northerly september-october 2012

Inside:Festival highlights by the writers• 500 words • News • Competitions and more!

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Presented by

in this issue ...

02

Festival in photos

03

A word from the Chair

Farewell from Siboney

04 Sinning in Byron

Ailsa Piper listens to the spirit

06 Mark, Tom and Jon

Chilling out in Byron’s warmth

08 An interview with Anna Rose

An eco-warrior stays on message

09

From the reading chair

Jump right in and keep moving, says Laurel Cohn

10

Pitching sessions

From the page to the publisher

12 Room to Read

A new library every four hours

13

500 Words

Gotcha! ABC Open’s new project

14

Heading North plus the blog report

Heading North winner Laksmi Wilson

plus Marian Edmunds on Festival blogging

15

Social media report

16

Kid’s Pages

Isobelle Carmody in the writer’s studio

Brunswick Heads primary students

18

Book review

19

Events- GenreCon

20

Workshops

22

Opportunities & Competitions

24

Writers groups and member discounts

northerly is the bi-monthly magazine of the Northern Rivers Writers’ Centre. The Writers’ Centre is a resource and information base for writers and readers in the Northern Rivers region. We offer a year-round program of readings, workshops and writer visits as well as the annual production of the Byron Bay Writers’ Festival.

The Centre is a non-profit, incorporated organisation receiving its core funding from Arts NSW. LOCATION Level 1 28 Jonson Street, Byron Bay POSTAL ADDRESS PO Box 1846 Byron Bay NSW 2481 PHONE 02 6685 5115 FAX 02 6685 5166 EMAIL info@nrwc.org.au WEB www.nrwc.org.au NRWC COMMITTEE CHAIRPERSON Chris Hanley VICE CHAIRPERSON Lynda Dean SECRETARY Russell Eldridge TREASURER Cheryl Bourne MEMBERS Jesse Blackadder, Fay Burstin, Marele Day, Robert Hanson, Brenda Shero, Adam van Kempen LIFE MEMBERS: Jean Bedford, Jeni Caffin, Gayle Cue, Jill Eddington, Chris Hanley, John Hertzberg, Fay Knight, Heather Wearne, Cherrie Sheldrick CONTACT EMAIL: northerly@nrwc.org.au PRINTING: Quality Plus Printers Ballina MAIL OUT DATES: Magazines are sent in JANUARY, MARCH, MAY,JULY, SEPTEMBER and NOVEMBER ADVERTISING: We welcome advertising by members and relevant organisations. A range of ad sizes are available. The ad booking deadline for each issue is the first week of the month prior. Email northerly@nrwc.org.au.

The Northern Rivers Writers’ Centre presents northerly in good faith and accepts no responsibility for any misinformation or problems arising from any misinformation. The views expressed by contributors and advertisers are not necessarily the views of the management committee or staff. We reserve the right to edit articles with regard to length. Copyright of the attributed articles is maintained by the named author and northerly.

Cover photo: Crowds enjoy the Byron Bay Writers’ Festival 2012 Photo by Mike Snee

northerly magazine | september – october 2012- 3

Noticeboard

4 - northerly magazine | september – october 2012

A word from the Chair

I

t has been a few weeks since we

held our sixteenth Byron Bay Writers’ Festival and people continue to stop me in the street with the same

message:‘Wonderful festival’….’Best ever’. Then they often add ... ‘Thank you’.

For me, this sums up why we all work so hard every year to produce the best event we can.

This year, more than ever, visitors and locals alike made comment on the relaxed atmosphere in the marquees and out on the grounds. I credit this to our fabulous community who passionately support the Festival as volunteers and attendees.

I would like to compliment the wonderful Chairs, local and visiting, who spent countless hours reading piles of books in preparation for their many sessions.

My final thanks and congratulations must go to Jonathan and the team who all worked so hard in 2012 to create a fantastic event we can all be proud of.

Chris Hanley northerly@nrwc.org.au

D

ear members,

have been challenging, inspiring, exhaust-

Creative Industries Consortium (comprised

ing, and exciting. I am especially proud of

of so many passionate and committed arts

I’m not terribly comfortable

the way we worked so hard as a centre to

organisations), the Bellingen Readers and

with goodbyes - indeed, I’ve

improve service delivery to our members

Writers Festival, and all of the schools and

been known to shed tears while watching

and of the friendships I have forged with so

writers’ groups (from Tweed Heads to Coffs

complete strangers farewell each other at

many of you during that time. We tried to

Harbour) with which I’ve had the pleasure

airports - but I am also well aware that the

make the centre as dynamic and inclusive

to work.

end of every good relationship deserves to

as possible by inviting our members to use

The last two years have been a wild and

be acknowledged.

the centre as a writing space, offering free

heady ride and I’ll be forever grateful to

Some of you may already be aware that

In Conversation events to members, getting

have had the opportunity to work at the

I recently resigned from my position as

e-bulletins out every month (rather than

centre. Although I will continue working

Centre Manager of the Northern Rivers

bi-monthly), securing more funding dollars

with schools, writers, and in the arts, I will

Writers’ Centre; some of you may not. The

to support and expand service delivery,

miss the constant contact with members

decision to leave was not one I took lightly.

and encouraging the creation of networks

the most. I will also miss working with the

I loved the work I was doing, I cherished

between members.

team at the writers’ centre. To all of you, I of-

my relationships with members and others

I am also extremely proud of the collabo-

fer my very best wishes and thank you from

in the arts industry, and I had a long list

rative projects we undertook with other

the bottom of my heart for your energy,

of projects I still hoped to embark upon.

organisations. In particular, I’d like to ac-

support, insights and warmth over the last

But life sometimes has a way of mocking

knowledge the work done with ABC Open

two years.

the best laid plans and in my case I had to

North Coast (with Catherine Marciniak), the

I hope our paths cross again.

accept that the time had come for me to

Out at SEA Creative Writing Camp (with DEC

leave.

and all the schools from the Lighthouse Val-

The last two years have been perhaps the

ley Learning Community), the projects em-

most memorable of my working life. They

barked upon through the Northern Rivers

Much love,

Sib x

northerly magazine | september – october 2012- 5

Sinning In

Byron I

wonder what a Festival like Byron’s does to the collective consciousness.

We gathered for those three days – hundreds of us – bringing the best of ourselves to conversations, meetings and panels, down the road from the lighthouse at Australia’s eastern-most point. Another Finisterre – land’s end. Under open skies, our bodies unwinding in the warmth, we argued and posited and reflected. We listened to other ways of seeing and possible ways of being. We heard stories and songs.

We looked at sculptures. We turned pages. We honoured the word.

And then we left. Many of us, anyway.

Where does all that go, that goodwill and possibility? I keep imagining the site, vibrating, highly charged, humming. I wonder, if I walked there now, would my feet feel the changes? Would I know that this was a place where people had tried to be at their best?

And back home, how are we changed? How do we bring that spirit of openness and curiosity into our everyday worlds?

I’ve struggled a bit.

Like this morning when someone

sent me a link to a site because there was a complimentary review of my book. I scrolled down and of course I found another from someone who had hated it, who had not understood my intentions, who clearly loathed my writing.

And what do I recall now? The negative response, of course!

So all those voices of experience at Byron Bay, and all that generosity of spirit, didn’t prepare me for facing down my own ego and hubris, or my desire for the book to be liked. For me to be liked!

It’s possible that it is partly because the book is written in the dreaded “I” voice, so it does seem that someone liking or disliking the book is commenting on me, the person; but in truth, I think it is something else.

Post-Byron, after three days in a bubble of considered discussion and respectfully expressed differences of opinion, it has been a big transition back to the world of blunt opinions in which we mostly exist.

Watching Q and A on the ABC last night, I was struck by the polarising, shouted, argumentative discourse.

No-one was heard and nothing of

6 - northerly magazine | september – october 2012

value was said. Reading the daily papers, it’s rare to find an article critiquing a situation where the writer has first endeavoured to see clearly the position of the person being rebutted.

I don’t know how commentators and public figures continue in this environment, but it must be bruising on some level. I was struck, at Byron, by how accessible and warm Bob Brown is. I was bowled over by the grace and generosity of Anna Rose.

Both of them have suffered vicious personal attacks and received bags of hate-mail, yet both stay open and engaged; both step toward you with a smile and no caution. This seems to me a miracle, when their first response could be to withdraw and assume that the world is made up of people who will dismiss them or attack them on personal grounds.

Forgive me if I seem to be drawing a long bow. I’m not for a moment comparing one person’s response to a book to the tsunami of hate Brown has weathered, or the battering taken by the elegant Anna. What I’m trying to do is to extend myself out from a personal response to something larger – something big-

ger than ego and pinpricks of pain.

Because that is what Byron asked of all of us. That is what any gathering asks, when the parameters are respect, attention and dignity.

We were invited to be the biggest versions of ourselves that we could be. From what I saw, that meant that all opinions, whether in rabid agreement or disagreement, were then able to be heard. Perhaps readers are more able to do that, but I don’t think so. We are all capable of it, all the time. And it doesn’t have to look like political correctness, or shutting down of discourse.

It might just look like respect.

So today I’m going to channel my Byron self, and try to listen harder, to take a breath before responding, and to let some things slide away if they are simply not helpful or comprehensible to me in the limitations of my mind.

Luckily, there’s sunshine outside to remind me of Byron and its warmth.

The sky is helping.

And there are the days to come.

Hopefully.

Because that is the other reminder that lodged firmly at Byron – the

preciousness of these days, and how we can’t take a breath for granted. Gore Vidal died as I was travelling up there. Today I heard of the passing of Robert Hughes.

Funeral parlours and crematoriums are always busy. Flesh dissolves into the earth or is burned to dust. Each breath I take is a victory and should be celebrated. I knew that when I saw a distant spume blurt from the ocean last Friday, just after hearing that a whale had died in Sydney Harbour. I think about that burst of water and air on the horizon now, and try to remind myself that each time I exhale, that is what I’m doing – pushing a celebratory plume into the air.

And speaking of celebrating. Thank you to Jonathan Parsons for the festival and for programming us all so thoughtfully; to those with whom I was lucky to share panels – Jill Eddington, Anna Rose, Jessica Watson, John Bailey, Mike Ladd, Tony Taylor, Caroline Baum, Hannie Rayson and Charlotte Wood; to those who came to the workshop I taught; to those who spoke on the panels I watched (many of them my heroes), and to all of us who listened. Here’s to all of us, readers on the grass.

Thank you. Gracias.

Ailsa Piper First seen in Ailsa’s website http://ailsapiper.com/

Ailsa P iper ha s work writer, ed thro theatr ughou e directo t Austr pate-w r, acto alia as rapper. r, a teache H e r MA is Melbo r, spea ker an urne. from t d he Univ Ailsa w ersity o as co-w f in ner of Playwr the ina ight’s A ugural ward fo threePatrick r her s year re White c r ip s t Small ident a Street; ctor in Mercie and ha s; a N e ighbou s been Award rs’ Ram nomin s for ac s a a t y ed for ting an Green 2012 s d direc ees th Room ting. e fr uition book, of seve Sinning ral pro Across jects. H April. H Spain, er er epis w a s publi ode of She ha shed in ABC’s s been Poetic a Boar a aired Melbo d mem in May urne, P b er at th . la y b ox The e Arts arts or Centre atre an ganiza tions. d num She is erous passio other n a te abo and Sin ut walk ning A ing an cross S d lang pain re uage, flects t hose p assion s.

northerly magazine | september – october 2012- 7

Poetry by Mark Treddinick Casting Shadows in Early April The day after Easter, and the weather

looks like everything

The scriptures had advertised. The wind’s been up, Talking in tongues—two of them, at least,

south by southeast—since sunrise;

The message isn’t simple, but it’s very, very clear. And the afternoon light Has arrived from everywhere at once

to remind you how to stand and throw a shadow

Long and clean and way beyond the ambit of the empty moment this had seemed till now.

Still Life: or, The Afterlife of the Azure Kingfisher Nothing sits so still so long As the bluest bird in the world.

In pairs they work their lives alone, One on each bank of the same matrimonial Stream, still for hours, lives Spent largely waiting, the slow Life carried just a little too far.

But having worked so hard At stillness in life, you’d be Hoping for more freedom of movement In death, a few more options, maybe, Than this small bird’s going to get, Pinned and glazed here, a still life Stalled in its electric blue afterlife.

Jon Doust notes on the Writers’ Festival and Byron Bay

I

n 1972 I grew my beard and hair long,

and I was excited for two main reasons.

then got on a boat from Fremantle to

One: I’d get to catch up with all those great

Durban, South Africa. After nine months

writers I have been forming relationships

in Africa’s deep south and too many

with over the years – Alex Miller, Elliot

coincidences with undercover drug squad

Perlman, Thomas Keneally and the elegant

detectives I decided it was time to run. I ran

Marieke Hardy.

all the way to Israel and a socialist commu-

Two: I’d get to see Byron Bay, the reality, not

nity, best known as a kibbutz.

the myth. Or perhaps both.

Meanwhile, back in the Byron Bay region, all

On night one I walked to the welcome

kinds of alternative lifestylers were gathering,

ceremony at the surf club and in no time at

growing and breeding. I heard about it all

all Jim Hearn and I clicked and I decided that

when I got home for keeps in 1977.

if I increased my luggage by one book only, it

When I arrived in August for the Byron Bay

would be Jim’s High Season. I bought it, read

Writers’ Festival (BBWF) it was my first visit

it, praised it.

8 - northerly magazine | september – october 2012

y l l a e n e K Tom

In than fight. er chill out th ra d e’ w , e there ring, w they up anel chatte e writers as f our pre-p th o r st fo id e vided e m ff e th ood co ed, and pro plenty of g metimes miked, seat so I ly t ss u b le , rt o m are eff nremarked green roo ffee othness, u o co wait in the sm ce n is h ie T d e au and with water. ue up at th ort authors d like to que ere to supp am surprise I th t d o n an , ’s rs it It unless hieved. is at to visito ot easily ac Sydney n tent and ch m is o s, fr p ce u n me hed their audie of them co ave establis m how many ose who h n down fro th ve at ri d th ed e s u av obvio e or h ave observ d Melbourn of Byron h an re u al lt u iv -c st riters’ Fe the festival of overseas y yron Bay W Brisbane. e end of m m the best o gly of th n fr s d ro d e st ar , n w ry ar to e ve and le e, I am stival party reminds m of them s, at the fe Given my ag se re u o at b m e al e iv th th st t bu es, in ritish fe festivals. In ing career, open spac the great B festival-go how the om, on the sident d re ro e P n az h e ic re y am h g w e ye, in th convivialit more I am Hay-on-W ’. so many nsiderable I go to the e in d co ta vi a ri B s, ro f e p o e n u s ca hers is oodstock the marq its environ erse publis lled ‘the W voltown and ors and div variClinton ca me of the th at so au n ay n ve st e us e e , rs o betw – in fact s like a pio pating auth on their B’s this sound volunteers d , d w an o an The partici ar N B . af d d e m ere fro ouses an arcissistic establish ain, people’s h rs are so n ers travel th ag te , te d ri d n w n u an , A at n a. th w ous kindly t ep the yakk ric book to cliché, exc rces to do et them to d atmosphe own resou s easy to g t intereste ees e u ay g q w I around that ar al re t m o o d n m an that it’s attend, the ongst tents er. issues the more I assemble am ith each oth These are town. The s. d al n ing iv yo st e fe b ake nice’ w f st o ‘m ju cs ti re oes everyth is t tu g o as in the lo ’ Festival d they’re n with rs n s e te in a huge p in h ri g w e W b ly ay n r, weve otice o together Byron B Festival, ho n, to bring d generally n at the e u p an ve s yo ri ap e h h ar e ac at Byron Bay e w l th , case, its huge b to make al d audience But in this s charm of well done. r, author an ntified by o r which e e th id h the obviou at au ly e d te w ia an n enig at in a author are immed , and the b amazed th d to airport and restaurants transporte corroboreader. I am ly re d ti ss n an le e r y rt e e o th ff ad re and e big countr angs over volunteers mmodaen all city, in a re co g generally h sm ac e r d u th o an t ar al n ne ye region -- they can confide -on- Wye o it is Byron We at . wn. We are if le th n to ab ve so e rt r, ree. At Hay – e fo at ct - com rite it p in rainw town, in fa town-wide e it, underw ankle-dee tion is – if s stops put to organis u d b le room was ’ p an rs o r o e ai p th e ch e find th flourish. festival au to sit on on s and at the ther. May it does. We u e st it o g d vi to b l authors had an o al , e e it com But all th and bring the bus to sn another. expecting ld not be inventive se u their feet o d o w an n d e o at yr fB ll-coordin vantages o ations arm expect we physical ad ve combin st of the ch re e h T . the inventi n Tom w as o ll e ir e w th as sions, lar panel. m local cu o enough on ti fr ar d e p d at vi pro this or th g has to be st’s of writers in of the thin n be so lotu of the even is as b e th osphere ca n m o at -e d th an In fact ish there ple who resources rganisers w o rs, and peo e so b n o ay m sp y -- b But eating that reputation the stage! ften from conflict on s events, o re it o m to e e b m t migh here is want to co of Byron. T and south h rt o n s al capit

n this o s n o i t c Refle estival year’s F

B

That same night I met Fay Burstin, manager

The tent city blew away any expectations I

that kind of woman.

of the Splendour in the Grass Forum. Fay

had about scale. Everywhere I looked, tents;

As soon as I got home to Albany (WA) I

interviewed me on day three of the festival

well, not quite tents, more marquees.

raved with mouth open and so far six local

and I fell in love, right then, in the Thai

For three days I ran from tent to tent, meet-

writers have pledged to join me at the

restaurant, with Fay, with Byron, and with

ing old friends, making new friends and

2014 BBWF. Look out for us- we’ll be the

the man sitting next to me who was clearly

when the time came to leave I didn’t want

mob with the huge smiles, wide eyes, open

ADD, freaky, and on some kind of edge. My

to.

mouths and, even before you ask, we’ll tell

kind of human.

My last night in town I ate a sumptuous

you where we live, Menang Country, Noon-

On my way to the tent city on day one I met

feast in the company of, among others, Fay

gar Boodja, heart and soul of the far west.

Nobel Laureate Peter Doherty, but it took a

Burstin, Melissa Scott from the BBWF team,

day to remember who he was because he

and Michelle Gleeson, who not only cooked

Jon Doust was in Byron Bay with his latest

was introduced to me by Mark Tredinnick,

all the food, but I’m pretty sure, during

book, To the Highlands.

perhaps Australia’s finest landscape writer,

sweets, she caught and saved a man falling

as simply, Peter, no mention of laureate.

from a multi-story building. She seemed northerly magazine | september – october 2012- 9

An interview with Anna

Rose

You’re obviously a passionate advocate for environmental awareness and responsibility. When and how did that journey begin?

The short version is that I learnt about climate change in school at the same time as my Uncle’s and Grandparents’ farms were being affected by the drought. I connected the dots and realised that climate change wasn’t just about polar bears, but about things that were very real and tangible for my life - food security, our economy, and our health.

I also grew up in Newcastle, the world’s biggest coal export port - and it was impossible to NOT think about pollution and the environment being surrounded by so much coal. I set up an environment group at school when I was 14, we won our first campaign by the time I’d finished my HSC, and I learnt that change can come from the bottom up when people work together to make change.

What inspired you to write Madlands?

I wanted the documentary about Nick and my journey to be a starting point, not an ending point, to re-engage with the science and impacts of climate change.

That’s why I decided to write the book, and why I’ve been on a four-month long tour to outer suburban, regional and rural Australia to talk with communities about climate science, impacts and solutions.

What part of writing Madlands did you enjoy the most? And conversely, what (if anything) did you find hard about writing Madlands?

I wrote most of the book on my honeymoon in Byron Bay! Luckily it was a good cricket season, so my husband watched the cricket while I wrote the book.

The hardest thing was the short timeframe I had. Because I wanted to have the book out on the same day as the documentary, I wrote it in two and a half months. I had to take up drinking coffee – after being a tea drinker my whole life!

Madlands is perhaps the most accessible book I’ve ever read in terms of bringing together a lot of information about the science of climate change and writing it in a way that is easy to understand. Was that one of your aims in writing this book?

Did you find that a difficult process or not, particularly given that I imagine the science is almost second nature to you?

Absolutely. I wrote the book with a broad audience in mind and wanted to make the science as clear and accessible as possible. Having the narrative of a travel story made it easier: my friends call it the “Eat Pray Love” of climate change. I was lucky enough to have the help of some of Australia’s best climate scientists to make sure all the science was accurate, and my job was just to communicate it in a simple and non-jargonistic way.

If you had to identify three lessons you learned during the course of your travels with Nick Minchin and then the writing of Madlands, what would they be?

The experience of traveling with Nick taught me that environmentalists need to find even better ways to explain ourselves.

Given a proper understanding of the indisputable scientific facts, every person should be able to support responsible action of climate change. So why isn’t this happening?

There has been a huge campaign against science, and it’s managed to cut through to some sections of the Australian population.

If, as a result of this, the understanding of climate change isn’t strong enough, it just means activists will have to find new ways to communicate climate science.

We will never know every single thing about every single aspect of our climate system. But this doesn’t mean we can ignore the information that we do have.

Madlands is your first book. Do you have any others planned?

I think my publisher, Louise Adler from Melbourne University Press, would like me to start planning some future books! I’m definitely keen to write more and I have a few ideas… I’ll announce any new projects on my blog (annarose.net.au) if people are interested in finding out more!

WRITER’S JOURNEY creative adventures

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• Mekong Meditations - November • Burmese Temple Tour - December • Moroccan Caravan - January 2013 Writer’s Journey is committed to supporting writers in all genres.

For further details, go to www.writersjourney.com.au or call 0415 921 303

10 - northerly magazine | september – october 2012

Subscr ibe today and re ceiv your FR e EE suppor t packa ge

Seven seconds and counting...

From the reading chair

Editor Laurel Cohn looks at the importance of narrative momentum.

W

hen I worked for a literary

story is weak, chances are no one will ever

As a former ‘slush pile’ reader, you’ll be

agent in Sydney back in the

get to the middle, let alone the end. If you

pleased to know that professional readers

1980s, I spent many long

are struggling to stay engaged in the first

will give you longer than 7 seconds to

hours reading manuscripts.

few chapters of a book, you are unlikely to

engage... but not much longer! If you’d

I read both the solicited and unsolicited

get much further. You don’t have to grab

like to learn some tools and strategies

work that came to the agency – manuscripts

readers by the throat to engage them

to apply to your own writing in order to

by established writers such as Helen Garner,

(although that works), you can gently seduce

increase narrative momentum, join me

Susan Varga and Drusilla Modjeska, through

them or charm them with a beguiling voice;

in the workshop MOVING RIGHT ALONG:

to stories from people who had a long way

you can incite their curiosity; you can paint a

NARRATIVE MOMENTUM on Saturday 20

to go in developing their work. I learnt a lot

captivating picture; you can raise a question

October, in Byron Bay.

about writing and a lot about reading. And

to which the reader wants to find an answer.

I learnt that the secret to a good story is no

There is no one right way to begin a story,

LAUREL COHN is an editor and mentor

secret at all: a good story is one where you

but there are some important things that

passionate about communication and the

want to keep turning the pages.

need to happen in the opening pages

power of narrative to engage, inspire and

Sounds simple. Sounds obvious. But creating

and chapters of your work to create

challenge. Since the late 1980s she has

narrative momentum, like many other

narrative momentum. These are: having an

been helping writers develop their stories

aspects of good writing, is not necessarily

engaging opening sentence, paragraph or

and prepare their work for print and, more

intuitive or instinctive for everyone who sets

page; introducing key character/s; setting

recently, online publication. www.laurelcohn.

out to write a book-length manuscript. It is a

the scene in terms of time, place and

com.au

learned skill, part of the writing craft. Many

atmosphere; presenting the hook and/or

would-be authors are unsure about what

a dramatic incident that raises a question,

narrative momentum is or how to create it.

a mystery to be solved; and evoking the readers’ trust to follow you by allowing them

NARRATIVE MOMENTUM

imaginative space to enter the story.

Put simply, narrative momentum is that pull

The most common problems I see in

that keeps the reader wanting to continue

opening chapters are too much backstory,

on with the story. Yes, it is about keeping

too much detail and too much exposition

the action moving along at a good pace but

(description/explanation). Good beginnings

more importantly it is about engaging the

can often be obtained simply by amputating

reader deeply in the story so that they are

the first paragraphs or pages – sometimes

compelled to keep turning the pages, even if

called ‘throat clearing’ by editors. I have

the writing style is unhurried. And narrative

been known on more than one occasion to

momentum is just as important in what is

suggest to a writer that the story would best

called ‘narrative non-fiction’ (memoir, travel,

be served by beginning at chapter three!

biography, etc.) as it is in fiction.

I usually work with complete manuscripts

JUMPING STRAIGHT IN

and often the opening chapters are the

You need to jump straight into the action

weakest; it is not unusual to find a writer

and begin at the latest possible moment.

spending a chapter or two or three working

Think about your experience as a reader.

out where to start. But in the competitive

When you open a book, you want to know

world of publishing, writers are doing

why you are being shown something and

themselves a disservice if they aren’t able

when something is going to happen. Cate

to captivate a professional reader (agent,

Kennedy says, ‘When the lights come up

publisher, commissioning editor) in the first

on an empty stage, how long do you think

three chapters (about 15–20,000 words).

an audience will sit patiently waiting for something to actually happen? Scarily, the

BEGINNINGS

answer is seven seconds. Something of this

Beginnings are crucial. If the beginning of a

kind happens in prose, too.’

northerly magazine | september – october 2012- 11

Pitching Sessions Six writers won a life changing chance to pitch their book idea to a panel of publishers from Harlequin, HarperCollins & Random House. David Roland’s work was well received and he describes the camaraderie of the group as they prepare for their five minute pitch.

So Much More Than A Pitch

By Susanna Freymark

Yet one of the greatest things about doing the pitch is not the outcome

Perfect pitch has nothing to do with music. Something to do with

but simply, doing it. It is so scary that nothing else you do in your

writing. And everything to do with marketing.

writing career after the pitch will ever be that scary again.

A wise writer wrote that the process of publishing a book goes in thirds.

When I finally met with a publisher one-on-one to talk about my work,

One third —writing. One third — editing. And one third — marketing.

three years after I had pitched my own manuscript at the Byron Writers’

I know how the six writers at the festivals Perfect Pitch session felt

Festival, it was easier than I thought. I knew, a little better how to

waiting to bare all on stage in front of not only three high profile

present myself. I knew how to let my work speak for itself rather than

publishers but in front of a capacity crowd.

make excuses or try to over sell it. I had gained confidence from the

Scared, unworthy, lucky, numb, excited, terrified, thrilled, sick — did I

festival pitch. That is worth a lot more than a publisher’s business card.

mention scared?

For all the writers out there who submitted their manuscript but

Whether their writing idea was fully formed as part of university thesis

weren’t chosen to pitch, do not give up. Keep going. Hone your work.

as it was for two of the participants or only three chapters in like

Get valuable feedback (not from your family). Get mentored and work

one writer’s story about brain malfunction — sharing such a private,

hard at writing. It isn’t a hobby. If you don’t have time in your life to

intimate concept when it wasn’t fully grown was a brave thing to do.

write, you don’t want it enough. Read authors you admire. Join a

Every writer dreams of being published and maybe like me, being

writers group and act like a writer so you feel like a writer. And, if you

thrilled at the thought of seeing someone on a bus or train reading a

pitch at next year’s festival, stand tall and give it all you’ve got.

book with their name on it.

At the pitching session though, it is about selling your writing. Is it

Susanna Freymark helped mc the

interesting enough, different enough to capture the attention of one,

pitching session at this year’s festival. Her first novel Losing February

just one, of the publishers? Some writers were given a business card

will be published by Pan Macmillan in February 2013.

from the publishers and told to call them.

Read more atherdesk.blogspot.com.au

12 - northerly magazine | september – october 2012

David Roland’s pitching perfect When Chris Dewhurst, the first person to

I put into my synopsis. “That’s the one,”

publishers have said afterwards from our

fly a hot air balloon over Mount Everest,

says Chris, echoing the group consensus,

supporters.

says this is the scariest thing he’s ever

“I’d buy your book on that.”

It’s the next day, when I’m trying to

done, as he stands at the podium looking

Then, Jesse says, “Most writers I’ve heard

explain to friends and family what the

out across a packed marquee for the

pitching in public don’t do themselves

pitching experience was like, when I

Saturday morning Pitch Perfect session at

any favours by trying to memorise or ad

realise that what makes it so intense is:

the Byron Bay Writers’ Festival, then you

lib.” Yes, this is our permission to read our

I AM GIVING BIRTH TO MY BABY. For all

have to wonder what makes it so scary?

pitches!

of us - after years of gestation - we are

And, as Chris tells us about his crime

Chris has done his thing and is able to

showing off our books in a public forum

thriller, I am sitting alongside my fellow

walk back from the podium unassisted.

for the first time and, ‘Will they like it?’

pitchers waiting my turn, buzzing inside

Kathryn is next with her novel about

I catch up with two of the publishers

like a March fly. There are six of us in all.

star-struck lovers. The three publishers

straight after the pitching session and

The Tuesday evening before, Jesse

give her feedback in turn. Now, Susanna

have more humane conversations with

Blackadder had coached us on how to

Freymark, who is introducing us using

each: they’d like to see my MS when it is

deliver a pitch in 5 minutes. She had

the short bio’s we have given her, is

ready and give me their cards. The next

an impressive number of points on her

smiling and, with her eyes, beckoning me

day, another publisher who was present

PowerPoint slides but most important,

to the podium.

in the audience pulls me aside, says she

she says, is “Get your log line.” This is the

I begin reading. The next thing I know

liked my pitch and could I send her my

one or two line description that can be

it’s over. Hayley Kerans (Harlequin) says

first three chapters!

rattled off in one breath to anyone who

that my first chapter, which had been

This sets me off on the path of finding a

asks, “What’s your book about?”

submitted earlier, has a “soundless

literary agent, tidying up the chapters,

We each write our log line and read it out

quality”. I think this is praise and nod.

synopsis and chapter outline. Hey, they

to the group. There is already a spirit of

Meredith Curnow (Random House)

really do like my baby.

teamwork, melded by our shared naivety

gives me her feedback and I nod in

in volunteering for this looming torture. I

agreement to whatever it is she has just

read the log line I have just come up with

said. Shona Martyn (HarperCollins) says

but this gets a ho-hum response. Then,

I’m a good presenter and something else,

I read the one sentence description that

so I nod again. We really hear what the

northerly magazine | september – october 2012- 13

Room to Read

By Jennie Orchard

D

escribed as ‘mirrors of the soul’, ‘the quietest and most constant of friends’, ‘a ball of light in one’s hand’, anyone who attended the recent literary festival in Byron Bay has no doubt as to the riches to be found in books. In an article written earlier this year to celebrate the launch of the National Year of Reading, Richard Glover spoke of books as ‘a ticket to other worlds’. Novelist Anna Quindlen writes: ‘Books are the plane, and the train, and the road. They are the destination, and the journey. They are home.’

And yet books are an unattainable luxury for millions, most significantly those who live in rural areas both in Australia and further afield, who don’t have access to a library network.

Since 2000 Room to Read, a dynamic global non-profit, has been delivering libraries and books to children and communities in developing countries, launching its mission in Nepal, now working in ten countries in Asia and Africa.

With nearly 800 million illiterate people in the world, two-thirds of them girls and women, the need is acute. In response to this need, Room to Read has grown rapidly over the past decade and now establishes a new library every four hours.

At the time of writing, the total number of communities enhanced by a Room to Read library is 13,599. By the end of the year, it will be approaching 15,000.

A Room to Read library is a supremely colourful haven usually created within an existing space in a school, with flooring, furniture, shelving all designed to attract children and their families. There are maps, posters and thousands of books, both English books and local language publications, storybooks, boardbooks, non-fiction titles, books to inspire children to become readers for life, to empower

them to take advantage of any educational opportunities on offer, to create better lives for themselves, their families, their communities.

As Dr Seuss wrote memorably:

‘The more that you read, the more things you will know. The more that you learn, the more places you’ll go.’

Room to Read’s Founder and Board CoChair, John Wood, has been motivated both by Dr Seuss, who continues to inspire generations of children to read and to love books, and by Andrew Carnegie, who funded 2510 public libraries in the Englishspeaking world. Wood often describes Room to Read’s local language publishing program as ‘the largest publishing company no one has ever heard of’. With more than 700 children’s titles published in over 25 languages, in 2011 this program was awarded the UNESCO Confucius Prize for Literacy, in recognition of its efforts to improve literacy using the talents of local writers and illustrators to create culturally relevant reading materials.

And in addition to its commitment to promote literacy by building schools, establishing libraries and publishing books, Room to Read also supports gender equality through education, with well over 13,000 girls benefiting from its Girls’ Education program.

Run like a corporate, with a clear focus on results and a low overhead, Room to Read is attracting an ever greater stream of donations and investments from individuals, schools, corporates and foundations. Impressed by its steady growth, the stellar achievements and the emphasis on the belief that ‘World Change Starts with Educated Children’, donors or investors receive regular reports on the programs they support and also, at some levels, the opportunity to visit and see the work they have funded.

While the global operation was founded

14 - northerly magazine | september – october 2012

in 2000, Room to Read launched its awareness-raising and fundraising presence in Australia in 2009 and, over the past three years, has established a network of support around the country and raised well in excess of $6m. With only two employees in the Australian office (in Sydney), many volunteers have contributed significantly to these achievements. The local organization has also received generous support from a number of literary ambassadors, writers and illustrators including Markus Zusak, Susanne Gervay, Deborah Abela, Oliver Phommavanh and local Byron author Tristan Bancks. Tristan was recently the talent behind the Stubbies World Change Challenge, an initiative designed to inspire primary school kids to raise money and awareness for Room to Read.

In addition to the libraries mentioned earlier, Room to Read has built over 15,000 schools and the total number of books distributed (including English language books) has exceeded 11 million. Already nearly seven million children have been impacted by these programs, children who will perpetuate the benefits by educating their own children. And yet. And yet there are still so many communities which need libraries and books. Room to Read’s work won’t be done until every child receives a quality education. As Nelson Mandela wrote: ‘Education is the most powerful weapon which you can use to change the world.’ Room to Read is helping to change the world, one book, one child at a time.

Room to Read works in Bangladesh, Cambodia, India, Laos, Nepal, Vietnam, Sri Lanka, South Africa, Tanzania and Zambia.

For more information, www.roomtoread. org or australia@roomtoread.org.

Jennie Orchard is the Founder of Room to Read in Australia and former Development Director.

500 Words Ready for a writing challenge?

By Catherine Marciniak

A

BC Open invites both new and experienced writers, bloggers and people who love to play with words to share your writing.

To kick off this project we’re asking you to write about being ‘Caught out’.

We want to hear about a time when you got busted. It might be something that happened when you were a cheeky kid or something you did last week. What were you doing wrong and what happened when you got caught? Here’s your chance to confess.

Get it down in 500 words or less. But there are a few rules: it’s got to be non-fiction and because it’s going to be published on the web it needs to have a great title and sharp focus on your idea to keep everyone reading till the very last word. You can also include an image and weblinks if you feel they’ll enhance your story (used well, links can add a new level to online writing).

Send your piece to your local Open producer. ABC Open will publish your story alongside other Caught Out stories from around Australia. The ABC Open North Coast Producer is Catherine Marciniak, abcopen.northcoast.nsw@abc. net.au And keep an eye on www.abc.net.au/ open because every month we’ll introduce a new theme for inspiration. Challenge yourself to write 500 Words on every topic!

ABC Open and the Northern Rivers Writers’ Centre are partnering to deliver 500 words free workshops throughout the north coast region. The first of these is on September 25, 2012 in Byron Bay in the meeting room at NRWC, 1.00pm until 4.30pm. All you need is paper and pen.

For bookings contact Catherine Marciniak abcopen.northcoast.nsw@abc.net.au or phone 0266272014.

500 Words Caught out: Never listen to your mother!

By ABC Open community contributor, Photo: Cristina Smith

Susie Sarah, Wonboyn NSW. I was right in the midst of a “yes” moment where freedom and happiness gelled while driving my sporty red Alpha down a country road. Window down and warm summery air tousling my curly mop of hair, l grinned and slotted an Alanis Morisset CD into the player turning the volume up to ‘sing along’ volume.

Smugly l congratulated myself on escaping a boring conference to enjoy what felt like a well- earned road trip home. I had power dressed for the event in my smartest gear, dutifully following Mum’s insistence to “always wear your best undies”. I now planned to swan in on my husband as a surprise, back early looking my stunning best.

The finely tuned car ate up the miles as l neared a familiar bend close to home, slowing below the speed limit to take it with care. Ridiculous really as the Alfa cornered like a dream and was a joy to drive.

In a split second all hell broke loose. It was like being in a tumble dryer on high speed.

Fragments of scenery flashed about like pieces of a jigsaw puzzle, as the car nosedived end over end, rolled several times and finally came to rest upside down in a ditch.

The tearing of metal and smashing of glass gave way to complete silence. For a brief instant l rested suspended in time then in panic unclipped my belt and slid out of the window onto the grass fearing an explosion or fire. An elderly couple pulled up. “How are you dear?” a very worried gentleman enquired. “We saw it all and can’t believe you’re in one piece. I think we’d better get you to hospital,” he added while his wife gathered my possessions.

I was numb with shock and starting to feel very sore and sorry as they helped me into their car to drive me the few short kilometres to the local hospital. Nurses appeared; many of them knew me and they sympathetically and efficiently

organised a message to my husband.

A young, very officious doctor breezed into the room and brusquely started checking me for injuries. “Can you please remove all your clothing, l need to see how much bruising you have” he insisted.

“Do l have to?” l stammered as the nurses stared in amazement.

“Madam you have nothing to hide. I’ve sadly seen it all before. Take all your clothes off now,” he ordered with a frazzled look on his face.

With much embarrassment and pain l allowed my nurse friend to help me until l stood shivering, vulnerable and red faced in my black, frilly lace G-string. I’m not sure what was worse, the look of shock on the doctor’s face or the stifled laughter of the nurses.

Needless to say l have never worn a G-string since. In retrospect, l now believe that when your mother urges you to “wear your best undies in case of an accident”, the best idea is to completely disregard her advice.

northerly magazine | september – october 2012- 15

Heading

North

A

I’ll just be honest. Getting the call that I had won the Heading North writing competition was really one of the greatest moments I can recall.

High praise considering the news that I am with child had come only four months before. But like my Austrian friend’s dad had said about that, ‘I don’t see why you give congratulations.

You haven’t done anything yet.’

Scuttling spasmodically through my Masters in Writing, and having entered the competition twice before (a high commendation and a second placing), I imbued the 2012 competition with god like qualities before entering. If I don’t win this year I’ll give up writing, I thought. It will be a relief. I’ll read for fun and write simply, “Happy Birthday” in my partner’s cards and no one will expect anything more from me.

Alas, I won. Friday came and I made my nervy way to the “Green Room” (‘No, that’s for writers’, someone said when I asked directions – ‘no’ is always a great response in lieu of directions) and after a few too many minutes in which no one knew why I was there or what competition I

by Laksmi Wilson

was babbling on about, Penny and Arnold Zable rescued me.

I did not want to get up on stage. I hoped till the last that someone – Penny, someone from ADFAS, Arnold, one of the panelists – anyone, would decide they didn’t want me up there. I looked to my belly, wishing I were eight months pregnant and not four, and if so that Arnold Zable might be clucky enough to distractedly focus his questions there.

You’ve probably guessed where this is heading.

I’m so glad I got up. Arnold, Nick Earls and Wayne Macaulay were wonderfully gracious.

Nodding as I spoke and rounding out my replies to give the illusion I might have said something insightful. I was so grateful to all of them. Like I’d just got off a scary ride, I wanted to hug everyone and do it all again. It was addictive.

(That must be what labour is like right?).

The whole weekend was seriously inspiring and awesome, and now I know God is backing me.

Plus, Nick Earls told me I have talent. So, Nick and God.

Festival Blogging

By Marian Edmunds

- And that some of the most important words

- that Marieke Hardy is really very nice to

I

ever spoken to him were: Why don’t you be

speak to?

loved this Byron Writers’ Festival

who you are?

- about Kari Gislason’s riveting Icelandic family

more than any of the past five I’ve

- That Adrian Franklin proudly has more vases

drama and broken promise? I do, I am reading

blogged, or attended before. I say

than any other man in history?

the book.

- of Nicole Moore has collected, censored

- about the marvellous sins of Ailsa Piper that

year I felt it more - there was an unplugged

books, the absent library that a country keeps

crackled across a Sunday morning.

authenticity. It’s never easy to précis all that

away from itself?

- about Katherine Boo who was once told

you learn, and hear over three days. Here are a

- that composed Niromi de Soyza could move

how to deal with people who don’t care?

few of my highlights.

teachers, students, adults, and herself to

“Subsidise their lack of interest with your

wherever she tells her story of being a Tamil

surplus.”

Who knew?

child soldier?

Marian Edmunds

- Of Bob Brown’s inner turmoil about being

- that ex-lawyers – Shamini Flint, Elliot

http://byronbaywritersfestival.wordpress.

unexpectedly made school captain?

Perlman and Sulari Gentill are so funny?

com/

that after every festival but this

16 - northerly magazine | september – october 2012

Blogospheres, Twitterspheres, and all things social media

by Jesse Blackadder Alex Adsett @alexadsett Michael Kirby: natural resources do not belong to those who dig them out of ground, but to the Australian people. #bbwf2012

}

Did you take the chance to follow the festival’s virtual life this year? We splashed into the social media world in a much bigger way this year thanks to the festival’s Facebook page, some dedicated tweeting efforts, and of course the hard working festival blogging team. There’s still plenty to check out if you want to catch up on missed sessions or browse the conversations that flew around cyberspace during the festival.

Facebook The festival’s Facebook page was busy in the months and weeks leading up to August, with program announcements, book reviews, author profiles, ‘meet the team’ posts and literary news. People asked questions and it was a great way to find out about authors appearing at the festival and plan your festival program. Post-festival we’ve been putting up links to recordings of panels so you can catch up on sessions you missed. www.facebook.com/bbwritersfestival

Twitter We had several volunteer tweeters for the festival this year, but by far the biggest tweeters were of course our participating authors, many of whom tweeted their thoughts and experiences right through the festival, using the tag #BBWF2012. Check out some of the top tweets below.

The Tweets Tristan Bancks@tristanbancks Loving the tweets from @bbwritersfest.

Thanks to all who are sharing #bbwf2012

Sulari Gentil

{

Tim Baker@bytimbaker Thanks @bbwritersfest for an inspiring weekend - always come away renewed, recharged and above all itching to write #BBWF2012

“It was brilliant in every way.

I’ve been to festivals before, but none I’ve attended previously has had such a warm and collegiate atmosphere as BBWF 2012.”

Charlotte Wood @charlotteshucks Beautiful panel on birds today at #bbwf2012 - generous conversation between writers of 3 v different viewpoints & great chairing by Ash Hay Susanna Freymark @SusannaFreymark Michael Kirby: The only solution is homosexuality. In response to lack of men in Byron. #bbwf2012

Diane Curran @chickollage There is no romance panel at #bbwf2012 but we have romance writers from RWA and Haylee Kerans from Harlequin, http://pic. twitter.com/OQ6lJmwk

NarelleHooper @AFRBOSS #BBWF2012 Thomas Keneally- @ George Pell reflects the perils of celibacy- wears sandals & black sox to the beach. A wife would stop him.

ABC North Coast NSW @ABCNorthCoast Andy Griffiths: ‘The fastest way to shut down creativity is to say ‘write a story, at the end I’ll give you a mark out of 10’ #BBWF2012 Charlotte Wood @charlotteshucks Sadly have had to leave Byron - gorgeous weekend; thanks to all at #bbwf2012 for the stunning weather, rich conversation & good food.

Emily @EmilyJaneH87 @JaneCaro at BWF- 2000 years of people being disappointed when you were born isn’t overcome overnight. #feminism #BBWF2012 Ailsa Piper @AilsaPiper Gracias Jonathon Parsons, Sarah Ma and all the team including brilliant volunteers at @ bbwritersfest - inspiring days. #bbwf2012 Jon Doust @JonEDoust #bbwf2012 thank you byron and all who make you who you are.i am enriched.

HarperCollins Media ‫@‏‬HCPMedia #bbwf2012 @TheStellaPrize Huge support from the Audience for Australian women writers prize. http://pic.twitter.com/BuiHZoO7 Susan Johnson @sjreaders @MillerDannielle @JaneCaro How many Godesses can there be in the one place?

Answer: Lots. #BBWF2012 What a blast!

HarperCollins Media @HCPMedia #bbwf2012 #marmaladefiles By the time the signing was finished it was by the light of an iPhone. http://pic.twitter.com/9GQEfUmy Caroline Baum @mscarobaum When yr IPad fails 15 mins before panel you need pros to save you. Thks to @ charlotteshucks,@ailsapiper,Hannie Rayson! #BBWF2012 ABC North Coast NSW @ABCNorthCoast No one seems to like 50 Shades of Grey at #BBWF2012 but they sure do mention it a lot!

northerly magazine | september – october 2012- 17

Kids’ pages Isobelle Carmody in The Writer’s Studio...

by Tristan Bancks Isobelle Carmody appeared at the 2012 Byron Bay Writers’ Festival. She is a children’s and Young Adult writer who moves to her own rhythms. She has discovered her space and process over 40 years as an author, having begun writing her beloved and greatly acclaimed Obernewtyn Chronicles at age 14. Here, Isobelle takes us for a trip around Europe (and the Great Ocean Road), taking us inside her writing space and life, sharing in images, words and video, where her stories come from.

Where did you write your latest book?

How important to you is the space in which you write?

I wrote the book I just finished, a collection of six stories called Metro Winds, over 12 years so I wrote in a lot of different places. Allen & Unwin have been incredibly, inhumanly patient with me. They did not even join that website called ‘Isobelle Carmody Hurry Up’. Can you believe there really is a site called that? I joined it on my last birthday because I want me to hurry up too. The trouble is that things take as long as they take and I want to get them right.

That is also why it has taken so long to finish these stories.

The title story was mostly written in Prague when I was first living there, and in Paris. The city in the story is in fact a fusion of those two cities. The second is called The Dove Game, and was written in Paris, when I was staying in the Keesing Studio at the Cite Des Arts on an Australia Council grant. One of the micro stories in it was something my partner saw and told me about. I loved it so much I asked him to ‘give’ it to me as a present, to use as I liked. It was a big ask because he is a writer too, as well as a musician, but he gave it to me. The Dove Game also contains a story that the artist Miles Lowry, who did the covers of the Billy Thunder books and Alyzon Whitestar, told me when I was in residence at the

Tyrone Guthrie Centre at Annaghmarrig in Ireland. The third story, The Girl Who Could See the Wind, is set in Europe and in Australia and was mostly written in cafes in Australia.

Do you transform your space in any way for each book? Do you ‘get into character’ at all?

I have a little study that opens right off the kitchen in Australia, and from it I can see the back yard, the front yard and the ocean. In fact I am mostly there in winter these days and and I tend to shift to sit in front of the fire on the couch.

I have a laptop I can take anywhere. I hate being cold but I can’t be too warm or I will fall asleep. I prefer no music and no talking and absolutely never the sound of television or ads. I love it when I can hear no human voices. I do go into Apollo Bay and work a lot, and I have my favorite cafes to write in - I tend to write each new book in a different cafe, partly because I think the staff might be sick of sweeping round me by the time I have finished it, and partly because I need to signal to myself that something new is to start. I need a blank canvas. But I hate change. If the cafe changes too much, I will usually stop going there.

In Prague at home, I work in our kitchen which overlooks a complex of apartment yards which have been horribly given over to garages- it is all pitch roof and grey cement. When I showed it to my brother he was appalled. He called it The Gulag. I have a beaten up kitchen table and I am forever fighting to keep the paperwork at bay so we can actually eat there sometimes. The wiring in the kitchen is defective and is always blinking or dimming or going off at the worst moment. I have to bring in the bedroom lamp when I want to draw.

Do you keep regular writing hours? If not, when do you write?

I start at about 7.30am, just before

18 - northerly magazine | september – october 2012

my daughter goes to school. I make her breakfast not because she needs me to do it, but because it seems sort of sad for her to get up and get ready and leave all alone. There is an intercom that goes down to the front door of the building and sometimes I miaow or purr at her through it. Sometimes it is not her but it doesn’t matter because the startled person at the other end does not know who made cat noises. For all he or she knows, it might be a cat. My daughter says severely, ‘Other mothers don’t miaow down the intercom.’

‘You miaow back,’ I counter. ‘You encourage me.’ Only because it would be rude not to answer,’ she says, with dignity. I write until about one in my pyjamas, then I shower and go for a walk. I take my computer and after the walk I sit in a cafe and work for another couple of hours, then I go home and work again, stopping to cook dinner, and right now it is 1am and I am still up, writing. Luckily I have always been a bit of an insomniac. Wanting to sleep when I am supposed to be working does not count because it is only a mind trick. Writer narcolepsy. The minute I start to work, I feel sleepy but I have to push through it and then I am okay. Basically I write all the time and squash life in when I have to.

The Writer’s Studio is an ongoing blog series at www.tristanbancks.com where children’s writers and illustrators share their creative space.

Brunswick Heads

Primary School reports...

On 27th of July we went to the Byron writers Festival first we lined up at the cola. The teachers chose the most quiet classes first and then the others when we got there I thought the Athours were going to tell us a whole bunch of boring stories, but I was absoliutly wrong. Issabell Carmody told us spooky storys and Andy Grithifs told us tones of short storys but they were hilarious. It was one of the best school days ever.

By Erec

On a Tuesday or Wednesday some time ago yr 3-5 went on an exursoin to the Byron Bay writers festival. The authors were Andy Griffiths and Issabell - er - don’t remember her last name.

We started with Issabell, she is pretty funny but, not as good as Andy Griffiths he was just really funny and AWESOME!!!!!!

After the festival I bought a book called ‘just doomed’.

That book really good!

By R Cole

On Wednesday 4/5 FP went to the writers festival to get some books and listen to the authors to tell about them selfves.

First we had Isabell and she talked about her younger brothers and sisters and the games they played. Then we had andy and she told us how to annoy our teachers, brothers and sisters. He also told us about how he gets along with Terry and a story.

It was fun listening to the storyes and getting books signed I wished there were more authors.

Max Leonard

northerly magazine | september – october 2012- 19

BOOK REVIEW

BOOK REVIEW

Darkness on the Edge of Town A debut novel by Jessie Cole Reviewed by Lisa Walker

M

asculinity, Sexuality and Tenderness -Darkness on the Edge of Town

by Jessie Cole

A crashed car on a country road, a fragile young woman and man who collects broken things... These are the elements which introduce Jessie Cole’s debut novel, Darkness on the Edge of Town.

Vincent is something of a drifter, a handyman on the cusp of forty, unpolished, but tender. From the moment he stops to help the young woman he finds sitting beside her crashed car, his life takes a new direction. Rachel, brittle and grieving, returns to Vincent’s house and a strange and intense relationship develops between them.

Vincent’s daughter Gemma is sixteen, and entering the unknown land of male and female relationships. She wonders how she can spend all night talking to a boy and then, ‘at school he acted like he’d never seen me before...’

Gemma has watched Vincent move from woman to woman in the town, always choosing ones with, ‘a half-crazy edge’. ‘I used to wonder what it was about my dad that attracts these women... But lately I’m thinking maybe I should be worried about what it is that he needs from

them.’ Gemma watches with apprehension as the dynamic between Vincent and Rachel changes.

The story is told from the alternate voices of father and daughter. Both voices are strong, distinct and totally authentic. There are some beautiful moments between Gemma and her father such as when Vincent tries to tell her how he feels about Rachel. ‘...I can never explain it, and the more I’d try the weirder it’d sound.’ All three characters struggle to communicate their feelings - the gaps between what they say and what they feel ring loudly.

Set in an isolated valley in northern New South Wales, the novel explores themes of masculinity and sexuality, communication and miscommunication. In the style of writers like Tim Winton, it is a tense and gripping portrayal of the current that lies beneath relationships in the smallest of towns.

The theme of male violence also pervades the book. Vincent, though compassionate and principled, is quick to anger. I read the book with a knot of apprehension which grew as the story progressed. But what touched me most was its quality of transience. As Vincent reflects, lying next to Rachel, ‘I lay there, still and quiet, knowing that nothing lasts

20 - northerly magazine | september – october 2012

forever, but sort of hoping that it could.’

This is a novel you’ll read quickly and then wish you’d read slowly because you don’t want it to end.

Born in 1977, Jessie Cole grew up in an isolated valley in Northern NSW, and lived a bush childhood of creek swimming and barefoot free-range adventuring. In 2009 she was awarded a HarperCollins Varuna Award for Manuscript Development, leading to the publication of her first novel Darkness on the Edge of Town.

Jessie writes music related articles for Australian travel magazine Get Lost, and her fiction work has also appeared in Kill Your Darlings, Meanjin, and the Big Issue. Many of her stories also appear on her blog: http://jessiecolewriter.wordpress. com/ Nowadays, she lives in her childhood home with her two sons, her mother, her soulful dog, two cats, and various carpet snakes.

EVENTS

EVENTS

GenreCon 2 - 4 November Rydges Parramatta 116 James Ruse Drive Rosehill, NSW, 2142

I

t was a dark and stormy night when the creative team behind The Australian Writer’s Marketplace began to talk about Australian genre fiction.

Specifically, we talked about the fact that genre fiction has produced some of Australia’s most enduring stories. We talked about the fact that there are many vibrant writing communities who support a particular genre – romance, speculative fiction, crime, horror – but no program or event that brings these communities together. We talked about the talented writers who are only ever celebrated within these communities, rather than being brought together and feted as a whole.

And we talked about the various ways this seemed strange. After all, genre fiction authors have a lot in common, and Australian writers can get enormous benefit by meeting and developing networks with each other, and by learning from authors and publishers who have experience and knowledge to share.

The more we talked about it, the more it seemed like a great idea, and so we created GenreCon, a national conference for writers celebrating Australian genre fiction. Scheduled for November 2nd-4th in Parramatta, GenreCon will be our chance to bring together writers of romance, mystery, suspense, crime, thrillers, fantasy, science fiction, horror and more.

It seems we weren’t the only ones who liked the idea.

Who’s Coming?

GenreCon welcomes genre writers from every corner of the bookshop, from romance to fantasy to crime, and those whose work crosses the aisle. Among the veteran genre authors who will be leading discussions, sharing knowledge (and the occasional cocktail) are GenreCon guests Kim Wilkins, whose twenty-book career spans fantasy, supernatural thrillers, and epic romance (written under the name Kimberly Freeman); Anna Campbell, award-winning writer of historical romances that are published worldwide; and romantic-suspense author Helene Young, whose latest novel, Burning Lies, has just hit the shelves.

We’ve also invited some rising stars of Australian genre fiction, including award-winning crime novelist P.M. Newton, and debut urban-fantasy author Daniel O’Malley, and a host of industry guests including Bernadette Foley (Hachette), Joel Naoum (Momentum Books), and Lindy Cameron (Clan Destine Press).

Our Australian guests will be joined by a trio of international experts, including best-selling fantasy author Joe Abercrombie from the UK, romance critic and blogger Sarah Wendell of Smart Bitches, Trashy Books, and agent Ginger Clarke from Curtis Brown New York.

Why Come Along?

Celebrate!

GenreCon is a great excuse for a party. It’s a conference designed to foster the next wave of great Australian genre writing, in

addition to celebrating the talent of established genre writers.

Pitch your work!

Pitching sessions put writers in the room with agents and publishers, giving them a chance to sell the strengths of their manuscript faceto-face.

Learn craft and do business!

While there’s going to be time to let our hair down, the GenreCon program will be loaded with panels and workshops for aspiring genre writers to hone their craft.

For years The Australian Writer’s Marketplace has helped emerging and established writers develop their careers, whether it’s through providing access to markets, peer support, or educating writers about the industry. When we see a gathering of writers and publishers in one spot, we can’t help but think about the opportunity it represents to use their collective knowledge and experience.

From the outset we conceptualised GenreCon as a conference by writers, for writers, with a program that’s focused on matters of craft, research, and developing a better understanding of the industry.

Special Offer GenreCon would like to extend a special offer to members of the Northern Rivers Writers’ Centre. Use the code NorthR12 when registering for GenreCon prior to 30 September and you’ll receive a discounted rate of $250 for the weekend pass.

northerly magazine | september – october 2012- 21

WORKSHOPS

Writing through grief, loss and trauma with Rebecca McGuiness and Maria Hauff from Write Your Life This two day workshop explores the issues surrounding grief, loss and trauma through the medium of the written word.

Over the weekend, participants will engage in several different forms of writing including poetry, creative writing, song writing, scriptwriting and experimental writing.

People of all ages and educational backgrounds are encouraged to come along and join in this highly creative process. This workshop provides the opportunity for expression in a safe and stimulating environment which will leave you with a more complete sense of self fulfilment.

REBECCA MCGUINESS is a teacher and group facilitator and has worked with a wide range of organisations including the Ted Noffs Foundation, the Minda Juvenile Justice Centre, and Long Bay Jail.

MARIA HAUFF is a Journalist and Writer, is currently undertaking her Master of Communication, and has worked as an Online Journalist and Producer.

Rebecca and Maria have created the Write your Life program and are currently facilitating writing workshops at the Buttery Drug and Alcohol Recovery Centre.

When: 10am - 4pm, 15 -16 September Where: SCU room, Community Centre Cost: $135 members/$160 non-members

WORKSHOPS

How to get published regularly: writing for the educational market

The complete package: writing for children

with Pamela Rushby

with Martin Chatterton

This is a very practical, nuts-and-bolts session for aspiring and emerging writers interested in learning how to break into writing for children – and for those interested in working in a field where writers are constantly in demand.

Topics covered include: defining and exploring the educational market; the kinds of books that educational publishers publish; tips on how to locate the right publisher for you; how to approach a publisher; how to get your first brief; working with editors: the 7 big things educational editors want from writers; how to make editors love you – and your work; and ten things writers need to know so that they’ll be invited to submit work – again and again and again …

If you are a first-time children’s writer or illustrator with an existing unpublished book project who is serious about getting your idea into shape, ‘The Complete Package’ is for you.

This intensive workshop will take your raw project and, over two days, try and give you the tools to turn them into something that stands a better chance of finding a publisher.

This will be a reality-check program aimed at encouraging a more professional approach to developing your project. At the end of the workshop we would aim to have your project pointing in the right direction. It won’t be finished, but you will know how to best improve it. Content will include target readership, the publishing world, language, text, image, cover design, the concept of packaging, the importance of potential, and the world market.

When: 10am - 1pm, 22 September Where: SCU room, Community Centre Cost: $40 members /$50 non-members

How to write killer first sentences with Pamela Rushby This is a practical, hands-on workshop that assists writers to look critically at the first sentence of their story – and then suggests a method of locating that attention-grabbing, totally riveting first sentence in their own manuscript.

When readers pick up a book in a bookshop, they’ll look at the cover.

They’ll glance at the blurb. Then they’ll flip the book open and read the first sentence.

When: 10am - 1pm, 23 September Where: SCU room, Community Centre Cost: $40 members /$50 non-members

22 - northerly magazine | september – october 2012

MARTIN CHATTERTON is an internationally successful illustrator and writer of children’s fiction. His work has been published in more than a dozen languages and has won and been shortlisted in numerous awards in the UK, US and Australia. Martin lives in Lennox Head and is married with two children. www.worldofchatterton.com When: 10am - 4pm, 29 - 30 September Where: SCU room, Community Centre Cost: $135 members/$160 non-members

WORKSHOPS

WORKSHOPS

Bye bye potato head: a workshop for kids

‘The Insiders’ How to pitch your book

with Melaina Faranda

with Sally Collings

This workshop is for young writers aged 9 - 14. Learn how to create fascinating characters with a treasury of fantastic tools, tips and techniques, and secret author tricks that will make your stories shine with something special.

Discover how to make your characters so alive that, long after someone puts down your story, they’re still caring and thinking about them as if they were real people. Better still - you’ll be dreaming about them: on the way to school, when you’re meant to be tidying your room, when your teacher is asking if you heard anything they just said... You’ll also learn how to explore your characters, their hopes and fears, likes and dislikes, desires and frustrations, to discover and create a unique and powerful storyline, so that you never have those stuck moments wondering what happens next...

This practical, industry-focused workshop will show you how to write an enticing book proposal so that, no matter what stage you are at, you’ll be able to walk away with the tools and knowledge to catch a publisher’s attention.

Topics covered include: the difference between a query, a pitch, a proposal, and a synopsis; how much material to send; do you need an agent; how to get your ideas in front of the right person; what publishers (and agents) really want; industry perspectives; and how to move on from rejection.

At the end of this workshop, participants will have a clear understanding of publishers’ requirements.

MELAINA FARANDA is the international author of twenty-nine YA and Children’s books. Melaina first started storytelling in the classroom because she didn’t like yelling, didn’t care about homework, and just wanted kids to like her. It worked the students reckoned she was the best and her stories turned into books. She writes fast because she likes things to be exciting and fun!

When: 10am - 4pm, 6 October Where: SCU room, Community Centre Cost: $55 members /$70 non-members

SALLY COLLINGS wrote the bestselling Sophie’s Journey and in the past three years authored Positive, The World According to Kids and Parenting With Soul. With Antonia Kidman she has written The Fuss-free Household (2012).

Sally has held the positions of publisher and senior editor at HarperCollins (Australia), editorial director at Amber Books (London) and executive editor at Websters Multimedia (London). www.sallycollings.com When: 10am - 4pm, 20 October Where: SCU room, Community Centre Cost: $70 members/ $85 non-members

Moving right along: exploring narrative momentum with Laurel Cohn Whether fiction or non-fiction, booklength narratives need momentum to keep the reader engaged. And your opening chapters are crucial to securing interest from an agent or publisher, or competition judge.

This workshop explores what it is that engages readers and how to deliver that narrative pull. With a focus on the opening of your manuscript, drawing characters, scene setting, establishing the hook and avoiding dead ends, this workshop will help you to differentiate between what you need and don’t need on the page in order to keep the reader moving right along.

Come with your synopsis, opening three chapters, a recent favourite book (fiction or nonfiction), and an open mind to engage with your writing in a new way.

LAUREL COHN is an editor passionate about communication and the power of narrative to engage, inspire and challenge. She has worked with writers since the late 1980s, spending five years with one of Australia’s top literary agents and four years as Consultant Editor to the NSW Writers’ Centre before turning freelance. www.laurelcohn.com.au.

When: 10am - 4pm, 21 October Where: SCU room, Community Centre Cost: $70 members /$85 non-members

northerly magazine | september – october 2012- 23

Workshop The big picture: structural editing with Shelley Kenigsberg Is your story in the best shape it can be?

Does it have coherence, elegance and a compelling shape? Does it flow well?

When writers look at the structure of their writing, it’s these essentials that can make the difference between a piece of writing that is compelling and moving or one that’s dull and unfinished (in both senses of the word).

Structural editing means analysing the writing to ensure all the right elements are there and in place. In this 2-day workshop, we’ll look at different ways to restructure. It could mean rewriting or rearranging; it could mean cutting scenes (pages or chapters) that didn’t quite come off.

Through practical exercises, writers will get a raft of techniques they can use to better identify problem areas and make changes to the work. Get to know what’s needed and how to take action to resolve structural problems. Then you can confidently answer ‘yes’ to that question we asked at the beginning.

If, like PG Wodehouse, you sometimes “… just sit at a typewriter and curse a bit,” this structural editing workshop could be for you.

SHELLEY KENIGSBERG is a prominent freelance editor, writer and trainer currently involved in editing, writing and mentoring projects. Her most recent initiative is Editing in Paradise, run in Australia (February and May) and in Bali (October). She is Head of the Macleay Diploma in Book Editing and Publishing and has delivered the course for the past 21 years. www.editinginparadise.com When: 10am - 4pm, 3 - 4 November Where: SCU room, Community Centre Cost: $135 memb / $160 non-members

Opportunities

Opportunities EMERGING WRITERS FESTIVAL Submissions are open for The Emerging Writer!

It’s that time again – we’re opening up opportunities for writers to submit pitches to our annual publication The Emerging Writer, a resource by writers, for writers. This next edition will be edited by Andre Dao and here’s a little of what he’s after: “We’re looking for all sorts of writers – so whether you’re writing literary fiction, comics, rejection letters, translations, smartphone apps, cookbooks, poetry, parliamentary speeches, Mills & Boon, advertising copy or real estate listings, you have valuable experience to share. We’re particularly looking for contributions from outside Melbourne, and from non-urban areas. We’re also looking for writers who might not consider themselves ‘literary’ – whether that be writing for a trade publication or in niche and genre forms.”

More details: http://www. emergingwritersfestival.org.au/2012/08/ submit-to-the-emerging-writer/

FRANKFURT BOOK FAIR A major event in international publishing calendar is the Frankfurt Book Fair running 10-14 October 2012.

The books that are exhibited there will be exposed to 27,300 exhibitors from 100 countries, 299,000 visitors and over 10,000 journalists from all over the world who deliberately go there to pick up new books to publish and promote.

This is a very special year for authors in this part of the world, as New Zealand is the focus country at Frankfurt; so all eyes will be on down under.

As both Australian authors and publishers, Dr Irina Webster and her husband William Webster will have a stand there on behalf of the Australian Self-Publishing Group.

They personally present books from Australian authors to literary agents,

24 - northerly magazine | september – october 2012

publishers and distributors, giving them the best chance to succeed.

They make appointments with publishing professionals prior to the start of the book fair for every genre of book. http://australianselfpublishinggroup. com/book-fairs/frankfurt-book-fair-2012

Competitions SHORT FICTION AWARDS There are two categories and the competition is open to all Australian residents – a great opportunity for writers to develop their skills and get some feedback as we always issue a judge’s report. Entry forms are available at the link below: -Katharine Susannah Prichard Open Awards -Mundaring National Young Writers Awards (20 years and under) Winners will be announced on Katharine’s Birthday on Sunday 2 December 2012.

Please find the entry form and more information on http://www.kspf.iinet. net.au/activities.html#competitions.

Closing date: 21 September 2012

THE PORT STEPHENS EXAMINER LITERATURE AWARD 2012 $1200 in prize money Short stories up to 2000 words on any topic.

1st $500 - Port Stephens Council Award: 2nd $300: 3rd $100 Plus $100 – ‘Tanilba House’ prize. Four x $50 most highly commended prizes.

Entry fee - $5 (cheques/money orders made out to TACE.) Standard competition conditions apply – no entry form needed.

Separate cover sheet- story title and author’s contact details.

Stories to be typed and double spaced.

Enquiries Geoff Walker 02 4982 4095 or www.tilligerry.com Postal Address Literature Awards PO Box 105 TANILBA BAY NSW 2319 Closing date: 30 September.

Competitions

POSITIVE WORDS MAGAZINE MINICOMPETITION Write a poem in ten lines or less, or a short story in 100 words or less including the word - RICH - at least once. Entry fee is $1.20 in unused postage stamps.

The prize is a six-month (6 issues) subscription to Positive Words Magazine.

No entry form needed. All entries must be post-marked by 30 September 2012.

Send entries to The Editor, Sandra James, PO Box 798, Heathcote 3523, Victoria.

For further information about the magazine or competitions please email or check the website/blog.

Closing date: 30 September 2012

$20,000 RODNEY SEABORN PLAYWRIGHT’S AWARD The Award is offered each year for the development of a play or other approved performing arts project, and is intended for those needing income and support during the writing or development of a project or to assist with costs of production, workshops, restaging, publishing or touring. It is not intended as a prize for a finished work.

Entry form and details at: www. sbwfoundation.com Closing date: 3 October 2012

MARTHA RICHARDSON POETRY PRIZE IS A BI-ANNUAL PRIZE RUN BY BALLARAT WRITERS INC. In 2012 the Judge will be Nathan Curnow.

Competition Details: Poetry to 40 lines, open theme, first prize: $1000 AUD, results announced online December 2012, visit http:// www.ballaratwriters.com/?page_id=467 Closing date: 15 October 2012

POSITIVE WORDS MAGAZINE END-OF -YEAR COMPETITION Short stories up to 500 words; poems up to 32 lines. Entry fee is $3.60. First prize is $100, second prize a twelve-month (12 issues) subscription to Positive Words Magazine. All entries must be post-marked by 31 October 2012. Send

Competitions

entries to The Editor, Sandra James, PO Box 798, Heathcote 3523, Victoria. For further information about the magazine or competitions please email or check the website/blog.

Closing date: 31 October 2012

THE BEST OF TIMES SHORT STORY COMPETITON. For humorous short stories (any theme) up to 2500 words.

First prize: $200, second prize: $50.

No entry form is required. Include a cover sheet with your name and address, story title and word count, and where you heard about the competition.

Entry fee is $6 per story. Send a cheque or money order made out to Chris Broadribb or use Paypal to pay cabbook-14@yahoo.com.au Post your entry to PO Box 55, Blaxcell NSW 2142 (including a large SSAE for results) or email it to cabbook-14@ yahoo.com.au Competition website: http://spiky_one. tripod.com/comp14.html Closing date: 31 Oct 2012

THE 2013 BLACKENED BILLY VERSE COMPETITION ATTENTION WRITERS OF BUSH VERSE! Busybird Publishing is looking for submissions of poetry and memoir/ biography for an anthology of experiences with prostate cancer. The anthology will be published November 2013. Please see website for guidelines.

We now have great news for you. The Australian Bush Poets Association have decided to sponsor the competition, which means even greater cash prizes for our winners.

First prize is now $600 plus the famous BLACKENED BILLY TROPHY. Second prize is $300 and third $200.

Entry forms are now available. Write to Jan Morris PO Box 3001, West Tamworth NSW 2340 or email janmorris33@ bigpond.com The winners will be announced at the Tamworth Country Music Festival in January 2013.

Closing date: 30 November 2012

THE ANNUAL MARGARET RIVER SHORT STORY COMPETITION We are seeking submissions on any topic. The required word limit is between 1200-3000 words. We look forward to receiving your submissions. For entry forms and conditions please visit: http://www.margaretriverpress.com/ submissions/margaret-river-short-storywriting-competition/ Closing date: 30 November 2012

PROSE AND POETRY PRIZES 2012 FROM THE NEW WRITER MAGAZINE Now in 16th year, one of the major annual international competitions for short stories, microfiction, single poems, poetry collections, essays and articles; offers cash prizes as well as publication for the prize-winning writers in The Collection, special edition of The New Writer magazine each July.

Further information on the Prose & Poetry Prizes including guidelines, prize money and entry fees at: http://www. thenewwriter.com/prizes.htm Writers can enter online at our secure credit card server at: http://www. thenewwriter.com/entryform.htm Or, the entry form can be downloaded from that page on the website and sent in the post with your entry.

Closing date: 30 November 2012 PETER PORTER POETRY PRIZE Entry to the ninth annual Australian Book Review Poetry Prize – named the Peter Porter Poetry Prize, in memory of the late Australian poet – is now open.

The Peter Porter Poetry Prize is one of Australia’s most lucrative and respected awards for poetry, and guarantees winners wide exposure through publication in ABR. Judges: David McCooey and Bronwyn Lea First prize: $4000 Shortlisted poems: $400 https://www.australianbookreview.com. au/prizes/peter-porter-poetry-prize Closing date: 30 November 2012

northerly magazine | september – october 2012- 25

WRITERS’ GROUPS

Ballina/Byron U3A Creative Writing Contact ph. Jan 0404 007 586. Meets at 12.00pm every second Wednesday, Fripp Oval Ballina.

Bangalow Writers Group Contact Simone Hogan on 6629 1838 (email Simone; coolingsolutions@westnet.com.au) or James Hudson on 6628 5061. Meets 9.45am- 12.00pm, first Thursday of the month, Heritage House, Bangalow.

Bellingen Writers Group Contact David Breaden (president) on 02 6699 3888 or email davidmb@wirefree.net.au Meets at Bellingen Golf Club on the fourth Monday of the month at 2.00pm. All welcome Baywrite Theatre Inc. Contact Udo Moerig on 02 6680 9698 or go to www. baywrite.com. Reading and comment on new scripts 1st Saturday each month. Workshopping of selected scripts 4th Tuesday each month.

Cloudcatchers Contact Quendryth Young on 02 6628 3753 or email quendrythyoung@bigpond.com. For haiku enthusiasts, a ginko (haiku walk) is undertaken according to group agreement.

Coffs Harbour Writers Group Contact Ninette van Zyl on 02 6652 1898 or email vanzyl48@bigpond.com. Meets 1st and 3rd Thursday of month, 10.00am–12.00noon.

Cru3a River Poets Contact Pauline Powell 02 6645 8715.

Meets every Thursday at 10.30am, venue varies, mainly in Yamba. Email kitesway@westnet.com.au.

Dangerously Poetic writing circle. Meets second Wednesday of every month 1.00pm-3.00pm, at The Wheel of Life in Brunswick Heads (behind the Anglican Church on Fingal Street). Contact Laura – 6680 1967 or visit www.dangerouslypoetic.com Dorrigo Writers Group Contact Iris Curteis on 6657 5274, email an_lomall@bigpond.com or Nell Hunter on 6657 4089.

Meet every second Wednesday from 12.00pm - 4.00 pm Dunoon Writers Group Writers on the Block Contact Helga on 02 6620 2994 (w) or email: /heg.j@telstra.com/. Meets 2nd Tuesday of month, 6.30pm–8pm, at the Dunoon Sports Club.

Federal Writers Group Contact Vicki Peterson on 02 6684 0093 or email ganden1@gmail.com. Meets 3rd Saturday of month in Federal.

FAW Port Macquarie–Hastings Regional Contact Bill Turner (President) on 02 6584 5342 or email wjturner@aapt.net.au. Meets 1pm on last Saturday of month, Historic Museum, Clarence Street, Port Macquarie.

Gold Coast Writers Association Contact 0431 443 385 or email info@ goldcoastwriters.org.au. Meets 3rd Saturday of month, 1.30pm for a 2.00pm start, at Fradgley Hall, Burleigh Heads Library, Park Avenue, Burleigh Heads, Qld. Kempsey Writers Group Contact Carma Eckersley on 02 6562 5227. Meets 1st Sunday of month at the Railway Hotel.

Lower Clarence Arts & Crafts Ferry Park Writers Group Contact Di Wood on 02 6645 8969 or email diwood43@bigpond.com. Meets 1st Thursday of month,10.00am–12.00pm.

Memoir Writing Group Contact Diana Burstall on 02 6685 5387 or email diana.burstall@gmail.com. Meets every month at Sunrise Beach, Byron Bay. Mullum Writing Group Contact Lisa MacKenzie on 02 6684 4387 ah or email llatmac28@gmail.com. Meets fortnightly on Tuesdays, 7.30pm.

Nambucca Valley Writers Group Contact 02 6568 9648, or email nvwg@ live.com.au. Meets 4th Saturday of month, 1.30pm, Nambucca.

Poets and Writers on the Tweed Meet weekly in the Tweed Heads Library, Tuesdays 1.30pm to 3.00pm. Poets, novelists, playwrights, short story writers all welcome. Fun group meets for discussion, support and constructive criticism. Free membership. Phone Lorraine 07 55909395 or Ken 02 66742898.

Richmond–Tweed Family History Society Contact Jan Mulcahy on 02 6625 2933. Meets 1st Saturday of month (excl. January), 2pm at the Players Theatre, Swift St, Ballina.

Taree–Manning River Scribblers Contact Bob Winston on 02 6553 2829 or email rrw1939@hotmail.com. Meets 2nd Wednesday of month, 9.00am– 11.30am in Taree. Call first to check venue.

WordsFlow Writing Group Contact Rosemary Nissen-Wade 02 6676 0874, Pam Moore 02 6676 1417. Meets Fridays in school term, 1.00pm–3.30 pm, Pottsville Beach Neighbourhood Centre, 12a Elizabeth St, Pottsville Beach.

Visit http://wordsflowwriters.blogspot.com/

26 - northerly magazine | september – october 2012

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Sept 2012 - Feb 2013

Membership Application

Every year, from the beginning of September, the Northern Rivers Writers’ Centre reduces its annual membership fee by 50% for the remainder of the membership term.

Please note, however, that all 2012 NRWC memberships EXPIRE on 28 Feb 2013 Organisation Name (if applicable) First name Phone

Surname Mobile

Email Address Postal Address

Please indicate: male female age range: 7-16 17-30 31-45 46-64 65+

I identify as an Aboriginal or Torres Strait Islander I am from a non-English speaking background I do not want my details passed onto other arts organisations I am interested in volunteering at: Writers’ Centre Byron Bay Writers’ Festival

1/2 year Membership rate

Please note, membership expires 28 Feb 2013

$30.00 INDIVIDUAL

$25.00 CONCESSION (Govt Pension cards only) CRN #

$20.00 STUDENT (Proof must be shown) Student #

$60.00 ORGANISATION

$45.00 FAMILY (2 adults and up to 3 children)

Eco option available receive your copy of northerly as an emailed PDF (rather than a print copy) Tick this box for the ECO OPTION and we’ll take a further $5 off your Membership Rate Payment Details TOTAL AMOUNT PAYABLE

$

Payment method

Cheque/money order

Credit Card: Card no: Name on Card:

Cash

Credit card

(Please make cheques payable to the Northern Rivers Writers’ Centre)

Mastercard

Visa

Expiry date:

Signature

Please send with your payment to Northern Rivers Writers’ Centre, PO Box 1846 Byron Bay NSW 2481 or apply and pay online at www.nrwc.org.au