VISIONARY Paul Mason Robyn Sheahan-Bright-Writing for Comics - Australia Day Honours List - Squarespace
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VISIONARY
Paul Mason riting for Comics
ISSUE 272 Robyn Sheahan-Bright
–W
– Australia Day Honours List
Mar 2021 – May 2021
PUBLISHED BY
ISSUE 272
Mar 2021 – May 2021
ISSN 1444-2922
Contents
where
EDITORIAL AND PRODUCTION
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
stories
Members can submit Milestones or details of
Events or Competitions and Opportunities, or
pitch articles for WQ,
by emailing us at editor@qldwriters.org.au
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
12 Writing At The Centre QWC members enjoy a reduced advertising
rate. Before booking an advertisement potential
live
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
18 Writing for Comic Books Social Media Officer
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
Kym Hausmann
Paulette Flint – by Lesley Synge
Vice Chair
Ann Wilson
23 Competitions & Opportunities Treasurer
Mary McWeeney
Secretary
May 7-9, 2021 | State Library of Queensland 26 Publisher Update Judy Gregory
Tickets on sale March 19
ORDINARY MEMBERS
Sandra Makaresz
28 Member Milestones Andrea Brosnan
Sarah Thornton
Angela Samut
bwf.org.au 29 QWC Membership Benefits
WWW.QLDWRITERS.ORG.AU.MAGAZINE 1
PUBLISHED BY
Uncle Herb Wharton AM
ISSN 1444-2922
ISSUE 272
2020 Johnno Award recipient
Editorial
Sandra Makaresz
Editor
GUEST ARTIST
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
mix of old and new ways of exploring this theme. From storytelling in video There were a lot of laughs between Michael and Uncle
Dr Paul Mason is an award-winning personally present Uncle Herb with his Johnno Award.
games and virtual reality, to the visionary leap of an author opening their work Herb. And there was excitement about the possibilities of
cartoonist, and animation concept
up to the possibility of collaboration through our Adaptable competition. They enjoyed a long chat on Uncle Herb’s verandah, the blank pages. Uncle Herb promised to get started on
designer, working for companies
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. or disappointment to erode their self-belief.
QWC’s Johnno Award for her significant contribution to
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 In some ways, the world of writing is different now to how
Gate (joint winner with Isobelle Carmody’s The Gathering)
work. I subsequently worked with committees chaired it was in the 1990s. There are many more writers and
and the CBCA Picture Book of the Year Award for First
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
as influential regional festivals. The Menjerriba Tribute to All writers need passion, discipline and professionalism.
growth and energy in the Queensland writing community
Oodgeroo on Stradbroke Island was organised by Warana Learning about the writing and publishing industry is
and with significant support from both Arts Qld (where
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
feel ‘dream-like’ in their logic, but not in the game. Places, ships, planets, understand that the play is more Narrative is not always the main game writer and narrative designer
emotional experiences outside of
fantastical, so they fit the New Weird people, objects, abilities, creatures, meaningful if it is congruent with the reason to play a game. It is possible is the day-to-day work that eventually
heart-pounding adrenaline rushes.
tone of the game. Narrative designers enemies, modifications, weapons, character and the story. For example, for players to engage less with the results in narrative infusing every
And what of the writer’s role in
focus on the player’s experience of crafting materials… everything! It all in Control, you play Jesse Faden, who story of a game and more with other aspect of the game experience.
these experiences? What do those
the story, whereas writers focus on adds to the mood and tone of the is an outsider looking for her brother aspects like exploring the world or
story-people do in games and what
the character’s experience. narrative world. in a strange government building. As combat. Players may also forget
storytelling skills can be transferred
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, to do when games can be over 60
narrative designer who has
gun, gain supernatural abilities and worked on Control, The Gardens
the average novel or screenplay the player progresses through the hours long) or miss them altogether
I haven’t done the same work on any fight monsters as you get closer to 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 and has published academic papers
of the team and the size and genre storytellers know this and work with
government building under attack For the gameplay and story to work on narrative design, storytelling and
of the game. I was the only writer on other disciplines to reinforce the look
by a supernatural force. The players together, writers and narrative the links between digital and traditional
the small development team of The and feel of the story world, without literature. www.brookemaggs.com
can find forms, letters, and messages designers must collaborate with
Gardens Between, a puzzle game with dialogue or character. We may also
composed by government staff. The the rest of the development team.
one storyline and two characters. I include a summary of the story in the
narrative team worked together to Everyone in the team is trying to
discussed story structure, character player’s menu that updates as they
plan, write, and track this fictional connect with the player. When
development, wrote character progress, to make the story more
archive, while ensuring these side penning their scripts, good writers—
biographies, and helped design and accessible.
stories can be played in any order and like film and TV writers—are aware
document how we intended to tell
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
A narrative designer is someone Image from The Gardens Bewtween by the Voxel
surrounding narratives at different 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.
We met regularly for 16 years, and For the first writing prompt, I invited 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 has a BA in English Literature from
them to special benefits.” Definitions us the light. Mine was Pat Schneider,
impaired people about writing would write about a plastic funnel, but At every meeting there were always the University of Queensland and
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. would write about a necklace, but it back to the writer. A scribe needs
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 in the
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
Marjorie C. Luesebrink Award which honors a visionary artist
the award winning VR Young Adult Adventure, Perpetual interactive and more passive-based microfictions which
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
Centre
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.
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 Contact SHP at: author@sidharta.com.au
120 pages challenging yet highly accommodating in helping me to often lonely experience made me
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 publishing options.
Mobile: 0408 537 792
voices often go unheard. I hope to
scenes and a short film as an actor in valuable throughout the residency. I Web: http://sidharta.com.au
give a voice to those women through
Sydney. Before starting the residency, had a large notebook to handwrite all We publish:
I developed a clear plot outline for my my main character, Mona.
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
screenwriting course with AFTRS in on-demand via Amazon / 23 Stirling Crescent, Glen Waverley Vic 3150.
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.
was good, the characters had room to
I’ve now had four books published by Sid Harta. The fact that I have kept on
Discovery of Her is an adventure best of my ability. She taught me that
grow in complexity. So, to play to my specificity and authenticity was key Call us to discuss our service. coming back indicates that I have been very happy with the services provided,
story about a palaeontologist
strengths, I wrote out conversations from the initial manuscript assessment, to editing, book design and distribution.
named Mona. She discovers a to an excellent screenplay. I hope
between the characters and let to take this advice with me into the I have enjoyed the collaboration, particularly in editing and design, the final
new species of dinosaur fossils in
organic lines of dialogue come into future as a screenwriter. outcome a fusion of my ideas and suggestions made. Many thanks!
Winton, Queensland. However, her
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. Walking, Whistler Street, Friend and Philosopher
Kat Wasiel is an emerging visual writer,
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, both Sydney and New York City. With a
inspiration from everyday moments
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
QUEENSLAND WRITERS CENTER
2021 PROGRAM
KEY GUIDE
Course Workshop Seminar Bootcamp Engagement
Part seminar, part A more intimate This event will help
workshop; staged environment A lecture-style An intensive
you build skills to
over one or more conducive to class presentation that course run over
engage your
days, weeks or writing exercises and may involve some consecutive days. readers.
months. audience
tutor feedback.
interaction.
Craft Sustainability Live Stream Hybrid Members Only
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.
Level 1 Level 2 Level 3 Pop-up Free
Suitable for writers Suitable for Suitable for A short meet and This event is free,
of all levels. intermediate emerging writers greet with an so feel free to join.
writers and above. and above. update from QWC
staff.
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
by frame my ballpoint pen heroine did everything I I read it several times. He was generous, supportive,
. characters drove BMWs, he gave them Bentleys; where
could make her do in ten seconds: she went out sailing, ‘COVID19, first a distant meteor sharply insightful. He deserved a response. Here was
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
somewhere far away, came lived in the outback in a giant mansion on 10,000 acres
shark swam by and birds flew overhead. 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 contemporary Queensland. He said it sounded interesting Discussions with studios are, I believe, currently underway.
Reality hit: there could be absolutely no chance that any
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 days later he said he’d like to pitch something to me.
set mostly in South Africa. not prevent the unique opportunity that arose through
community project used for generating funding. I realised
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
style, influenced by my yearning to share story through Shelley Davidow is an international author and educator. For the
my pitch. The day arrived and I pitched my story to three
images and symbols, is still visual. My dream of bringing past twenty years she has written and taught on five continents.
producers. One got back and said though this project
my ideas to the screen persists. Her books include the recently released Raising Stress-Proof
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 17Writing 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
stories. No other medium employs rather than just ‘tell’. To give the images, often better than you pictured 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
brief description, dialogue, panel 2: together and enjoy the process!
such a multitude of ways, in order character’s inner thoughts, while waiting a long time before that project
etc.), which I recommend if you’re Starting small means trying an artist
to entertain and invoke a sense also having the character speak and 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 lecturer in visual storytelling, art direction,
With comics, before diving into
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 more you do it. Multiple short scripts the Bachelor of Animation program at the
the visual language of comics, the recommend you first attempt a small the story and beats, and then difficulty locking down an artist on a where you can write, rewrite, see Griffith Film School.
methodologies, not to mention the comic of 4 or so pages. If you can this plot/outline is ‘broken down’/ large project; the shorter work being it drawn, learn from ‘mistakes’, find www.masoncomics.com.au
historical considerations and current tackle small stories, ones longer are translated visually by the artist into more feasible to try out. better ways to execute your ideas,
publishing prospects. It is a lot to easier to form to page/panel counts pages and panels. Can save time, but and creating a new comic, makes for
cover, so let’s stick with some basic later. Where film and screenplays are When looking for an artist, I always
takes a bit of experience and skill. far better comics than attempting
ideas. a question of ‘time’, comics are ‘space’. suggest looking past pretty pictures
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 Hybrid: methods that storytelling pages. Good storytelling
1. Thinking Visually illustrating contain ‘rules’ and methods
page, that means you need to tell employ a combination of both, such art can save an average story, but
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 19seen the old man in the closed down not, but I created it by manipulating
How to Write a Song market, kicking up the papers with his
worn out shoes?’ Strangely the more
random thoughts and Biblical text. It
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’.
She writes a blog through her website
By Sue Wighton 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 as MC and guest speaker for special
If I actually, truly, madly, deeply wrong. You can’t go to jail for singing: that should never appear in a song.
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 words and music.
lyrics in the Bible. My lyrics include,
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 that all great songs have killer first
and a song was born.
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 21Chasing 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
published some 3,000 stories? It’s a Deadline: 31st 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
a copy of her book, What’s in a Name? Lesley Synge holds an MA in Creative fiction piece on science written for a general audience.
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 Science Writing 2021, NewSouth’s annual collection
Educator and local historian, Paulette Gladstone, Queensland (2009). bold perspectives that command attention. They are not
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
column for The Observer (Gladstone) latest poetry collection is Signora Bella’s
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
Deadline: 18th March Length: Max 60 lines
ever since.
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 The Fish Poetry Prize is open to poets of any nationality
past as much as I do,’ Paulette reflects
in the Spring 2021 issue of Meanjin and agreement for writing in English. There is no restriction on theme or style.
during our interview, modestly
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 Geminga: $500 for Tiny Fiction, Nonfiction,
generations. ‘A flurry of letters to the
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 Prize: $500 & publication
Length: 1,500 words
an interactive lot. They give feedback,
100 words for fiction and non-fiction;
suggest topics, and send in their Deadline: 31st March Length:
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 be on a topic of the author’s choosing. The competition Sunspot Literary Journal is launching Geminga: $500
for 27 years, the paper decided to axe
2019 Our Priceless Past interviews in Gladstone. Image courtesy is judged by the editor of Landfall. The winner will be for Tiny Fiction, Nonfiction, Poetry, or Art to honour the
it. Undeterred, she relaunched it on
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£
5,0
PRIZ00
StoryLinks Short Story Competition Blackfella Speculative Fiction Anthology Glendower Award for an Emerging Queensland Bridport Creative Writing Competition E
Price: FREE Price: FREE Writer Price: FREE
$250 and publication on StoryLinks Prize: $500 and publication Price: Free
Prize: £5,000-£1,000
Prize:
website Length: Max 5,000 words $15,000, manuscript development, 5,000-8,000 for novels (initially); 250
Prize: and publication with UQP Length: words for flash fiction; 5,000 words for
Length: Max 1,000 words Deadline: 30 April
th
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
Awarded for an outstanding unpublished manuscript by an Bridport Creative Writing Competition is open for aspiring
writers of children’s stories aged 18 and above. speculative fiction short stories written by, for, and about
emerging Queensland writer. Authors who have previously writers everywhere. It is committed to discovering new
Indigenous Australians.
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.
15,0
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Daisy Utemorrah Award PRIZ00 binding publishing contract or be in current contractual The Australian Vogel’s Literary Award 2022
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Prize:
Magabala Books Price: $50 Length: 50,000-80,000 words
Length: 3,000-5,000 words
Length: 40,000-100,000 words Manuscript development and pitch
Deadline: 12th April Prize: Deadline: 31st 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 manuscript of junior or YA fiction. The Award is open to 110,000-word manuscript
manuscript by a writer under the age of thirty-five. Offering
futures, and the genres of hopepunk and solarpunk. They all Aboriginal and Torres Strait Islander peoples currently Deadline: 10th May prize money of $20,000 plus publication by Allen & Unwin
are seeking short stories that centre on climate solutions living in Australia.
Publishable gives up to 25 emerging writers the chance with an advance against royalties, The Australian/Vogel’s
from the most impacted communities and bring into Literary Award has launched the careers of some of
to take part in a tailored Manuscript Development
focus what a just, regenerative future could look like. Australia’s most successful writers, including Tim Winton,
The Lifted Brow Experimental Non-Fiction Prize Program. Each writer will be given a personalised timetable
designed to strengthen, refine, and polish their completed Kate Grenville, Gillian Mears, Brian Castro, Mandy Sayer
2021 Newcastle Short Story Award Price: $7
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,
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Length: Max 2,000 words
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
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Prize: Publication Price: $15-$25
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th 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 25You can also read
