fictional development, wrote character connect with the player. When progress, to make the story more archive, while ensuring these side biographies, and helped design and penning their scripts, good writers— accessible. stories can be played in any order and document how we intended to tell like film and TV writers—are aware don’t break continuity in the world or of the constraints of the project and My background in creative writing the story. As I learned more about give anything away in the main plot. the needs of other disciplines. They and the mechanics of storytelling game development, I discovered I There is added complexity when might think of useful ways to reuse (structure, character arcs, was a writer and narrative designer. players choose to engage with these locations to reduce the workload in characterisation, dialogue and so surrounding narratives at different A narrative designer is someone Image from The Gardens Bewtween by the Voxel the environment art and level design on) is integral to my work. Moving Agents times.
6 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 7 Writing With A Vision
By Wendy Dartnall
Writing With A Vision, a writing group beginning of each meeting so they Members of Writing With A Vision competition for Australian residents acknowledge how the content writing: Writing Alone & With Others for blind and vision impaired people would know where their friends were learned about craft through specific who are legally blind. It boosted the sparkles, can cause a child to believe (2003) and How the Light Gets In (2013). in Brisbane, was affectionately sitting around the room. writing prompts, positive feedback confidence of our group’s writers they cannot write. These beliefs can I share Pat’s belief that everyone has known by its members as WWAVIES. at meetings, and group or private who entered it and often won prizes last a lifetime; likewise, someone with a voice and art belongs to everyone. For the first writing prompt, I invited We met regularly for 16 years, and editing sessions. If someone over the years. a physical disability who missed a few We all have the right to write. finally disbanded in December 2020 each person to reach into a large presented a manuscript draft for building blocks in their education, with a fond farewell party. basket of everyday objects, feel for critique, everyone was invited to Vision Australia’s website informs us: might think creative writing is beyond one to hold in their hands, and then give considered critical comments. “Government departments use the them. Wendy Dartnall writes short stories I wondered how vision impaired write first thoughts and keep going. I saw writers develop their skills and term ‘legally blind’ to define a person and poetry. Her memoir, A Wind from people wrote, when in 2005 I was Afterwards, a retired scientist said overcome fears. whose degree of sight loss entitles It sometimes takes a visionary to show the East, was published in 2016. She invited to speak to blind and vision stoutly that she never thought she them to special benefits.” Definitions us the light. Mine was Pat Schneider, has a BA in English Literature from impaired people about writing At every meeting there were always the University of Queensland and would write about a plastic funnel, but are useful for running societies, but the founder of Amherst Writers & groups. Some of them wanted to enough volunteer scribes/readers to is an affiliate of Amherst Writers & it had taken her back to the laboratory prejudices can damage us, even Artists of which I am an affiliate. form their own writing group, having write stories as people dictated them. Artists (AWA). She currently runs AWA and a story came instantly. A man unconscious ones. For example, the A visionary teacher, Pat inspired already started a book club, organised Scribes then typed and emailed them workshops online called Writing Voices. chuckled, saying he never thought he teacher who writes over a child’s thousands of writers throughout her by the Queensland Narrating Service. back to the writer. A scribe needs would write about a necklace, but it work in red pen because spelling or life using the AWA method, and her I volunteered to kick-start them, to be like a human pencil during had reminded him of his mother in grammar is incorrect and doesn’t legacy lives on through her books on saying that they would be able to the creative process, writing what Sri Lanka. Writers allowed their inner run it themselves after a few months. they are given, never suggesting critic to take a back seat and followed Sixteen years later I was still there, alternative words, unless asked to wherever memory and imagination along with many of the founding by the writer, and never objecting to flowed for them, letting unexpected members. content on moral grounds. words and images lead the way. It is Fifteen people came to the first in this kind of allowing that we can In 2009, the group produced a meeting. Some were able to write begin to find our voice in writing. double CD set of stories and poems by hand, others brought laptop called My Mind’s Eye. Brisbane’s Radio The group name of Writing With A computers, one or two had braille for the Print Handicapped, Radio Vision was chosen by its members. machines, while others had human 4RPH, let us narrate them in their They soon found confidence and joy scribes who wrote what was dictated recording studio. It was encouraging in writing, both together and alone. to them. for the writers to have a goal to After the first two years, our meetings work towards. We made a second I explained that it was my first time were held at Brisbane Square Library recording with Radio 4RPH in 2019 with a group of vision impaired people until early in 2020, when Covid-19 called Tapestries of Life. and that I might say daft things like forced us all to isolate. We continued ‘have a look at this.’ They laughed and sharing our stories and comments by Braille House in Brisbane runs told me that one thing they would email, but it is not an easy medium The Dickinson Memorial Literary always require was a rollcall at the for some forms of vision impairment. Competition, an annual writing
8 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 9 3D Storytelling and Virtual Visions
By Mez Breeze
The first time I encountered Virtual Reality from a fundamental importance of engagement and interactivity and cohesive story world-building through rigorous construction is ‘digital tinkering’, where the creation storytelling perspective, was in the deep recesses of the in this digital story. A reader/player plays as the main attention to detail (a tip when playing through the work in journey is just as important as the finished product. My 1990s. Back then, Virtual Reality (or VR) was far from protagonist, Alice, and as Alice, you navigate your way either VR or in Desktop mode: make sure to play on past work pipeline includes cobbling and combining tech in mainstream, and the VR technology that captured my through a videogame style environment (after choosing the end credits to get the full thematic experience). Part whichever ways I need, ways that craft a story that isn’t creative attention then was called VRML (Virtual Reality to play through the work through a Desktop PC or via a of crafting the narrative arc was the decision to preface just reliant on effects but one where the actual text Modeling Language) which is similar to the 360 videos VR headset) where—SPOILER ALERT—you find yourself the main experience with an immersive tutorial that helps components of the story operate so cohesively and and 360 photos we use today. Although I only ended navigating creepy scenarios like finding yourself on the anchor and assist the reader/player with text-guided completely that the end work could flex and story-shine up tinkering with VRML at that time, it would set the pointy end of a harassment stick, participating in social instructions. even without the 3D or VR embellishments. Having said stage for many of the projects I’ve been producing from app-based tug-of-wars, and attempting to cope with your that, there is so much that’s different from standard then onwards - works that twist and bend traditional phone battery running crazily low just when you really Like Perpetual Nomads, A Place Called Ormalcy is a work storywriting for VR and 3D, especially in relation to storytelling in unexpected ways through a mix of need it. that has social commentary at its core. It’s designed with narrative progression and structuring. In terms of my 3D, Virtual Reality (VR), and other Spatial Computing VR/3D reading and absorbing in mind, and has multiple own works, it’s been incredibly interesting to observe technologies. Underlying all of these challenges lies a far more sinister ways of being experienced, read, and viewed. In A Place best practices forming from standout VR experiences one in Perpetual Nomads, one that’s guided by consistent Called Ormalcy, WebXR technology (via a web browser) was and attempting how to best learn from these, as well as VR has amazing potential for aspects of entertainment, used to display the work and make it navigable, whereas creating works that cater to the specifics of VR such as education, social connection, and other behaviours that the full VR Experience of Perpetual Nomads was created crafting plot according to emotional weighting linked to we’re restricted from experiencing in everyday life. By specifically for high-end tethered VR headsets and PCs, immersion in a 360 environment. Crafting works such as popping on a VR headset and firing up an associated which (in part) explains my shift away from such platforms Perpetual Nomads and A Place Called Ormalcy has allowed app, we as creatives have endless possibilities to explore and growing preference for fostering greater reader/ me to implement such best practices in ways that allow and craft, though my general approach to creating in player accessibility. a viewer to become structurally acclimatised to them VR is largely experimental. I think of VR as an intimate without being essentially prescriptive, and perhaps this storytelling medium with fantastic potential to impact For me, innovative story-crafting always sparks from may act as encouragement for you to likewise experiment, an audience in a highly personalised way. By utilising the a place of curiosity that’s been kickstarted through push, and twist associated storytelling boundaries. focused nature of VR, writers in particular are able to exposure to specific subjects or themes, software, produce projects that really leave a mark. apps, or hardware. I really get quite the kick out of using Mez Breeze first started deep diving into the Internet inthe programs and computer code in unconventional ways. 1990s to create digital works and she hasn’t slowed since. In Two projects that illustrate my non-traditional methods Back when I first started crafting digital works, I was 2019, Mez’s Virtual Reality series V[R]ignettes won the 2019 of crafting narratives through 3D/VR story-crafting are using online chat programs and systems to create both QUT Digital Literature Award and Mez was awarded the 2019 the award winning VR Young Adult Adventure, Perpetual interactive and more passive-based microfictions which Marjorie C. Luesebrink Award which honors a visionary artist who has brought excellence to the field of electronic literature. Nomads, and an experimental 3D/VR Literature work ended up evolving into my Mezangelle language system called A Place Called Ormalcy. (using HTML, Javascript, email and/or chat clients). This explains why so much of my current work and narratives Perpetual Nomads is an Australian-Canadian co- spawn from gestation and percolation, from exploration production set in the Inanimate Alice storyworld (a long- and mashing of formats, forms, and tools to see if they running digital story franchise). As Co-producer, Creative gel. Director, Lead Interactive Writer and Narrative Designer of Perpetual Nomads, I made sure to emphasise the My preferred label for this type of experimental story
10 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 11 CALL FOR MANUSCRIPTS Writing At The Looking for a Publisher? Centre
he Melbourne-based Sid Harta Team appreciates that Tit is a brave step to hand over one’s work to a stranger. Our editors bear this in mind with an assessment that is sensitive while critical, encouraging, and realistic. By Katherine Wasiel Sid Harta Publishers is offering writers the opportunity to
Undertaking the Fishbowl Residency State Library resources, I chose to set field. Having completed a Bachelor receive specialised editorial advice on their manuscripts at QWC was an interesting and the story it in 1970s Queensland as it of Science majoring in Geology at with a view to having their stories published. insightful experience. After ten was a time of political and economic UQ early in my career, I worked out weeks of visualising and writing turmoil. My FishBowl mentor, in the field on Groote Eylandt, NT and a screenplay, I found completing Sandra Makaresz, was especially Moranbah, Qld. This interesting and Sid Harta Publishers specialises 120 pages challenging yet highly accommodating in helping me to often lonely experience made me Contact SHP at: [email protected] in new and emerging authors, rewarding. authenticate this time and place. realise just how few women work in Phone: (03) 9560 9920 that kind of industry, and how their and offers a full range of Previously, I had only written small Receiving feedback in general was Mobile: 0408 537 792 voices often go unheard. I hope to publishing options. scenes and a short film as an actor in valuable throughout the residency. I give a voice to those women through Web: http://sidharta.com.au Sydney. Before starting the residency, had a large notebook to handwrite all We publish: my main character, Mona. I developed a clear plot outline for my of Sandra’s invaluable feedback. This • print editions & print- SID HARTA PUBLISHERS: screenplay, Discovery of Her. Taking a process steadied my thoughts, so her Finally, I’d like to thank everyone at on-demand via Amazon / 23 Stirling Crescent, Glen Waverley Vic 3150. screenwriting course with AFTRS in feedback stuck with me more when I QWC, especially to Sandra Makaresz Sydney gave me the skills I needed to wrote. A particularly practical piece of who edited the screenplay. Without Lightning Source develop this. feedback was that while my dialogue her, it wouldn’t be completed to the • ebooks for all platforms. I’ve now had four books published by Sid Harta. The fact that I have kept on Discovery of Her is an adventure was good, the characters had room to best of my ability. She taught me that Call us to discuss our service. coming back indicates that I have been very happy with the services provided, story about a palaeontologist grow in complexity. So, to play to my specificity and authenticity was key from the initial manuscript assessment, to editing, book design and distribution. named Mona. She discovers a strengths, I wrote out conversations to an excellent screenplay. I hope I have enjoyed the collaboration, particularly in editing and design, the final new species of dinosaur fossils in between the characters and let to take this advice with me into the Winton, Queensland. However, her organic lines of dialogue come into future as a screenwriter. outcome a fusion of my ideas and suggestions made. Many thanks! professor plans to steal the fossils play. Many of these lines were then — Noel Braun author of The Day Was Made for Walking, I Guess I’ll Keep on and sell them to a private collector implemented into the script. Kat Wasiel is an emerging visual writer, Walking, Whistler Street, Friend and Philosopher in Brisbane. During the reclamation The FishBowl residency also pushed with a focus on unique storytelling. She of her discovery, Mona falls in love me to adapt. Usually, I like to take grew up in Brisbane and has lived in RECENT TITLES… with a town planner, Bill. Together, inspiration from everyday moments both Sydney and New York City. With a they overcome a dark past and are film and theatre background, she enjoys of people interacting with their enlightened to a brighter future with developing three dimensional characters surroundings. However, COVID the help of an ancient spirit. that deliver crackling dialogue. Spending limited the number of patrons time in nature recharges her mind, body, By using resources from the State coming through the library, so I had and spirit, to develop new creative ideas Library of Queensland, I collated visual to focus internally instead and think for visual storytelling. Kat is currently references that refined my vision deeply about memories of people completing a Masters Degree at UQ, of potential scenes—photographs and places. One particular memory which involves both writing and business disciplines. She aspires to be a unique from the outback town of Winton I connected with that helped me visual storyteller across the Film, TV, and and the city of Brisbane. With further relate to the palaeontology aspect digital media industries. research into researching academic of the screenplay, was my own papers and books from QWC and the personal experience in the science
12 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 13
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This event will help This event will help This event is live This is a live stream This event is for you with the you with the streamed to an recording of an members of the development of sustainability of online audience. in-person workshop. It Queensland your writing craft. your career. will prioritise in-person Writers Centre participants. only.
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14 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 15 The Long and Winding Road How a rejection turned into a connection
By Shelley Davidow
When I was 10 and living in the bush in South Africa, I I booked my hotel, organized transport and even as I did back to me with what will stand out forever as the most in awe. He had taken every element of my story and used to use my pocket money to buy tiny notebooks that, I was watching the world slowly turn on its head. beautiful rejection I’d ever received, (and I literally have amplified it. Everything I’d imagined in a creative alliance to make into flipbook animations. Every afternoon I’d thousands). shone here: synergy, creative affinity - a whole that would spend hours painstakingly drawing adventures. Frame be more than the sum of its parts: where my wealthy I read it several times. He was generous, supportive, by frame my ballpoint pen heroine did everything I . characters drove BMWs, he gave them Bentleys; where could make her do in ten seconds: she went out sailing, sharply insightful. He deserved a response. Here was ‘COVID19, first a distant meteor the main family in my story lived in a Queenslander, his fell out of her boat, got rescued by a helicopter while a someone who had connected with my writing. Not only lived in the outback in a giant mansion on 10,000 acres shark swam by and birds flew overhead. somewhere far away, came that, he had taken the time to respond, even if the idea of making a South African film at this point was impossible. with an Olympic sized swimming pool; where my most After high school, I auditioned for and got into WITS hurtling towards us - and exploded’ interesting character had already died, his was alive and drama school, hoping to realise my dream of making real With nothing left to lose, I wrote back and thanked him for still wreaking havoc. We finally met in person and the movies. But South Africa towards the end of Apartheid the best rejection ever. I dared to ask if he’d be interested option for an ongoing TV series was signed. was a tumultuous place. Opportunities for me were in my unpublished but recently completed novel set in Australia began shutting its borders to other countries. scarce. During my highly theoretical drama degree I got Discussions with studios are, I believe, currently underway. Reality hit: there could be absolutely no chance that any contemporary Queensland. He said it sounded interesting to write: 1) a script for a radio play. 2) a short film and 3) I and when could he read it? I sent it immediately. A few producer or filmmaker would be interested in something Failures, a global pandemic, and cancelled dreams did actually made a single ten-minute documentary for a local set mostly in South Africa. days later he said he’d like to pitch something to me. community project used for generating funding. I realised not prevent the unique opportunity that arose through that if I wanted to tell stories, I would probably have to be Quickly, even the option of doing a face-to-face pitch Over Zoom, he shared his idea of a TV series. I listened Adaptable. a writer - something that would cost nothing and required disappeared. My heart sank further. Creative projects I’m honoured to have my idea taken up by a filmmaker no more than my imagination and a pencil and paper. are the love-children of real connections with people, of whose work I profoundly admire. The future is always affinities and shared dreams. Nothing that I could present I have since lived on five continents and had 45 books via Zoom about a black and white sister growing up uncertain, but I have hope that a compelling TV series published. I’ve written children’s books, a novel, adult non- together in Apartheid South Africa would have the power may indeed be in it. fiction including most recently the memoirs, Whisperings to make someone want to take this on. Pitching online in the Blood and Shadow Sisters (UQP, 2016; 2018). My felt even more impossible. So, in this mindset I prepared Shelley Davidow is an international author and educator. For the style, influenced by my yearning to share story through my pitch. The day arrived and I pitched my story to three past twenty years she has written and taught on five continents. images and symbols, is still visual. My dream of bringing producers. One got back and said though this project Her books include the recently released Raising Stress-Proof my ideas to the screen persists. was too ambitious for him, he liked it. He would send Kids (Exisle 2014, Familius, 2015), Whisperings in the Blood (UQP a synopsis to Philip Noyce whom he thought would be When I saw the 2020 Adaptable book -to-screen 2016), the Creative Writing textbook Playing with Words (Palgrave interested. Perhaps, I thought, there was hope! But then contest close, I submitted Shadow Sisters. I thought my Macmillan UK 2016), Fail Brilliantly (Familius 2017) and Shadow states went into lockdown. Australia’s creative industries memoir would make a visually stirring, sweeping drama, Sisters (UQP 2018). went quiet. Despite several follow-up emails, a connection something between Out of Africa and The Power of One, with Phillip Noyce did not transpire. I let go. but with two interesting girl heroines. I was thrilled to get onto the longlist. And even more excited to be one of the Meanwhile, the first producer/director/writer I had finalists. At last, I would get to pitch my work to a range of pitched my story to, whose style and short films had had producers at the 2020 Gold Coast Film Festival. an emotional impact on me when I’d looked him up, got
16 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 17 Writing for Comic Books
By Paul Mason
Comics is as unique a medium as the manipulation of this visual space, Unlike screenplays, the format of yourself, and you’re not submitting a Most of all, read comics. As many as 4. Small story benefits you’ll find in the creative fields. selecting ‘what moments must be writing comics is not standardised. script to an editor or publisher, then you can. Find what you enjoy and A marriage of both text and shown’ via image and juxtaposed All methods generally boil down to you’re looking for a collaboration. This Early publishing opportunities (with what you don’t in terms of all those images, arranged in a deliberate, words, verses ‘what is implied’, that either: can be an amazing creative experience, less commitment) can come in writing methods you already know sequential manner to incite convey the intended story. To ‘show’ as an artist will translate your words to forms of anthology books with other – story structure, pacing, character rather than just ‘tell’. To give the images, often better than you pictured stories. No other medium employs creators, rather than first attempting development etc. Then, put it all words and visuals to combine in reader insight, for instance, into a Full-Script (page 1, panel 1: in your own mind. to write a graphic novel and then together and enjoy the process! character’s inner thoughts, while brief description, dialogue, panel 2: waiting a long time before that project such a multitude of ways, in order Starting small means trying an artist to entertain and invoke a sense also having the character speak and etc.), which I recommend if you’re ever sees the light of day, if at all. There comic writing for the first time, as it out (and their ‘style’) to see how they of thought, both conscious and engage in the action, all in the same are kickstarting and indie publisher Dr Paul Mason is an award-winning forces you to think more structurally manage with your script, and not subconscious. This allows the story panel, and page. opportunities here; see Gestalt, IFWG, cartoonist, and animation concept about the composition and format of having to commit someone to a tome to play out not only on the page, etc. designer, working for companies such as each page. to draw long-term (for you would also but also in the mind of the reader. Frew Publications, Gestalt Comics, and 2. Real Estate have to pay this untested collaborator 5. Writing is rewriting A Stark Productions. He is a sessional So, how do you start writing comics? long term, if they’re able to manage With comics, before diving into lecturer in visual storytelling, art direction, For such a diverse medium, there is a Plot-Drive (or ‘Marvel the workload at all). Also, consider that writing script pages with no set limit, I Like anything, you only get better the animation pre-production, and comics in lot to consider – the creative process, method’) where the writer describes a first-time comics writer might have recommend you first attempt a small more you do it. Multiple short scripts the Bachelor of Animation program at the the visual language of comics, the the story and beats, and then difficulty locking down an artist ona comic of 4 or so pages. If you can where you can write, rewrite, see Griffith Film School. methodologies, not to mention the this plot/outline is ‘broken down’/ large project; the shorter work being it drawn, learn from ‘mistakes’, find tackle small stories, ones longer are www.masoncomics.com.au historical considerations and current translated visually by the artist into more feasible to try out. better ways to execute your ideas, easier to form to page/panel counts publishing prospects. It is a lot to pages and panels. Can save time, but and creating a new comic, makes for later. Where film and screenplays are When looking for an artist, I always cover, so let’s stick with some basic takes a bit of experience and skill. far better comics than attempting a question of ‘time’, comics are ‘space’. suggest looking past pretty pictures ideas. your magnum opus graphic novel on Say you’re planning an average US- and seek examples of sequential the first attempt. Comics writing and style comic of maybe 4-6 panels per storytelling pages. Good storytelling 1. Thinking Visually Hybrid: methods that illustrating contain ‘rules’ and methods art can save an average story, but page, that means you need to tell employ a combination of both, such that a writer or cartoonist could spend Comics is a visual medium, one which your story in about 16-24 drawings. as an writer/artist plotting a script bad storytelling art can butcher great a career attempting to master, yet both writer and artist must learn Basically, every panel is valuable ‘real visually first. Such is the fun of writing writing. Ask artist friends, aspiring must be applied in such a way that the ability to tell their story without estate’. You need to pick the best for comics. pros, and like-minded creators you even a child should be able to pick up relying on blocks of text. Much of visual moments to tell your story, to trust or have rapport with. Remember and follow the story. There is no ‘wrong the magic of comics is not just in be laid out by the artist in a way that 3. Collaboration too, an artist is not an extension of way’ of implementing, just better ways, the panels, but also in the space draws the eye of the reader, so they your wrist. Evaluate what they bring to that can only be learnt and discovered between, known as the ‘gutters’. It is understand the plot. If you’re not intending to illustrate the story. by doing.
18 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 19 seen the old man in the closed down not, but I created it by manipulating market, kicking up the papers with his random thoughts and Biblical text. It How to Write a Song worn out shoes?’ Strangely the more was a surprisingly satisfying exercise. specific the lyrics, the more universal the appeal. So how do you write a song? I actually have no idea. Mr Bojangles is another specifically drawn story. We see this ragged man, poignantly and affectionately Sue Wighton is a published Brisbane- based writer and singer. She wrote a described by Jerry Jeff Walker and we weekly op ed piece for the Courier-Mail recognise him instantly and want to from 2011–2014. In 2020 Sue published a hear more. book of her essays titled ‘Accidental Writer’. By Sue Wighton She writes a blog through her website Occasionally I’ve challenged myself to (suewightonaccidentalwriter.com) and is a write a song, with no real, immediate regular contributor to the Bribie Islander experience as a catalyst. I read magazine. Sue performs around town with her band The Margaritas and also as somewhere that Paul Kelly uses lots a solo singer-songwriter. She’s in demand of biblical references in his songs. So If I actually, truly, madly, deeply wrong. You can’t go to jail for singing: that should never appear in a song. as MC and guest speaker for special I wrote a love song (to an imaginary events. A sharp and witty observer, Sue knew how to write a song, I’d be Janis ’You think I sent my weapons back, For example ‘discount’, ‘average’, ’re- lover) and found inspiration for the enjoys entertaining audiences with her Ian or Paul McCartney. Plus I’d be a my poison and my knives ...’. But you afforestation’, ’schedule’, ‘recorded lyrics in the Bible. My lyrics include, words and music. millionaire with mansions complete can go to jail for actually killing your prior learning’, ‘hard rubbish’. Avoid ‘You are my balm of Gilead’ and ‘... with pergolas and panic rooms in the ex. Kill them or write a song about the mundane, the ‘pedestrian’ along you are my Garden of Eden’. It’s not Caribbean, Antibes, and Beachmere. them? You choose. with banalities and bureaucratic for me to say if this is a good song or All that notwithstanding, I do write language. Though, try telling Courtney songs. Sometimes. And I’ll do my Good songs often have a ‘hook’ - an Barnett this. She has elevated best to explain the process. idea or a phrase that will lodge itself the everyday into her own kind of in the listener’s ear, mind and heart. deadpan art form. So, like rules What is a song? It’s easier to say what Ben Lee’s song, Catch My Disease is everywhere these are for breaking. a song is not. one such clever song. The recurring ‘that’s the way I like it’ worms its way Sometimes the most fleeting thought A song is not a poem. A song is not into your ear, and that’s the way I like can turn into a song. One day I mused, a story. A song inhabits that space it. In fact, that’s why I like it. ‘one of these days I’ll write a song somewhere between poem and about a train.’ This became the first story. It speaks to us in a mysterious A song of mine starts: ‘There’s a hole line of a song called Ride On which way - where words, feelings, rhythm in my heart where the wind blows I recorded with my band, Unsung and melody magically collide to create through’. This song is about loss, and Heroes. something ‘other’. it started simply from that one line. Those words have an inbuilt lilt, a My daughter, Katie, is an Aria Award- In my experience, most songs arrive cadence, which suggested a melody, winning songwriter. She reminds me unbidden. Some spring from deep and a song was born. that all great songs have killer first emotions caused by grand life events lines and the lyrics are very specific. - falling in love, falling out of love, I have a myriad of notebooks in For example, in the Beatles hit: falling for the wrong person, falling which I jot down odd phrases and ‘Lady Madonna, children at her feet, down the stairs. I’ve written songs snippets that occur to me. And I could wonder how you manage to make about love affairs gone gloriously eavesdrop for the Olympics. So other ends meet’, the first line reaches out right and horribly wrong. I’ve also peoples’ overheard conversations and grabs you. The vivid lyric paints a written songs about revenge and find their way into my notebooks and picture. anger - very satisfying. ‘I know where occasionally wander into my songs. you live’ is a revenge song of mine Ralph McTell’s classic, Streets of and it was a great way to release my There are rules in song writing. Like, London starts with a strong, specific negative emotions about love gone there are some words and phrases and descriptive first line: ‘Have you
20 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 21 Chasing the Wild Pineapple Paulette Flint – Columnist by Lesley Synge Competitions & Opportunities page. Within months the page gained in promoting the research she has some 1,700 followers. Some columns pursued for decades. Her painstaking log as many as 7,000 hits. work has provided Gladstone with a Griffith Review’s The Long and the Short of It The UNSW Press Bragg Prize for Science Writing valuable archive.’ Price: FREE ‘Social media demands a more Price: $15-25 pictorial format but I’m thrilled that Local heroes who guard the national Prize: $7,000-$1,500 and publication Prize: Publication Times Gone By continues to appeal. heritage, usually on a volunteer Length: Max 7,000 words The Baby Boomer demographic basis, are many. But how many have Length: 3, 500 - 7000 words st published some 3,000 stories? It’s a Deadline: 31 March is especially enjoying revisiting Deadline: 15th March childhood memories with adult eyes.’ level of commitment that’s visionary. To recognise the best of the best, UNSW Press has To celebrate its 75th edition, Griffith Review is looking established an annual prize for the best short non- Most households in Gladstone have for submissions of fiction and non-fiction by emerging Signora Bella, May 2019 Credit SLQ fiction piece on science written for a general audience. a copy of her book, What’s in a Name? Lesley Synge holds an MA in Creative writers who are either unpublished or have only one The Stories Behind the Street Names of Writing from UQ. Her novella, When book published. They want new ideas, fresh voices and All shortlisted entries are included in The Best Australian Giuseppe Met Jackie, won Ravello Tales Gladstone, Queensland (2009). bold perspectives that command attention. They are not Science Writing 2021, NewSouth’s annual collection Educator and local historian, Paulette Award (Italy) and her non-fiction has twice accepting poetry for this competition. featuring the finest Australian science writing of the year. Flint, initiated her Times Gone By Paulette pays tribute to former CEO won the Lorna McDonald Essay Prize. Her latest poetry collection is Signora Bella’s column for The Observer (Gladstone) of QWC, Robyn Sheahan-Bright, Peter Carey Short Story Award in 1994. Implementing her personal Grand Tour. She is a founding member of Fish Poetry Prize who resides in Gladstone, for advice QWC. Price: $15 philosophy of life – ‘you never stop Price: €14-€8 during her publishing journey. In Prize: $2,000 and publication learning’ – Paulette has seen her turn, Robyn observes, ‘I’m in awe Prize: Publication in the Fish Anthology 2021 Length: 2,000 - 3,000 words stories in print weekly, if not daily, of Paulette’s energy and passion th Length: Max 60 lines ever since. Deadline: 18 March Deadline: 31st March The Peter Carey Short Story Award is open to all Australian ‘The community likes uncovering the residents. First and second prize entries will be published past as much as I do,’ Paulette reflects The Fish Poetry Prize is open to poets of any nationality in the Spring 2021 issue of Meanjin and agreement for during our interview, modestly writing in English. There is no restriction on theme or style. publication is a condition of entry. acknowledging her engagement Top 10 poems will be published in the Fish Anthology with a series of NewsCorp editors Charles Brasch Young Writers Essay Competition 2021 to be published in July 2021. and her readership over several Price: FREE generations. ‘A flurry of letters to the Geminga: $500 for Tiny Fiction, Nonfiction, editor sometimes signaled historical $500, publication, and 1-year Poetry, or Art Prize: controversaries but these always subscription to Landfall Price: $6 USD resolved amicably. My readers are Length: 1,500 words Prize: $500 & publication an interactive lot. They give feedback, 100 words for fiction and non-fiction; Deadline: 31st March Length: suggest topics, and send in their 140 characters for micropoetry precious photographs.’ Charles Brasch Young Writers’ Essay Competition, an Deadline: 1st April In 2020, after publishing the column annual award open to writers aged 16 to 21. Essays will Paulette Flint with Gooreng Gooreng Elder Jacqueline Johnson during Sunspot Literary Journal is launching Geminga: $500 for 27 years, the paper decided to axe be on a topic of the author’s choosing. The competition 2019 Our Priceless Past interviews in Gladstone. Image courtesy for Tiny Fiction, Nonfiction, Poetry, or Art to honour the it. Undeterred, she relaunched it on is judged by the editor of Landfall. The winner will be Gladstone Regional Art Gallery & Museum. announced and published in Landfall’s May issue. power of the small. No restrictions on theme or category. Facebook as a ‘Paulette Flint Author’
22 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 23 £5,000 StoryLinks Short Story Competition Blackfella Speculative Fiction Anthology Glendower Award for an Emerging Queensland Bridport Creative Writing Competition PRIZE Price: FREE Price: FREE Writer Price: FREE Price: Free $250 and publication on StoryLinks Prize: $500 and publication Prize: £5,000-£1,000 Prize: $15,000, manuscript development, website Length: Max 5,000 words Prize: 5,000-8,000 for novels (initially); 250 and publication with UQP Length: words for flash fiction; 5,000 words for Length: Max 1,000 words Deadline: 30th April Length: 40,000-100,000 words short story; 42 lines for poetry Deadline: 2nd April An anthology of Blackfella Speculative Fiction, edited by Deadline: TBA April/May Deadline: 31st May The 2021 StoryLinks Short Story competition is open to all Mykaela Saunders and to be published by UQP, is seeking Bridport Creative Writing Competition is open for aspiring speculative fiction short stories written by, for, and about Awarded for an outstanding unpublished manuscript by an writers of children’s stories aged 18 and above. writers everywhere. It is committed to discovering new Indigenous Australians. emerging Queensland writer. Authors who have previously Imagine 2200: Climate Fiction for Future self-published a full-length work with an ISBN are not writers in poetry, short story, flash fiction and the novel. $15,000 Ancestors eligible. Unpublished authors must not have an existing Daisy Utemorrah Award PRIZE binding publishing contract or be in current contractual The Australian Vogel’s Literary Award 2022 Price: FREE Price: FREE negotiations. Price: $25 Prize: $2,000 - $300 $15,000 and a publishing contract with Prize: $6,000-$2,500 and publication Prize: Publishable Magabala Books Length: 3,000-5,000 words Price: $50 Length: 50,000-80,000 words Length: 40,000-100,000 words Manuscript development and pitch st Deadline: 12th April Prize: Deadline: 31 May Deadline: 30th April meeting The Australian/Vogel’s Literary Award is one of Australia’s Imagine 2200 draws inspiration from Afrofuturism, as well Submit the first 50 pages of a 55,000 – The Daisy Utemorrah Award is for an unpublished Length: richest and the most prestigious award for an unpublished as Indigenous, Latinx, Asian, disabled, feminist, and queer 110,000-word manuscript manuscript of junior or YA fiction. The Award is open to manuscript by a writer under the age of thirty-five. Offering futures, and the genres of hopepunk and solarpunk. They th all Aboriginal and Torres Strait Islander peoples currently Deadline: 10 May prize money of $20,000 plus publication by Allen & Unwin are seeking short stories that centre on climate solutions living in Australia. with an advance against royalties, The Australian/Vogel’s from the most impacted communities and bring into Publishable gives up to 25 emerging writers the chance to take part in a tailored Manuscript Development Literary Award has launched the careers of some of focus what a just, regenerative future could look like. The Lifted Brow Experimental Non-Fiction Prize Program. Each writer will be given a personalised timetable Australia’s most successful writers, including Tim Winton, Kate Grenville, Gillian Mears, Brian Castro, Mandy Sayer 2021 Newcastle Short Story Award Price: $7 designed to strengthen, refine, and polish their completed manuscript. Over a period of two weeks, writers can and Andrew McGahan. Price: $16.50 Prize: $5,000 and publication expect to work with published authors, QWC mentors, Prize: $3,000-$1,000 Length: Up to 5,000 words and industry experts to improve their craft and take their st manuscript closer to publication. Length: Max 2,000 words Deadline: 1 May Deadline: 14th April The Lifted Brow & RMIT non/fiction Lab Prize for Experimental Non-Fiction is an annual writing prize that aims to unearth A short story competition run by Hunter Writers Centre new, audacious, authentic and/or inauthentic voices from for all Australians living here or abroad. Stories must not both Australia and the world. Submissions should convey include the name of the author or any identifying marks. meaning using unorthodox form, or style, or voice, or point- of-view, or approach/method, etc. Hyades Magazine Price: FREE 2021 ABR Elizabeth Jolley Short Story Prize Prize: Publication Price: $15-$25 1,000 words each for flash fiction; 1-4 Prize: $6,000-$2,500 Length: poems up to 8 pages in total Length: 2,000-5,000 words Deadline: 15th April Deadline: 3rd May Australian Book Review’s 2021 Jolley Prize is open to all Hyades Magazine are open to all writers; however, they short story writers writing in English. Stories can be any prioritise submissions by BIPOC, LGBTQIA+, disabled and subject, and in any style, as long as it is fiction; non-fiction other traditionally marginalised creators. will not be accepted.
24 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 25 Harlequin Books Australia Penguin Australia Ultimo Press Seeking strong commercial works Currently closed for submissions Ultimo Press is an independent of fiction, memoir or non-fiction while staff work remotely due to publisher established in 2020 Australian stories for women. coronavirus. with the simple ambition to Minimum 80k words. https://www.penguin.com.au/ become home to Australia’s best storytellers. Accepts general and https://www.harpercollins.com.au/ getting-published/ harlequin-books-submissions literary fiction and non-fiction. Submission guidelines in the Rhiza Press contact section of the home Mills & Boon Currently considering unsolicited page. Accepts a wide range of romance. submissions for young adult fiction https://www.ultimopress.com. Online submissions open. Visit through Rhiza Edge and query Publisher Update website for details. au letters for manuscripts suited to https://www.millsandboon.com.au/ the Rhiza Press digital list. submissions/ https://wombatrhiza.com.au/rhiza- University of Queensland Press Odyssey Books press-submissions/ Affirm Press Bloomsbury Spark Ginninderra Press Accepts unsolicited fiction, Submissions only accepted during the first week of each Hard-copy submissions only. memoir, narrative non-fiction, Scribe Publications Only accepts submissions on the Digital only publisher of teen, YA month. Currently accepting Accepts non-fiction, poetry, picture books, and novellas. first Monday of each month. Note and new adult between 25K and There will be no submissions unsolicited submissions for and collections of fiction. Must Traditional publishing with direct that submissions received outside 60K words. accepted in 2020. Accepts literary fiction and non-fiction. enquire before submitting submissions welcome; no agent this window will not be assessed. unsolicited and unagented Poetry, children’s and YA are https://www.bloomsbury.com/au/ children’s books. NOT accepting required. No advance paid. Self- submissions during seasonal currently closed for unsolicited Please send all general submissions bloomsbury-spark/submissions/ novels at present. Enquire before publishing options available. three-week windows only; the submissions. to: [email protected] submitting children’s books. https://www.odysseybooks.com.au/ next window is 1 April through to https://www.uqp.com.au/pages/ Boolarong Press submissions/ Check website for full submission http://www.ginninderrapress.com. 21 April. submissions details: https://affirmpress.com.au/ Mainly publishes history, au/getting.html One More Chapter https://scribepublications.com.au/ submissions/ biographies and Australiana Currently closed for submissions, about-us/submissions children’s books, but open to Giramondo Publishing but will open up again very soon. Ventura Press Allen & Unwin other genres. Accepts unsolicited submissions See website for updates. Accepting submissions of Sidharta Books & Print contemporary fiction, historical Please note Allen & Unwin https://www.boolarongpress.com. – fiction, non-fiction, and poetry. https://www.onemorechapter.com/ fiction, crime/thriller fiction, only accepts manuscripts au/writers/submission-guidelines/ Check website for details. Currently only considers Pantera Press memoir, mental health, and correctly submitted through our https://giramondopublishing.com/ manuscripts that have been electronic system. Any hard-copy Seeking well-written fiction and professionally read (in entirety) history. Currently NOT accepting Carina Press submissions/ non-fiction, with best-seller submissions mailed in will be by their own listed editors. children’s fiction and nonfiction, potential and international appeal. poetry, young adult fiction or recycled. Also that, despite its Harlequin’s digital-first adult Submissions via email with brief Hachette Australia Currently NOT accepting picture non-fiction, or illustrated books name, The Friday Pitch is open to fiction imprint. Currently acquiring synopsis and author bio. Accepts fiction, non-fiction, or illustrated books, cookbooks, of any kind. submissions all week! all subgenres and heat levels of romance (excluding inspirational children’s and YA. self-help books, health and https://publisher-guidelines.com https://www.venturapress.com.au/ https://www.allenandunwin.com/ romance), new adult, historical NOT looking for science fiction/ well-being books, travel books, submissions submission-guidelines fantasy, horror, illustrated books, poetry, play scripts, short stories, romance, mystery and crime, Text Publishing action adventure, science cookbooks, poetry, screenplays compilations, chapter books or Walker Books or academic works. Broadly interested in publishing fiction, fantasy and interactive children’s books (for ages 12 and Unagented writers can only fiction and non-fiction, including Black Inc. and Nero Books adventures. Does not accept https://www.hachette.com.au/ under). submit on Walker Wednesday. Accepts general and commercial unsolicited submissions of submissions/ https://www.panterapress.com.au/ middle-grade and young adult. Check the website for the non-fiction including history, novellas under 35,000 words. submit/#tab_submission Currently NOT accepting upcoming Walker Wednesday current affairs, sports, and Hawkeye Books poetry, play scripts or picture dates in 2021. https://www.carinapress.com/shop/ Pan Macmillan books, individual short stories, biography – and for literary and Currently closed for unsolicited pages/write-for-us.html Currently interested in technical manuals, cookbooks, https://walkerbooksaus.typeform. commercial fiction. submissions. Will open up again contemporary drama, sagas, how-to guides, travel guides or com/to/MktCaKMM in 2021. Accepts exceptionally Currently NOT accepting psychological suspense, crime educational textbooks. well-constructed page-turners for submissions for fantasy, Escape Publishing and thrillers, historical, and literary Wombat Books a mainstream audience. https://www.textpublishing. science-fiction, travelogues, Digital imprint of Harper Collins fiction; narrative non-fiction, Accepting unsolicited https://hawkeyebooks.com.au/ com.au/manuscript- crime/mystery, erotica, poetry Australia. All submissions must contemporary issues, memoir, manuscripts via online submissions/ submissions or picture books. include a central romance or history, true crime, lifestyle and submission. romantic elements focused on lead health, mind body spirit; junior http://wombatbooks.com.au/index. https://www.blackincbooks.com.au/ characters and an uplifting ending. and middle grade fiction, young php/authors/submissions submissions adult/crossover fiction. https://www.harpercollins.com.au/ escapesubmission/ https://www.panmacmillan.com.au/ submissions/
26 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 27 QWC Membership Benefits When you become a member of QWC, you become part of a vibrant writing community with access to a wide variety of resources and information. Writing Queensland (WQ) magazine Members-only programs and services (costs apply)
Exclusively for QWC members, the quarterly WQ Magazine features The Writers Surgery offers members 90-minute consultations to articles from industry professionals and writers. discuss their projects (including grant applications) face-to-face, by Skype or by telephone with an experienced editor or published author. Advertising discounts Year of the Writer series is a suite of master classes to help you plan, Members receive a discount on advertising in WQ and our weekly write and edit your novel. e-newsletter, a fantastic way to promote your business to an engaged, educated readership of thousands, with wide interests in culture, The Novelist’s Boot Camp is an intensive weekend of brainstorming, Member Milestones music, food, family and travel as well as reading and writing. plotting and practical exercises to get your novel started and well on its way. QWC Member Discounts QWC members receive discounts on QWC’s annual program of workshops, master classes and industry Dr Glen Davies Jo Skinner Steve Hawe seminars. Presentation of your membership card will also provide you with discounts at the following places: Bookshops Other discounts Dr Glen Davies recently had Forgetting Jo Skinner’s short story, The Road Steve Hawe’s short story, Love Dust, • 10% discount at: • Author Photos by Profile Portraits Australia: $110 for 3 low res and Remembering During Pandemics Home, was published in the November and his novel, My Time of Eagles, have Byblos Bookshop, Mareeba (discount on second-hand books photos(normally $150); $140 for 3 high res photos (normally published in the Our Inside Voices: edition of MiNDFOOD. both been published by Boolarong only); Dymocks, Brisbane City; Dymocks, Townsville; Folio Books, $195). Contact Giulio on 0417 604256 [email protected] / Reflections on COVID-19 anthology. Press. Brisbane City; The Jungle Bookshop, Port Douglas; The Library Shop, profileportraitsaus.blogspot.com.au (mileage costs may apply) Joanne Hattersley SLQ, Brisbane; Maleny Bookshop, Maleny; Mary Who, Townsville; • Developmental editing and manuscript assessment services by Totally Denise Parker Riverbend Books, Bulimba; Rosetta Books, Maleny; Edited: 10% discount. Contact Richard Andrews at totallyedited.com Jan-Andrew Henderson The Written Dimension Bookshop, Noosa Junction; The Yellow Door Joanne Hattersley’s book, Ramblings of • La Boite Theatre tickets $25 (preview) $39 (in season). Books and Music, Yeppoon. Denise Parker’s chapbook, After the a Forty-Something Widow, was released I Don’t Really Get Jan-Andrew Henderson: • Olvar Wood Writers Retreat offers a 10% discount to QWC members War – A Poetic Memoir, has been in October. Her children’s book, My A Short Story Collection was published on all their writer services: olvarwood.com.au published by Ginnenderra press; her Adventures with Bruce, will be released by Black Hart and Edinburgh Literary • $5 memberships at Dendy Cinemas poem, Mattins, is being published in in 2021. Heritage and How it Changed the World the Joy in the Morning anthology; and was published by Amberly Press in her poem, Heart, was included in the Melanie Bird & Jennifer Crane November. Membership Form 2020 Poetry d’Amour anthology. To join the Centre please Applicant’s details Please indicate: New member Renewing Co-editors, Melanie Bird and Jennifer complete the information Joanna Beresford Kellie M Cox Crane, have published Our Spirit: below or join online at Name: ______Creative Works of Australian Defence qldwriters.org.au. Joanna Beresford’s historical fiction, Kellie M Cox’s romance suspense Force Women from 1960s Onward. Please complete and return to: Organisation (if relevant): ______Every Year I Am Here, was launched in series, The List and The Reef, have been Queensland Writers Centre, November by Atlas Productions. PO Box 3488, published. The sexy summer beach Postal Address: ______Mocco Wollert South Brisbane reads are available at kelliemcox.com. Queensland 4101 Telephone: ______Postcode Mocco Wollert had three poems Sharyn Swanpoel p: 07 3842 9920 Allyssa Mackey published in Quadrant’s October e: [email protected] Email:______edition and one poem published in Sharyn Swanpoel had her short story, Cupcakes, published in the Romance Allyssa Mackey was recently Scope’s October/November edition. Duration and type of membership Payment announced as the winner of the 2020 Writers of Australia’s Sweet Treats anthology and her short story, Just Please find enclosed my payment of $______Thunderbolt Prize Emerging Author’s Jocelyn Hawe One Year Two Years Alice, published in the Stringybark * * Award. Her piece was published on Print PDF Print PDF Mastercard Visa Cheque Money order newc.org.au in November. Tales anthology. Jocelyn Hawes’s short memoir was Full membership $79 $79 $149 $149 Card number published in the ebook anthology, Concession $59 $59 $109 $109 Verity Croker Remember When – Silver Linings. Hazel Barker Expiry date CCV #
Passionate (5 yrs) $349 $349 Verity Croker’s poem, Gondwana Hazel Barker’s short story, An Angel Cardholder’s name: ______Jessica White Youth in Heaven, has been selected for For details go to: expressmedia.org.au Gown, was recently published in the (26 and under) Tasmanian Times. Jessica White’s hybrid memoir, Hearing publication in Tabor’s 2020 anthology, Signature: ______Stories of Life. Organisation $150 Maud, won the 2020 Michael Crouch *PDF option means that you receive WQ as a PDF copy into your inbox, not as a Overseas hard-copy magazine. All prices include GST. Donations are welcome and are tax award for a debut work of biography $50 (no GST) $90 (no GST) Nadia Johansen Supporter deductible. QWC has a no-refund policy. Provided three working days’ notice is given, in the National Biography Awards, participants may use the paid funds as credit towards the cost of attending another Nadia Johansen was a runner in the and was also shortlisted for the Donation^ $10 $20 $50 $____ workshop, seminar or event (space permitting). All credit must be used within 30 days of issue. Donations of $2 or more are tax deductable. Emerging Writers’ competition for SBS. Queensland Literary Awards.
28 WQ WWW.QLDWRITERS.ORG.AU.MAGAZINE 29 QUEENSLAND WRITERS CENTRE Level 2, State Library of Queensland, Stanley Place, South Brisbane qldwriters.org.au Postal address: PO Box 3488 South Brisbane Queensland 4101 Contact details: 07 3842 9922 [email protected] Fax: 07 3842 9920 Connect with us: Instagram: instagram.com/qldwriters Twitter: @qldwriters Facebook: facebook.com/qldwriters