SUMMER Tess Rowley - Fish Bowl Residency Ellen Shanley - Chasing a Writing Dream - Dec 2019 - Feb 2020 - Queensland Writers Centre
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SUMMER
Tess Rowley - Fish Bowl Residency
ISSUE 267
Dec 2019 - Feb 2020 Ellen Shanley - Chasing a Writing Dream
Call for Manuscripts
Looking for a Publisher?
T he Melbourne-based Sid Harta Team appreciates that
it 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.
Sid Harta Publishers is offering writers the opportunity to
receive specialised editorial advice on their manuscripts
with a view to having their stories published.
Contact SHP at:
Sid Harta Publishers specialises
author@sidharta.com.au
in new and emerging authors,
Phone: (03) 9560 9920
and offers a full range of
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Call us to discuss our service. from the initial manuscript assessment, to editing, book design and distribution.
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— Noel Braun author of The Day Was Made for Walking, I Guess I’ll Keep on
Walking, Whistler Street, Friend and Philosopher
recent TITLES…
PUBLISHED BY
ISSUE 267
Dec 2019 - Feb 2020
ISSN 1444-2922
Contents Editorial and Production
Sandra Makaresz
Editor
Glenise Clelland
Guest Artist
3 Your Daily Horoscope Green Fox Studio
Rebecca Jenssen Design
CPX Printing & Logistics
4 One Day, America Printing
Ellen Shanley Submissions
Members can submit Milestones or details of
6 The Struggle of Second Languages Events or Competitions and Opportunities,
Ella Tait or pitch articles for WQ, by emailing us at
editor@qldwriters.org.au
8 The Fish Bowl Residency QWC reserves the right to edit all submissions
with regard to content and word length.
Tess Rowley Advertising
10 Write On! Advertising rates, deadlines and dimensions
and other information on how to advertise in
Louise Thorenfeldt WQ is available at qldwriters.org.au/advertise.
For advertising enquiries please contact
editor@qldwriters.org.au
11 Chasing the Wild Pineapple
QWC members enjoy a reduced advertising
Lesley Synge rate. Before booking an advertisement
potential advertisers should read QWC’s
12 The Spanish Writing Retreat Advertising Terms and
qldwriters.org.au/advertise
Conditions at
Gail Tagerro
14 Born to the Sea Lori-Jay Ellis
Cynthia Tate
Samantha Hope
Project Manager
16 Queensland Writers Centre Program Jenn Bell
Administrator
18 Love You to Death Isaac Howard
Luke Madsen
Callum McDonald
22 Wicked Obscenity Sophie Bafekr
Samantha Tan
Nicole Walsh
24 Competitions and Opportunities Management Committee
Andrea Baldwin
28 Members Milestones Chair
Ann Wilson
Vice Chair
29 Kym Hausmann
Treasurer
Carleton Chinner
Secretary
Sandra Makaresz
Andrea Brosnan
Sarah Thornton
Angela Samut
Judy Gregory
Ordinary Members
WWW.QLDWRITERS.ORG.AU.MAGAZINE 1
ISSN 1444-2922
ISSUE 267
PUBLISHED BY
GUEST ARTIST
Editorial
Sandra Makaresz
Glenise Clelland Editor
Cover Illustration:
Midnight Blues (Oil on Canvas)
Glenise’s next exhibition is in March
2020 (14th-22nd) at the Richard
Randall Studio Mt Coo-tha Botanic
Gardens, Brisbane.
www.gleniseclelland.com.au
Biography: hopefully spend at least a few hours dedicating ourselves to reading for
For the past 25 years Glenise has
been working from her studio at
Noosa North Shore. Her studio
has been surrounded by acres of writing time inside the Queensland Writers Centre.
lily ponds and tall melaleuca trees
The beautiful blues on our cover were created by artist, GleniseClelland, and
where the ever changing light and
inspired by her home surrounds at Noosa North Shore. Recently though, the
shapes have been a constant source
of inspiration for her new work –
being evacuated and facing the uncertainty of not knowing whether their
mostly in oils.
homes would survive. It’s a story many are facing around Australia.
So, as we take time out to refresh over summer, we should also take time to
think about others – the battles they face and what we can do to make even
a small contribution to the lives of those around us. As writers, empathy is
one of our greatest assets. One we should embrace both on the page and
in life.
Be kind to each other, have an amazing summer, and we hope to see you at
the Writing Centre in 2020.
Editors Correction, Issue 266: John Synott’s dates should have read 1949 - 2019
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
2 WQ
Your Daily Horoscope
by Rebecca Jessen
Aquarius, 1 July, 3018
Take it easy today, Aquarius; when it comes to matters of the planetary, quietly go
your own way. This is a day where all patient sentiments overwhelm and emotions
timetable you. The point? Well, misery. Sometimes you crave celestial release—but
don’t disengage. Sunday’s balsamic morsel suggests asking for existence. With
Someone in your life has twenty-nine unattached motivations and chaos-like
future holds for you? Call now to get a full horoscope chart reading.
Your Daily Horoscope is a found poem composed of text sourced from a variety of daily
horoscopes, and manipulated using Gregory Kan and Hera Lindsay Bird’s app
http://glassleaves.herokuapp.com.
Rebecca lives in Brisbane and grew up in South-Western Sydney. She is the award-winning author of
verse-novel Gap (UQP 2014). Her debut poetry collection Ask Me About the Future is forthcoming with
UQP in 2020. Rebecca’s writing has been published in Overland, Meanjin, Rabbit Poetry Journal, Going
Down Swinging, The Lifted Brow, Cordite Poetry Review, Mascara Literary Review, Tincture Journal,
Verity La, Voiceworks and more. She holds a First Class Honours Degree in Creative Writing from QUT.
WWW.QLDWRITERS.ORG.AU.MAGAZINE 3
One Day,
America!
By Ellen Shanley
When I was just twelve years old, I decided that I would Everyone kept saying what a great career teaching was,
one day live in Los Angeles. There was a good reason for especially because, “you can teach anywhere.” Okay, I
it: I wanted to write television. And, to my young mind, thought, I will.
there was only one place to do that.
With that, the research began. A year out from my
Those around me suspected it was something I would tentative departure date, I researched as many avenues
grow out of. I was, after all, interested in other things too. to the US as I could think of, expecting some of them
I considered professions in law, psychology, education – to be dead ends. There were multiple visa pathways
I eventually did become a high school English teacher. available. The O1 visa was perfect for artists, but I didn’t
Yet, even though I kept pursuing writing in Brisbane, I have anywhere near enough accolades for it. Student
never could let go of that initial idea. That hope, that visas, such as the J1, would get me there if I was accepted
belief, that suddenly all my writing dreams would come into a course of study, but they had restrictions. Namely,
true, if only I made it to LA. no working. Not ready to spend my entire life savings, I
looked further into possible working visas like the H-1B.
And then I saw it: the E3.
person I told replied, “Screenwriting? At UCLA? Everyone It was beautiful. The E3 visa was a working visa open,
wants to do that. You will never get in.”
The only catch was that I did have to have a job already
They were right, I thought. It was a bad plan. lined up. Despite my knowledge of the reluctance of
employers to hire a random Aussie they’d only met via
Soon, another opportunity presented itself. I was visiting
a friend in Melbourne when she told me she was going
on a trip to the US. “Take me with you,” I joked. To my
surprise, she did. I took the money I’d saved for study
York, Boston, Washington D.C, Philadelphia, New Orleans,
Las Vegas, San Francisco, and, at last, Los Angeles.
I had, in the lead up, convinced myself that going there
once would be enough. I would get it out of my system,
surely. In fact, the opposite turned out to be true: visiting
the land of movies and TV only fed my desire to live there.
So I tossed out my plan for exchange, but, as for my plan
to study there, I wasn’t quite prepared to let that one
go. I mulled it over for another couple of years, trying to
4 WQ
I reshaped my CV and cover letter over and over, adding
more punctuation marks and enthusiastic statements
willing to pay the prevailing wage. While the prevailing every time. I did countless interviews at 5am (one at
wage is, in theory, the wage an employer would pay an 3am) and I emailed probably every school in Los Angeles
American to do the same job, the way it’s determined, in
reality, is much more complex.
From there, the plan executed perfectly. It took roughly
Curiously, the E3 had no restrictions on whether or not four weeks from starting the application process with my
I could study while working, as long as I continued to lawyer to get the visa in hand. And, in July 2018, I stepped
meet the requirements of the visa. Maybe I could take
a course at UCLA after all, I thought. America.
Oh, and I was accepted into UCLA. What’s more, at the
of all kinds which could be taken online or in person. A television Drama pilot script I wrote while in the
Anyone could study the course of their choosing. A Program, was announced as the winner of the 2018-
great option. Next, I investigated the famed master’s 2019 UCLA Professional Programs Writing for Television
program. It certainly had cache, but it was two years competition. As I rushed up on stage to collect my award,
long and full-time study. Not to mention the cost. I couldn’t help but think that, as long as it had taken me
Actually, let’s not mention it. That brought me to door to get there, I’d got the timing right after all.
number three: the Professional Program in Writing for
Television. It was the perfect option. The program was
Ellen Shanley is a screenwriter from Redland City, Queensland.
a year long, it was at graduate level, and classes were
Her script ’The Longest Day’ won the TV Drama Pilot category
held either online or at night on campus. Of course,
of the 2018-2019 UCLA Professional Programs Writing for
I readily applied.
Television competition. Her writing has been selected for the
Much was to be done before my plan was realised,
of the Austin Film Festival. Ellen also advanced to the second
however, namely that I still had to secure a job and an
round of selections in NBC’s Writer’s on the Verge in 2019. She
E3. I found a lawyer to help me with the visa, so at least I
can be found on Twitter as @Elle Shanley.
WWW.QLDWRITERS.ORG.AU.MAGAZINE 5
The Struggle
of Second
Languages
By Ella Tait
The intricacies of the French language never came humour, to join in a conversation, I found I was a very shy
naturally to me. Aside from my appalling accent, the person.
grammar always appeared like a maze of past participles,
future conditionals and unforeseen errors. I was, as At the core of learning a language is the willingness
my tutors delicately explained, ‘not a gifted language to slip-up, to use incorrect grammar and be publicly
student.’ corrected - not only by friends, but also by strangers
at a ticket desk and, humiliatingly, by small children.
And yet, as I stared down the barrel of an eight-week I quickly realised, I did not like making mistakes.
Whenever I had the opportunity to avoid speaking,
without my parents, I remained hopeful. Despite my clear I took it. As you can probably gather, becoming a selective
language.
I had been raised in multi-cultural Brisbane, after all. While my French exchange may not have been a
resounding success, it gifted me a permanent admiration
Israeli father. My aunty spoke English to her colleagues
during the day, and Spanish to her parents over Skype at years that followed, I befriended an Afghan family and
night. Perhaps naively, I had been passive with the belief
that the human brain is intrinsically capable of decoding English (complete with Australian accents) in six months. I
cities. of jealousy that my multilingual colleagues had the keys to
two, three and even four worlds.
At the core of learning a exchange as a teenager, recounting stories of my inability
language is the willingness to order a water bottle from the school’s tuck-shop, I knew
that beneath the humour my privilege was deafening.
to slip-up, to use incorrect
grammar and be publicly is a new and scary endeavour, the luxury of packing
corrected. their failings is simply not an option. For many people,
learning a language is not a hobby, but rather an absolute
I was, expectedly, wrong. In the weeks that followed, sense of belonging.
While foreign languages remain a mystery to me,
dramatically shifted. I discovered that language could be
isolating. Absent my ability to tell stories, to understand
6 WQ
To those who are learning, or who have already mastered,
and words that sound the same but mean something English as a second language, the shy little mute within
our childhood grappling with the there / their / they’re expand this learning to writing, creating and exploring,
nightmare, after all. And we can all agree the English the Queensland Writers Centre is saving you a seat.
language was having a laugh when it brought ‘too’, ‘to’ and
‘two’ into the world.
by a host of new confusing, vague and seemingly
interchangeable (or are they?) vocabulary choices.
The words ‘eminent’ or ‘imminent’ or ‘immanent’, for
example, continue to astound me - eminent means
someone famous or distinguished, imminent describes
something that’s about to happen, and immanent means
operating or existing within. Or what about ‘discreet’ and
Ella successfully completed her internship at the Queensland
‘discrete’? Although discreet and discrete come from the
Writer Centre this year, here she discusses the privilege of
learning a second language for fun versus the necessity, and
graduate from QUT. She plans on pursuing a legal career, and
means separate, individual or detached. I’d like to have a
bringing her love of reading, writing and creating along for the
chat with whoever is responsible for this. journey.
HAVE YOU WRITTEN A BOOK?
IS IT IN A DRAWER WAITING FOR SOMEDAY?
LET US HELP YOU RELEASE IT TO THE WORLD.
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• A full evaluation given (not a Vanity Publisher)
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• All our books are available for sale on Amazon worldwide
• We are happy to also include Social Media placement as well as Zeus Publications website as part of our service
• Your book will be published in Paperback and Electronic format (eBook)
FOR ENQUIRIES PLEASE CONTACT US
Phone: 07 5575 5141
Email: sales@zeus-publications.com
Web: www.zeus-publications.com
WWW.QLDWRITERS.ORG.AU.MAGAZINE 7
The Fish Bowl
Residency
By Tess Rowley
When I heard that I’d been given the opportunity to be When I’m writing, I get lost in my own creative space and
life goes on without me. This Fishbowl experience has
be mentored by Sandra Makaresz, I felt as excited as if I’d proved just that. I’m quite oblivious to people passing by
won the gold lotto. I also thought, what does this mean,
what’s expected of me, and even, can I do it?
Aren’t we creative people strange characters? Full of a young boy was watching me, nose pressed up against
the glass. Having no idea how long he’d been there,
our work in case someone else thinks it’s no good. I smiled and gave a little wave. He looked at me with a
serious expression and mouthed, ‘Where’s the toilet?’
As soon as I entered this new adventure, I was made
to feel welcome. I had my own little spot, a table set up I’ve had a few inside visitors too, who step up behind the
for me, with clear glass walls in the front, looking out to velvet gold curtains to enquire as to how I’m going. This
the library. Behind me I’m surrounded by crushed velvet has been good for me, as most of them are volunteers.
curtains, very theatrical, and like Alice through the looking I’ve discovered the work they do, and the diversity and
glass, I walked straight through and took centre stage. richness they bring to QWC.
My major manuscript, Remembering Nazareth, which
I’ve been nursing for some years, was sent to Sandra My Fishbowl residency has
for feedback before my arrival. Her suggestions and provided me with a space
critical evaluation have been invaluable, and I’ve enjoyed
breathing new life into my work. The story of Nazareth to research and write, given
House, Wynnum, once a children’s orphanage, will never
end. By writing the accounts of the girls who lived there
me permission to dream.
in the 1940s-50s I’ve heard more and more stories from
people who either knew someone, or had a relative who’d
Writing here and having great access to books from
shared the same experience. I’ve pushed hard to give
the library shouldn’t come as a surprise, but it’s been a
voice to these women, many who are now deceased. To
component that has helped enormously when I’ve needed
write about someone’s lived experience is an honour,
to increase my knowledge of what I’m writing about. The
especially when their journey has been such a painful one
John Oxley Library is amazing, and the people who work
in the recalling.
there are so helpful.
I learned so much from Sandra. She introduced me to
In between time I’ve written a piece about the proposed
‘Speculative Biography,’ which has opened so many worlds
development of Toondah Harbour, in the Cleveland
for my future writing. It helped me inject warmth into the
wetlands. It’s still a work in progress. I live at that side of
sometimes harsh, cold stories from the past.
town, so the potential destruction of this wildlife habitat,
on my watch, hits hard.
8 WQI’ve also written a piece about an Aboriginal man who
I’ve known for some years, about his life with all its ups
The Farmer’s Wife
and downs. By Tess Rowley
The drought has been a topic throughout my weeks here
and I’ve taken a few drops of time to polish up a piece
of prose. The luxury of having this quiet space is that I Looking back to when the rains fell, we’d jump
can dip into lots of my creative bowls and splash around the puddles so as not to splash, and dash
a bit. The expectation of 20 – 30 hours per week in the
across the paddock, shirts held high overhead,
retirees, my life had become busier, so I needed to do a lapping like sails.
bit of juggling to slide into this new regime. Thank you,
How could I know
My residency journey was made smoother with the help
of Jenn and Callum, particularly around my computer, would now be recalled and treasured?
when it just wouldn’t do what I asked of it. Thanks to both
Measured moments of childhood,
of you.
each drop an inch of nourishment
The last amazing observation of Queensland Writers
Centre has been the three Tim Tam biscuits that have sat to our weathered, tree stick arms.
where such a phenomenon could happen. The fact that
one has gone missing is because I couldn’t stand the This drought has parched my family
leaving bleached white bones
My Fishbowl residency has provided me with a space to that chafe and crack.
research and write, given me permission to dream – and
So I look back.
been given the gift of writing.
The horizon teases us with clouds,
our eyelids, shrouds
draped over too many endings.
Lost crop, lost stock
the seasons merge.
Not a single tear
could fall
Tess lives in Queensland and has written poems and stories since
THE FISHBOWL RESIDENCY PROVIDES WRITING SPACE,
Who Wanted To Paint The Moon, was awarded second place in MENTORSHIP AND ASSISTANCE FOR A WRITER TO COMPLETE
the 2018 Hope Literary Prize (Brotherhood of St Laurence) and A TEN-WEEK RESIDENCY.
was published by Simon & Schuster. Her current manuscript,
INTERESTED EMAIL ADMIN@QLDWRITERS.ORG.AU
WWW.QLDWRITERS.ORG.AU.MAGAZINE 9Write On!
By Louise Thorenfeldt
In 2019, after the success of the 2018 program in Mount the form of a concert or performance event, with morning
Tamborine, the SRRC began working withthe Writers or afternoon tea adding to the community feel.The
Centre to deliver a Creative Life Writing program under an
Age Friendly Community grant funded by the Department their experience with others. A number of participants
of Communities, Disability Services and Seniors. Delivered chose to perform their poetry or memoirs, while others
in six locations throughout the Scenic Rim, the workshops
were designed by and in consultation with QWC and
Createplacemembers. The program was initiated with others delve into an emotional journey celebrating their
the knowledge that telling stories can be a cathartic strengths and stories of survival of either themselves or
experience,setting old memories free in a vulnerable and loved ones.
compassionate literary journey.
Createplace facilitators found the program to be a great
The Createplace team designed this free, creative success, with participants engaging from the outset,
forms, including prose, poetry and fairy tales, as well as also found it was and imperative to incorporate safety
information about digital storytelling. Everything was
supported by a workbook for participants to use as a
marketed to Scenic Rim’s older residents and those in risk humbling experience. It was aprogram that allowed these
fragile, unhealed stories to embark on a journey where
challenges. they could be told in a supportive environment. Each
location had a health representative present, and several
In each of the six locations, Kooralbyn, Rathdowney, Kalbar,
Harrisville, Tamborine and Beechmont, the participants healing process, with others exchanging contact details to
stay in touch. The resounding message was the wish for
through two,two-and-a-half hour workshops over a two-
creative skills development in writing and storytelling,
Louise is studying a Bachelor of Creative Writing at The
belonging and reduce marginalisation; empowering its University of the Sunshine Coast and interned with Queensland
Writers Centre during the year. Writing for Trauma is a growing
participants to pursue similar creative opportunities in
area of interest for Queensland Writers Centre,as well as the
the future. wider community. As part of our continuing support for this
emerging writing activity, the Writers Centre is working with a
number of partner organisations to provide these specialised
storytelling format to develop a short piece of prose and
collaboration between Queensland Writers Centre, Createplace,
a collective of arts health practitioners, and the Scenic Rim
Community Showcase. The Community Showcase took Regional Council (SRRC).
10 WQTropical Frogs
By Lesley Synge
But it’s late. Tropical
North Queensland (FNQ) from Ubud in Bali, where she
frogs are chorusing
into the night. Comet
Translators, and now she’s writing a grant proposal.
Eve has packed, ready
Under World Heritage rainforest canopy, within earshot for the next gig and
of the Barron Falls – the very locale in which Thea Astley is already a-move,
lived and found the inspiration to write Hunting the Wild
a-blaze. Brilliant,
unstoppable.
Pineapple (1979) and It’s Raining in Mango (1987) – Eve is,
as usual, dedicating her energies to community cultural
development. Currently the Cairns regional network representative for
Eve’s early life in Brisbane bred resilience and Queensland Writers Centre, Eve has previously served
organisational skills so when, in the early 1990s, she faced on the Management Committee. She laments the bind
a lack of support for practitioners of the arts in Far North she’s in – most of her writing is not the creative kind
QLD, 1700 kms from Brisbane, she set about creating it. she envisaged three decades ago but rather in the arts
And has not stopped since. advocacy model – and she is still frustrated by ‘a chronic
lack of money for the arts’.
A poet and writer herself, she instigated and emceed
Poetry and Pasta nights in Kuranda, going on to found ‘Tell me more about the vision to grow CTWF internationally,’
such enduring organisations as Arts Nexus and Cairns I cajole, having gleaned it’s progressive, ambitious and
Tropical Writers Festival (CTWF). global in scope.
But it’s late. Tropical frogs are chorusing into the night.
Comet Eve has packed, ready for the next gig and is
already a-move, a-blaze. Brilliant, unstoppable.
Lesley Synge is a founding member of Queensland Writers
Centre. Her latest publication is a poetry collection, Signora
Bella’s Grand Tour (2019). In 2018 she won the Arts Central
Queensland Lorna McDonald Essay Prize and the Ravello Tales
(Italy) short story competition.
CHASING THE WILD PINEAPPLE PAYS TRIBUTE TO THEA
ASTLEY, AUTHOR OF HUNTING THE WILD PINEAPPLE AND
FOUNDING MEMBER OF THE QUEENSLAND WRITERS CENTRE.
WWW.QLDWRITERS.ORG.AU.MAGAZINE 11The Spanish
Writing Retreat
By Gail Tagarro
Until this year, I’d attended a spiritual retreat in England that we were all serious about our writing, everyone had
long, long ago, a meditation retreat on the Gold Coast written for years (not necessarily published) and the
a few years back and a yoga retreat in Bali in 2015. environment was supportive.
Considering writing has been such an important part
of my life, it’s surprising that this writers’ retreat was Breakfasts and lunches were included as part of the
retreat, so our day began with breakfast at 9am. From
9.45 am until 1.30 pm was quiet time, when we worked
So, why Spain?
in silence on our writing. Imagine the only sounds being
Interestingly, other writers I’ve spoken to aren’t surprised the tinkling of goats’ bells, the water splashing over rocks
in the streams of the valley below and the buzz of bees in
While some writers have the discipline and lifestyle the lavender and wisteria of the garden.
especially as I’m working on other writers’ books
most days. Receiving constructive, objective
Why did I choose Spain instead of a local writer’s retreat feedback from other writers
(or elsewhere in the world)? Largely, because both books I
was working on are based in Spain. I also wanted to return
after a 15-year absence. Spain holds a special place in my
in my writing.
heart.
After the two-week retreat, I planned to travel around a
The steep mountains and deep valleys of the Sierra
bit and make it a working holiday. After all, why travel to
Nevada were the views we feasted our eyes on as we
the other side of the world for just two weeks?
wrote. We could move around to a variety of writing spots
The writers’ retreat was held in a 400-year-old guesthouse, as our fancy took us: the writing table in our bedroom, the
‘Casa Ana’, restored in the Spanish style. It’s in the village of sitting room, outside on the patio, various little secluded
Ferreirola, in the Alpujarras region of Andalucía, southern nooks on several levels outdoors.
Spain, with stunning views of the rocky Sierra Nevada
mountain range, 1,000 metres above sea level. By lunchtime, we were ready for food and chats and
always looked forward to the amazing Spanish meals
I arrived for the 8–22 June retreat. Having packed for prepared for us by the private chef.
summer, I was glad of the only light jacket and wrap I’d
From 2.30pm until 6.30 pm, it was silent writing time
week. There were just six of us, all English speakers. Two again.
lived in Spain, one in England, one in Germany and one in
the States. I think we all wondered what genres everyone Between 6.30 and 7.30pm, over a drink and nibbles on
wrote, and their writing expertise. It was good to discover the patio, we’d chat, or rest, or keep writing in our room.
12 WQWe could go for walks through the narrow streets of the A couple of the other writers keep a daily journal as a
village with its traditional white washed houses. Ferreirola
has only around 28 permanent inhabitants. The region is
renowned by hikers for its many trails and its spectacular taken up daily journaling again. A couple of paragraphs is
scenery. My priority was progressing with my books, so I better than no writing at all.
only did a few of the shorter walks.
me two weeks of pure indulgence for my own writing.
For an additional cost, we could participate in three
dinners a week at the retreat, or walk 10 minutes up
two books I’d written years ago, and I’m happy to say
the winding, largely deserted road to one of the three
I achieved that goal. My next goal is publishing them both
country restaurants, or buy our own food to cook in
between this year and next year.
the kitchen.
I couldn’t have wished for a more ideal, peaceful, beautiful
location. With most of the meals and housekeeping taken
The writers’ retreat gave me two care of, we were free just to…write.
weeks of pure indulgence for my
own writing.
5.30 pm for a group critiquing session, included in the
retreat price. Casa Ana organises a resident mentor
for the duration of the writing retreat, and she led the
critiquing sessions. We read an excerpt of our writing,
around 1,500 words, to the group, then each writer gave
their feedback, followed by the mentor’s feedback. This
was useful. Constructive feedback may:
• Reinforce your perception about some issue
with your writing, or highlight issues that you
haven’t been able to see yourself
• Give suggestions around character, plot,
dialogue, and more.
For an additional cost, three sessions of private mentoring
a week were available with the resident mentor. Writers
submitted an extract of 1,500 words for review, then had
a one-hour one-on-one session to receive feedback and
discuss their writing issues.
Receiving constructive, objective feedback from other Gail Tagarro is the author of Ten Ways to Super-Charge your
Writing Skills. She is a writing coach, author and accredited
I learnt how I could carry a support network back into the editor. She also provides self-publishing services to Australian
‘real world’ by teaming up with another writer for regular writers. She can be contacted on 0405695534 or editors4you@
critiquing sessions. This is a valuable outcome to keep me gmail.com. Her website is editors4you.com.au and facebook is
on task. editors4you.
WWW.QLDWRITERS.ORG.AU.MAGAZINE 13Born to the Sea
By Cynthia Tate
My father was born to the sea. His father was a merchant worth of mixed lollies, choosing each one with care, on
seaman turned accountant and his mother was the the way home. We spent long mornings in front of the
daughter of missionaries. Her trips to visit them from beach house, when the tide was high, paddling Dad-built
her boarding school in rural NSW over Christmas break surf skis into the mangroves up the creek. Even though
meant a long sea voyage up the Queensland coast to the
Torres Strait Islands. on the high tide as they moved themselves from creek
to creek.
Dad started his seafaring with a small toy yacht built for
him, fully rigged, which he would launch by hand into the For my father, the yearning to take the family out on longer
bay. A tiny sabot would follow this. By the time I came along,
second of three, it was the ‘Shark’ boat. So named because grew. We burnt the shark boat in a funeral ceremony on
of the red and white mouth and eyes and teeth painted the diminishing beach in front of our house and upgraded
on the bow. This enabled the boat to ‘eat up the waves’
as we travelled and tacked back and forth. It was thrilling,
With each boat we could adventure further from shore.
not only the eating of the waves, but the unexpectedly
reliable splash of salt water spray, while I watched the joy
in the beginning of our time in the Whitsundays.
on my father’s face as he skippered the dinghy, squiring
Places where we could be alone without other close
us all, Mum, elder brother and later younger sister, and
human contact for days at a time.
even our Airedale terrier.
I wouldn’t want to say that was the last time I enjoyed
being in a boat, but it was the last time for all of us, all six Dad’s face would be half hidden
including the dog. United in the joy of the tilted stability
of a boat pushed down into the water to carve through,
under a thick spray jacket, and
while the sails harnessed the wind. We gathered on the water would pool in the brim,
upward side to hold the boat, to steady it with our bodies,
maximising speed, before the call for ‘ready about’ would drip downward to the wash that
boom of the mainsail and to release the jib for the change
swirled around our feet.
in direction.
Slade Point, where these boat adventures began was the
idyll of my childhood. We scampered around the sand My mother, who still impresses and leaves me in awe,
hills, clambered the crumbling rocks at the Point, snuck would have spent about a week in advance organising
through narrow cave passes as the waves brought the and cooking food and then packing it away in the small
tide in. We believed we named the Wishing Well, a rock nooks and crannies that boats abound with. She was
pool replenished everyday by the waves. Pulling ourselves also, dreadfully, always seasick. It would last for at least
to the bottom we’d dive down to collect coins to buy 10c
14 WQcrossness, it was hard to tell. She would take herself down
below deck while we were sailing to our destination, and
present to us food for lunch and a cold soft drink. And we
would all sit close in the cockpit while Dad skippered, or
my brother or sister, and look out over the water toward
the horizon between the islands where nothing seemed
to be.
I was seasick too. From the moment I would step on to a
boat larger than a dingy I would start to feel the nausea
and discomfort of the disjunct between the inner ear
and the eye. In time, many things cued the feel of nausea
– from sunscreen, to marine plastic to the smell of diesel
engines. My brother rightly pointed out that it was all in
misery.
My Dad says, that the holidays and times on the boat
were the best of his life. His kinship to the sea, to sailing,
to the complex business that is working out how to point
the boat and set the sail, to maximising speed but never
at the cost of safety, put him in his element. I can see
his face, one trip back from St Bees, in the swell of an
impending cyclone. The waves were twenty feet above
us. He would turn the helm in towards the wave as
we came to it and then, like a surfer, the boat would
glide down into the trench like the dolphin Ben Lexen
had designed it to be. As if the boat, and my father,
belonged there. Dad’s face would be half hidden under
a thick spray jacket, and water would pool in the brim,
wash that swirled around our feet. He looked serious.
He looked capable. He looked like he belonged, and
we, even seasick me, not asleep but huddled and wet
on the downward side of the cockpit. We felt safe, and
that this challenge was no more nor less than he could
handle. Safe in the knowledge that this return trip would
go on to become a shared anecdote about our family,
our boat, our holidays, our time together – to which all of
us belonged.
Cynthia always gets seasick when out sailing but still went every
school holiday and long weekend on the family boat as a child.
and watching Korean historical dramas. She earns a living as a
Learning Designer.
WWW.QLDWRITERS.ORG.AU.MAGAZINE 15QUEENSLAND WRITERS CENTRE
2020 PROGRAM
JANUARY - MARCH
START WITH A STORY
THU FEB 06 - FEB 27 | 6.00PM - 8.00PM | 4 WEEK COURSE
Whether you want to write dynamic, new characters TUTOR
or breathe life into existing ones, this workshop is for Emily Larkin
you! Create character profiles, practice writing in your
TICKETS
protagonist’s voice, and understand the function of
$125 – $245
different point-of-view and tenses. Discuss what makes a
compelling protagonist/antagonist, and write memorable
character descriptions.
NOVELISTS’ BOOTCAMP
SAT MAR 07 | 10.30AM - 4.30PM | 2 DAY COURSE
Prepare yourself for two full days of intensive brainstorming, TUTOR
plotting, and practical exercises so you can arm yourself Kim Wilkins
with the tools and frameworks to support your story. You
TICKETS
will learn how to face your writing fears, create a book
$299 – $420
map, and guide your ideas into a workable narrative.
Successful completion of the course will leave you with a
comprehensive plan to guide your first draft.
YEAR OF THE NOVEL
SUN FEB 02 - OCT 04 | 10.30AM - 4.30PM | 5 SESSION COURSE
Year of the Novel returns in 2020 so you can follow through TUTOR
with your New Year’s resolution to get that book out of your Melissa Ashley
head and onto the page. Attend five full-day workshops
TICKETS
throughout the year, each detailing the steps you need to
$595 – $795
take when writing the first draft of your novel. Run by award-
winning author, researcher, and tutor, Melissa Ashley,
receive practical advice and inspiration.
RABBIT HOLE WRITING CHALLENGE
SAT JAN 11| 10AM - 4PM | 2 DAY EVENT
Take the challenge! The Rabbit Hole Writing Challenge TUTOR
is back, running from 10:00am - 4:00pm across the Judy Gregory
weekend. As a special new year’s challenge, start 2020 by
TICKETS
writing 2,020 - 20,200 in two days! Hop on down to the
FREE
Queensland Writers Centre and join a supportive group of
committed writers.
To book please phone (07)38429922 or jump onto this link https://cutt.ly/Le3643M
16 WQQUEENSLAND WRITERS CENTRE
2020 PROGRAM
JANUARY - MARCH
WRITING SEX & LOVE
SAT FEB 15 |10.30AM - 1.30PM | 1 DAY WORKSHOP
Learn to write scenes of love and lust that will make your TUTOR
readers blush instead of cringe. Everybody does ‘it’. But Kylie Scott
is writing about it right for you? And if so, how do you
TICKETS
go about it? We’ll cover the basics of detailing physical
$60 – $115
attraction, the emotional journey, what a sex scene in your
book can achieve, and how it should all be handled.
You can also watch this workshop via online live stream!
THE HERO & HEROINE’S JOURNEY
SAT JAN 25 | 10.30AM - 4.30PM | 1 DAY WORKSHOP
This workshop explores where literature and psychology TUTOR
converge. Drawing from Joseph Campbell, Maureen Lauren Elise Daniels
Murdock, Caroline Myss, and Carl Jung, examine character
TICKETS
flaws, tests, and transformations and the satisfying storylines
$100 – $190
these create. Trace the classic hero and heroine’s journeys
as psychological templates.
You can also watch this workshop via online live stream!
CRITICAL READING FOR WRITERS
SUN FEB 23 | 10.30AM - 4.30PM | 1 DAY WORKSHOP
In this workshop, literary expert and editor, Laurel Cohn, will TUTOR
teach you how reading the work of other authors will help Laurel Cohn
you develop a range of technical skills and aesthetic ideas
TICKETS
that will support your own writing. Through looking at a
$100 – $190
range of excerpts, you will focus on different story elements
that are relevant to both fiction and narrative non-fiction
writers, such as voice, backstory, setting and description.
EFFECTIVE ONLINE WRITING & EDITING
SUN FEB 09| 10.30AM - 4.30PM | 1 DAY WORKSHOP
If you write your own web content, there’s a lot you need TUTOR
to know to do it successfully. Web content gives us a lot Kylee Bristow
to consider, including writing style, writing design, and
TICKETS
ensuring your content is found and shared. This workshop
$100 – $190
will give you the knowledge you need to write effective and
dynamic web content that your readers will understand.
You can also watch this workshop via online live stream!
To book please phone (07)38429922 or jump onto this link https://cutt.ly/Le3643M
WWW.QLDWRITERS.ORG.AU.MAGAZINE 17Love You to
Death
By Luke Madsen
Don’t say it. Don’t say it. Don’t say it.
checking in to ruin his night and quite possibly his whole
‘Busy night tonight?’ he asked the Uber driver. Noah
would’ve happily said nothing, but he loathed to seem
rude. He also loathed to make small talk – a rock and a His heart fell into a hole as she clicked into Tinder.
hard place, and all that. Still, better to be cliché than an Mercifully, she didn’t check the match. Instead she clicked
asshole.
comparison.
‘Last ride.’ The driver was a guy with a face and two arms,
a central nervous system…Noah could care as little for his ‘How old were you in this pic?’
name or his strangest Uber experience as he could for a Noah shook his head. ‘See…this is why I hate Tinder.’
Minty or a—
She grinned. ‘So it wasn’t bullshit?’
BING. Noah looked to his right, where Sara checked a ‘What wasn’t?’
She swished her thumb across her phone, scrolled up
‘Restaurant wants me to leave a review,’ she said. to the beginning of their message thread. She read his
‘You checked in?’ A million thoughts binged into his brain:
Tinder showed me. It was enough to make me stop
she checked in did she tag me did she enjoy herself are we
loathing Tinder for a few minutes. Upside down smile.’
even Facebook friends am I wearing my ‘adult’ underwear
‘It’s true,’ he said simply. After all, beginning a relationship
my bed is freshly made fucking laundry day coincidence by bullshitting someone wasn’t exactly feng shui. Still, it
will it happen on the couch oh my god. never stopped him wondering why this wasn’t common
knowledge? And now he was talking to himself: Feel free
‘When you were paying,’ she said, and smiled a little smile. to stop rehashing old qualms—
He couldn’t tell if it was wry or not. Or maybe he was just
paranoid. Their eyes met. Her eyes. Blue, uninhabited planets…
claim. A guy from uni once told him to worry only about
himself—he side-eye spied on her as she typed out a the eyes, and perhaps he was right. He watched her eyes
review: Ambiance on point. Vegan options not so much. search his face…
His shoulders fell. ‘Sorry about dinner.’ ‘Well, it was a nice open at any rate,’ Sara said.
‘I’m here, aren’t I?’ She gave him a wink. To Noah it sounded like the world’s most sceptical
compliment. Was she disappointed it wasn’t bullshit? He
Yes, she was—and he couldn’t believe it. Taking a girl
realised he couldn’t read her; but, of course, that was
always a given. His Adam’s apple dug deep as he dragged
was…whatever, here she was. Besides—
some fortitude into his throat. ‘Good to know. What about
18 WQyou?’ Like so many men before him.
‘What about me?’ The happenings around her came into focus: cars
pulling over; sirens howling; people on their phones, one
‘You like Tinder?’
intentions for the umpteenth time that day.
Where’d Noah go?
question, he didn’t even have time to regret it—
She moved around the wreck and found Noah sitting on
‘Shit—’ whispered the Uber driver—the car jerked—
Noah’s thoughts ceased. His head whipped from the driver dress over her knees…like it fucking mattered.
to Sara, who was staring at the car careening towards her.
They looked upon their bodies, hung like spent piñatas.
he reached for her—
Firemen jumped into action and did their commendable
Why did you have to say that?
best, but tonight the Jaws of Life were too little, too late.
She had to remind herself that not everyone was a fan of Their bodies were snipped from their perches, reefed
brutal honesty. But could he really be that…what was that from the wreckage, passed onto plastic boards, bagged
word? ‘Virtuous’? No— and tagged like cargo…
‘Shit—’ whispered the Uber driver—the car jerked—
She could barely bring herself to look at him again. She
Her hands pressed up against the window. She only had was incredulous that in this whole time he hadn’t said
time for a sharp breath that caught in her throat— a word; but she couldn’t exactly have a go at him for it
because the total amount of words she’d uttered since
A long moment passed—but only a moment—in which
memories kaleidoscoped up from her subconscious,
danced past the forefront of her mind, and then blipped But, frankly, what was there to say?
away. She suddenly felt light, as if gravity had just released
her from its grip.
Sara heard the car DA-DAH-DAH-DHOMP to a standstill.
She found herself kneeling on bitumen. She instinctively
looked to the direction of the sound—
in the back of the car, her body hung limp, upside down.
In the dark comedy of her life, she heard the narrator
equivocate: Sara was taken aback.
She rose to her feet and saw Noah, as he too rose upright
from the other side of the wreck. His countenance was
The Uber driver crawled out of the wreck. The prick was
bleeding from the ear, and that was about it. He was due
to do that. When she looked back toward Noah, their eyes
met. She told herself to look away, but she was never
good at following her own advice—and, let’s be honest,
who was? She could see the windows to his soul had just
shed their panes…and he was so sorry.
WWW.QLDWRITERS.ORG.AU.MAGAZINE 19The emergency vehicles drove away. The onlookers
dispersed. The only trace of their death was the sawdust Her un-paned eyes scolded him, and she regretted it
strewn across the road, slowly soaking up oil, blood, and immediately. In the dark comedy of her life, here was the
entrails. cruellest trick: she’d known him in person for a handful of
hours only, but it was plenty of time to know he was too
You know that feeling, when you can feel someone’s good for her.
eyes on you? Sara realised it occurs even in death. In her
She might’ve enjoyed being accompanied home too, but
of trying to conjure Just the Right Words. She wondered if she loathed to make small talk.
she should put him out of his misery, tell him they didn’t
exist— She didn’t know it, but it was something they had in
common.
‘I should walk you home,’ Noah said.
She almost laughed. In the dark comedy of her life, that Luke currently teaches English at Trinity Bay State High School,
was solid gold. Cairns. A graduate from The University of Queensland, he
has previously worked as a freelance copywriter/editor, and
continues to pursue a writing career in his spare time.
be that…what was that word? ‘Earnest’? Didn’t cut it.
‘Romantic’? Hopeless.
GENRECON IS THE PREMIER FESTIVAL OF GENRE WRITING IN
AUSTRALIA. THE COMPETITION, IN ITS INAUGURAL YEAR, WAS
Hopeless…No… He was a Helpless Romantic. THEMED POLTERGEISTS AND PETTICOATS. WINNERS RECEIVE
5 HRS MENTORING WITH DR KIM WILKINS, PUBLICATION
AND VOUCHERS. CLOSED.
WRITERS’ PLAN
SAT JAN 18| 10.30AM - 4.30PM | 1 DAY WORKSHOP
Reach your 2020 writing goals by crafting your very own TUTOR
writers’ plan. Lori-Jay Ellis
As a writer, it can be difficult to think about large overarching TICKETS
goals, whether it is to get your first draft done, polish and $100 – $190
prepare your work for submission, or build your author network
and brand. Writers’ Plan is a course that turns these intimidating
goals into four achievable blocks: the sustainability of the writer,
engagement with an audience, publishing schedule, and craft
and conference planning. With CEO of Queensland Writers’
Centre, Lori-Jay Ellis, learn how to be prepared for annual
“I found the Writers’ Plan workshop
opportunities, competitions, and conferences, plan your online
extremely helpful and it has inspired activity, build your audience engagement, and of course, keep
me to begin work on my novel. on top of your writing! You will walk away with a clear, concise,
and exciting view of your future writing life for the next twelve
I have begun the process of setting
months.
specific, measurable, accountable,
realistic and timely writing goals and Through group work, individual meetings, and activities,
find I am now able to map out an you will have a clear idea of how to do the following:
achievable plan for the year.”
• Make a personal plan so you can sustain yourself
- Paul Herschell, an aspiring writer. writing.
• Learn who your audience is and take the steps to
engage with them.
• Develop a publishing schedule.
• Prepare for annual competitions, opportunities, and
conferences.
• Stay inspired with your craft and keep focussed on your
writing future.
20 WQWWW.QLDWRITERS.ORG.AU.MAGAZINE 21
Wicked
Obscenity
By Nicole Walsh
Inside, the still and calm of an orderly, organised house. come inside. You prepared a room?”
Outside, the landscape jumped and jigged and jived.
She pointed eagerly.
Watchful of neighbours, Miss Elouise Hampton smuggled
the carefully cloaked, discretely disguised painter into her “With the things I sent around?”
living room.
“Of course.”
He clutched the wall, sickened.
Miss Elouise Hampton rocked her weight, trembling with
“Would you like to sit?” she fretted. nerves. The painter sighed and pushed to his feet.
“Please.” “That very large tree?” he pointed.
“Some refreshments?” “Yes.”
“Not yet.” “And Mr Buckward?”
“You’re unwell?” “Waiting.”
“Motion-sick. The landscape.” The painter forced a tired smile.
“I see,” Miss Elouise Hampton murmured. She did not. “Let’s get it started.”
pathways of softened dirt across which grass and weeds
zigzagged their own zany journeys. Rocks rolled and revealed a landscape of rocks and grass shifting Eastward.
romped, leaving obscure messages in the dust. Trees of all sizes marched their seasonal journey North.
The shifting slash of shadows criss crossed the dust.
“You requested the curtains closed?”
The painter’s stomach instantly soured. He locked his
“Please.” smile in place as he followed the nervous couple across
the bare, abandoned dust of the yard. He forced himself
The painter looked better. The stillness inside the house
to study the slowly ploughing tree, the sullenly tilted
was soothing to his sensibilities. Outside, a deep groan
mailbox on its weekly pilgrimage up the street and the
and grind marked the slow, seasonal movement of a huge
edge of shy grassland gracing the hilltop.
tree. The painter watched the shadows shift around the
edge of the curtains. His breath caught.
Miss Elouise Hampton wrung her hands nervously:
“How do we start?” Mr Morton Buckward dropped to one knee, extending
his hands upward. Miss Elouise Hampton touched his
“Position yourselves. I will spend a moment watching, then
22 WQEven as a very old woman, Mrs Elouise Buckward had to
She looked at the painter, and he nodded. He looked
decidedly ill. landscape, the wicked obscenity of unchanging stillness.
“Perfect.” “Such a queer thing,” she murmured, enchanted.
“Are you sure?” she worried. “The tree, the letter-box...?”
“Yes.”
“The angle?”
Nicole’s short story was the August winner of our monthly writing
competition Right Left Write, which is run through the Pen &
Pixel enewsletter. Many writers are now using the competition
to inspire them to create a short piece every month. We even
The painter bolted inside, hand to his mouth. He swooned
have school English classes using it to help inspire students to
on the couch until his head stopped spinning, then forced write. We hope Nicole’s story success will inspire you to put pen
himself upright to paint. to paper and send your writing out into the world.
By the following evening it was done: the tree; the
letterbox; the dusty trail; the two beautiful young people,
caught in the moment of proposal. By the time they were OUR MONTHLY WRITING COMPETITION IS DESIGNED TO KEEP
YOU WRITING WHEN MOMENTUM PLATEAUS. DECEMBER’S
wed the painting hung behind a screen in their bedroom,
WRITING PROMPT IS WORLDS COLLIDE.
replacing the landscape of her mother’s own proposal, ENTER HERE: HTTPS://WWW.SURVEYMONKEY.COM/R/F9LLPRW
dwarfed by the same ancient tree.
THE CHILDREN’S BOOK COUNCIL OF AUSTRALIA
(VIC BRANCH) INC
MAURICE SAXBY CREATIVE DEVELOPMENT PROGRAM
a two-week mentorship in Melbourne from 17th Aug – 2nd Sept in 2020.
Applicants are invited to submit one the following:
• up to three children’s picture book texts (with or without illustrations);
• one only younger reader manuscript;
• one onlyYoung Adult manuscript;
Submissions must be accompanied by a covering letter stating reasons for applying and a CV including contact details.
Send via email to: Helen Chamberlin, Acting Coordinator, Maurice Saxby Creative Development Program at
helenchamberlin@tpg.com.au or mail to Helen Chamberlin, 4/238 The Avenue, Parkville Vic. 3052.
ENTRIES CLOSE 31ST January 2020
WINNERS ANNOUNCED TUESDAY 30TH APRIL 2020
WWW.QLDWRITERS.ORG.AU.MAGAZINE 23Competitions & Opportunities
Queensland Writers Centre Hal Porter Short Story Moth Poetry Prize
Writing Competition 2020 Competition 2019 (Irish Magazine Competition)
Closes 13th December 2019
Entry Fee: $10
Closes 31st December 2019
Closes 31st December 2019 Australian writers are invited to enter a
short story, written in any style for the Entry Fee: €15 per poem
Entry Fee: $55
The competition is open for a single,
Turning page to screen. The Adaptable be original works, in English, and must unpublished poem. No line limit, and
program gets writers pitch ready to not have been previously accepted for the entry can be on any subject, Please
present their publication-ready stories to publication, which includes websites. Any enter online, or send your poem(s) with
producers at a market day. style of story is acceptable. Number of a cheque or postal order with the entry
Apply now at: entries are unlimited. Entries must not form and cover letter attached. More
queenslandwriters.org.au/competitions exceed 2,500 words and only the title information, visit themothmagazine.com.
of the story, not the author’s name, is to
appear on the manuscript.
2020 Bush Poetry Writers
Stringybark Short Story Competition
2020 Calibre Essay Prize
Awards 2019 Closes 31st January 2020
Closes 15th January 2020 Closes 19th January 2020 Entry Fee: $5
Entry Fee: $15 - $25 Entry Fee: $14 for one story, $26 for two As part of the 2020 Bush Poetry
stories, $36 for three stories (max) Festival program, there will be a writer’s
The Calibre Essay Prize is open to all competition for poetry. There will be two
essayists writing in English. They seek Entries are open-themed, but must have sections; Open and Emerging Poets (who
essays of between 2,000 and 5,000 a link, no matter how tenuous, to Australia have not won a writer’s competition.)
words on any subject. Essays of all kinds: and suitable for readers over the age of There will be a $5.00 entry fee and
personal or political, literary or speculative, sixteen. Words limited to 1,500. Prizes $100.00 prize money for each section.
traditional or experimental are welcomed. awarded to the winners are valued at over Please send entries to;Irene Conner, PO
$1,000 in cash and books. For submission Box 584, Jurien Bay WA 6156 or email to
requirements, visit stringybarkstories.net. iconner21@wn.com.au.
Somerset National Poetry Hawkeye Publishing Maurice Saxby Creative
Manuscript Development + Development Program
Prize Publication Prize Closes 31st January 2020
The Children’s Book Council of Australia
children’s and Young Adult writers and/
Closes 6th December 2019 or illustrators a two-week mentorship
Closes 20 December 2019 in Melbourne from 17 August to 2
Entry Fee: $15 September 2020.Applicants are invited
Entry Fee: $45 to submit one the following: up to three
The Somerset National Poetry Prize is
open to all current secondary students, Open to Australian Residents. Accepting children’s picture book texts (with or
who must be under 19 years of age as Fiction and Non-Fiction (no short stories without illustrations);one only younger
at the date of close of entries. The entry or plays). Word limit of maximum 95,000 reader manuscript;one only Young Adult
must be an original work of no more words in length. Applicants must submit manuscript;an illustration folio – in a PDF
than 50 lines. Theme of competition is
of their manuscript, and a one-page plan accompanied by a covering letter stating
open. Students may submit multiple
demonstrating to judges that the applicant reasons for applying and a CV including
entries, with an entry fee for each
understands their audience, knows how to contact details.
submission. More information, visit reach them, and can successfully continue
www.storyfest.com.au. with the self-publishing of their book at the
completion of the prize package.
24 WQYou can also read
