Now that I'm writing this novel, I feel like I'm channelling the spirit world which is doubly funny because most of my characters are dead. The story keeps evolving as their voices tell me about their past, present and future. I'm not sure if I'm in control of it all at the moment, but I don't really care because it's exciting and I'm enjoying the ride. I have to trust the process and not worry about whether the plot, the style, the symbols, the motivation-reaction units, etc. are all going to come together. Eventually they will, if I manage to maintain my enthusiasm, strengthen my resilience and build my endurance. I know I'll learn new stuff with each step of the process.
If only I can stop my kids' voices getting into my head while I'm trying to write. I think I need to get an iPod so I can block them out. Sometimes I shut myself in my bedroom and do my first drafts longhand with an HB pencil in my spirax notebook (which I'm petrified of losing). At night, when they're hopefully asleep, I tap away on the keyboard while my partner watches television next to me. He and the TV are much easier to ignore than the kids. It's a good thing I grew up in a noisy household, because I learnt to block my family out and retreat to a world of stories—such an important part of life. Fiction versus reality; sadly fiction wins a lot of the time. I'm a born escapist.
When I'm doing the first drafts I have to tell that nasty voice of self doubt to shut up, and just let the words flow. Often the writing is shit but there is always something there to work with on the rewrite, which I find the most creative and fulfilling part.
I've wanted to write since I was a kid so I'm getting a huge buzz out of learning all this amazing stuff.
Cheers,
Annie T
Monday, May 24, 2010
Tuesday, May 18, 2010
Shortlisting judging
Being a shortlist judge for the Ada Cambridge Prize was a remarkable experience. As a writing student you can never underestimate the value of these sorts of opportunities. When I first heard about the offer it sounded like something that would really be great. But then I got cold feet. Being a mere student and nowhere near the level of a true professional writer I wondered whether or not I had the right to judge other people's work. I mean, in figurative terms, I’m basically in the same boat as the entries: all trying to get our laboured work out there, continually scratching through to the other side of that great brick wall where book deals and high paid writing jobs are just a skip and a jump away.
But luckily for me my thoughts soon settled when I realised that’s not what this writing thing is about. I’ve been told that if you’re a writer, a true writer, you write because you love to. Not because you want fame, money or a fan base of loyal subjects. If you’re a writer you're always continually going to be perfecting your craft, trying to be get better and better, and anyone can help you do that, writing student or not.
If your stories are good, they will shine through no matter what.
That thought eased me into the judging role. Of course I looked at the grammar and punctuation and all that technical stuff. But most importantly I looked at the story. And at the end of the day that’s the most vital thing.
Reading through more than forty short stories can be a tedious task, especially when you only have a couple weeks to do it in. So if the story caught your attention it usually was a good sign.
Each piece was given a grading from A to D, which was marked down for when we shortlist judges got together and made our final selection. When it came to that point I was amazed to see how one story I thought deserved a giant A rating received a horrid D from another judge. Luckily we had a score system in place that worked with the grading; otherwise we’d still be sitting in that small room, arguing away until the world’s ending.
It was a pleasure to read all the stories entered and to work alongside the other judges in determining who went forth to the final ten. It was an experience that not only enriched my own writing but also made me hopeful for the thriving writing culture we have.
Andrew Roberts
Novel 2 Student
But luckily for me my thoughts soon settled when I realised that’s not what this writing thing is about. I’ve been told that if you’re a writer, a true writer, you write because you love to. Not because you want fame, money or a fan base of loyal subjects. If you’re a writer you're always continually going to be perfecting your craft, trying to be get better and better, and anyone can help you do that, writing student or not.
If your stories are good, they will shine through no matter what.
That thought eased me into the judging role. Of course I looked at the grammar and punctuation and all that technical stuff. But most importantly I looked at the story. And at the end of the day that’s the most vital thing.
Reading through more than forty short stories can be a tedious task, especially when you only have a couple weeks to do it in. So if the story caught your attention it usually was a good sign.
Each piece was given a grading from A to D, which was marked down for when we shortlist judges got together and made our final selection. When it came to that point I was amazed to see how one story I thought deserved a giant A rating received a horrid D from another judge. Luckily we had a score system in place that worked with the grading; otherwise we’d still be sitting in that small room, arguing away until the world’s ending.
It was a pleasure to read all the stories entered and to work alongside the other judges in determining who went forth to the final ten. It was an experience that not only enriched my own writing but also made me hopeful for the thriving writing culture we have.
Andrew Roberts
Novel 2 Student
Thursday, May 13, 2010
My Writing Process - The Conflicted Mind
My writing process. Where do I begin?
The start is usually the most common place, though I know several people that begin halfway through their novels with ripper middle scenes, but then find themselves with all this excellent writing with few links between. I know people that like to write the ending to their stories first, I've never tried it myself, but from what I've seen, the results can be great or ghastly.
Me? This isn't called 'The Conflicted Mind' for nothing. John Marsden told me (amongst others; while I wish I knew Mr. Marsden personally, I don't think that will happen) that there are four kinds of writers: Brick Layers, who create one perfect sentence at a time; Water Colourists, quick, talented workers that produce a good first draft; Architects, who plan extensively then write their piece; and Oil Painters, who don't plan and let the writing flow from them, saving editing for later.
I find myself to be a hybrid between a Brick Layer and an Oil Painter. I can create these wonderful 'one-liners' and have the rest of my scene mediocre, or I can just let the writing flow out of me... and have all my writing meager.
I am a writer full of self doubt, and because of this, every one of my stories has begun well(ish) and then given up on, because I've asked 'Where is this going?' and haven't gotten a response, I've thrown down the pen or slammed the laptop shut in frustration, unable to continue with such a horrible piece; even a simple negative workshop has the power to tear down the walls of my writing stronghold.
My physical writing process occurs when it's dark outside and way past bedtime. The only sound that can be heard is the tapping of fingers on keys or the scrawling of a pen. Perfect silence, no chance of interruption. Sleep deprivation is a small price to pay for a couple of hours of coherent writing. Being a young adult, there are many obligations to meet. I'm not saying that others don't have similar priorities in their lives, but the constant parental buzzing in the ears when one is trying to write is worse than a reoccurring drop of water on the forehead that can't be prevented. At night, silence is solace. The only problem once my mind has been emptied and the words are before me is trying to fall asleep. It's way too hard to slumber when you're exploring a fantasy world.
That's it, I suppose. Those writers who are in self doubt, I can't give much advice, because I haven't been given much myself; all I can say is what you write is yours, and if your heart and your creative mind tell you it's good, then don't let anyone else tell you otherwise.
Rhys Parkhill
Novel 2 Student
PWE 2010
The start is usually the most common place, though I know several people that begin halfway through their novels with ripper middle scenes, but then find themselves with all this excellent writing with few links between. I know people that like to write the ending to their stories first, I've never tried it myself, but from what I've seen, the results can be great or ghastly.
Me? This isn't called 'The Conflicted Mind' for nothing. John Marsden told me (amongst others; while I wish I knew Mr. Marsden personally, I don't think that will happen) that there are four kinds of writers: Brick Layers, who create one perfect sentence at a time; Water Colourists, quick, talented workers that produce a good first draft; Architects, who plan extensively then write their piece; and Oil Painters, who don't plan and let the writing flow from them, saving editing for later.
I find myself to be a hybrid between a Brick Layer and an Oil Painter. I can create these wonderful 'one-liners' and have the rest of my scene mediocre, or I can just let the writing flow out of me... and have all my writing meager.
I am a writer full of self doubt, and because of this, every one of my stories has begun well(ish) and then given up on, because I've asked 'Where is this going?' and haven't gotten a response, I've thrown down the pen or slammed the laptop shut in frustration, unable to continue with such a horrible piece; even a simple negative workshop has the power to tear down the walls of my writing stronghold.
My physical writing process occurs when it's dark outside and way past bedtime. The only sound that can be heard is the tapping of fingers on keys or the scrawling of a pen. Perfect silence, no chance of interruption. Sleep deprivation is a small price to pay for a couple of hours of coherent writing. Being a young adult, there are many obligations to meet. I'm not saying that others don't have similar priorities in their lives, but the constant parental buzzing in the ears when one is trying to write is worse than a reoccurring drop of water on the forehead that can't be prevented. At night, silence is solace. The only problem once my mind has been emptied and the words are before me is trying to fall asleep. It's way too hard to slumber when you're exploring a fantasy world.
That's it, I suppose. Those writers who are in self doubt, I can't give much advice, because I haven't been given much myself; all I can say is what you write is yours, and if your heart and your creative mind tell you it's good, then don't let anyone else tell you otherwise.
Rhys Parkhill
Novel 2 Student
PWE 2010
Tuesday, May 11, 2010
My writing process
I would like to say that my writing process is a well-oiled engine that churns out words on a regular basis, but that would be a lie. Sometimes it is a well-oiled engine, but at the moment it seems to be fitting and sputtering along. Life has got in the way -- something I always swore wouldn't happen to me. And the trouble with this is that because I'm working on two (or sometimes even three) books at the same time, and because I have multiple drafts, I lose touch of where I'm at. What this means, in real terms, is that I have to spend a lot of time re-immersing myself in the story before I can write, and this means reading time. Lots of reading time. Oh, I'll think, didn't he do that? But that was two drafts ago, and I've since removed that section, which has repercussions right through the book. Why can't I find the scene where he does this? Is it cut or have I moved it? Oh, her motivations for her actions have changed; their relationship is different. And so it goes on.
The trouble with not writing regularly is that I sometimes seem to spend more time re-immersing than I do writing. I just get back into the story, the juices are flowing, and another interruption comes. I definitely work best when I'm writing every day. During the end of last year's NaNoWriMo, I wrote over 26,000 words in four days, and one of those days was an "interruption day" where I achieved very little, which meant I had to write over 8,000 words on each of the other three days. I could only do that because I was fully immersed. I know students have been impressed with that, but I see it more as a failure of organisation -- that I was forced into such a position because I hadn't built up enough words earlier. It's all in the organisation. Sit down. Bum on seat. Write.
Usually, when I am immersed, I'll start by reading over what I've written the day before and edit as I go, and that will put me back inside my main character's head, and I'll be ready to go. I can write between 1000 and 1500 words in an hour. I'm not one who sits and agonises over every comma. I have enough of a handle on my grammar and punctuation that I'm not thinking too much about it, and so I can splurge on the page. It's not always that easy, of course. Some days are harder: the words don't want to come. I might try some free writing. I might play a few games of spider solitaire, but the only way to get over the block is to do it. Sit down. Bum on seat. Write.
If I'm aiming for a particular mood in a scene, I'll put some music on. Usually a soundtrack. It works best if I'm not singing along. Humming I can handle -- that doesn't fill my head with words and leaves me room to write.
I don't often plot ahead. With my first two books I had the start and end points and a rough idea of what had to happen. The last is a bit more sketchy, but I do know where it has to end. Sometimes I find the not knowing what's going to happen exhilerating; sometimes it's just downright frightening. When I had finished my third draft and had sent my novel out and it came back with a detailed reader's report, I decided I had to weave a second storyline through the first, and that involved extensive plotting, extensive thinking about structure and where things were going to fit. More often, if I'm stuck, I'll do a little plot noodling -- I'll sit with a pen and paper and start asking "What if?", which helps me explore possibilities. That's always hard but rewarding.
I have extensive character and setting notes -- one of my favourite tools is Patricia Wrede's article on worldbuilding questions -- a fantastic resource for any spec fic writer, and available on the SFWA site. Filling those questions out was perhaps the hardest thing I ever did with my novel, but also the most enriching. I knew so much more when I had finished.
I don't make pictures in my head, so I can't "see" the scenes unfolding as I write them. It's more that I hold the idea of what's happening conceptually. It's the same when I read, so it's no disadvantage, though I must say I envy people who say they can see the whole book unfolding for them, just as if they're watching a movie. Still, I find it amusing when people tell me my work is so visual that they can see a movie unfolding. How can that be? Perhaps because I'm used to the cues that other writers use -- and that's why reading is such an important thing, for all of us writers.
Tracey
The trouble with not writing regularly is that I sometimes seem to spend more time re-immersing than I do writing. I just get back into the story, the juices are flowing, and another interruption comes. I definitely work best when I'm writing every day. During the end of last year's NaNoWriMo, I wrote over 26,000 words in four days, and one of those days was an "interruption day" where I achieved very little, which meant I had to write over 8,000 words on each of the other three days. I could only do that because I was fully immersed. I know students have been impressed with that, but I see it more as a failure of organisation -- that I was forced into such a position because I hadn't built up enough words earlier. It's all in the organisation. Sit down. Bum on seat. Write.
Usually, when I am immersed, I'll start by reading over what I've written the day before and edit as I go, and that will put me back inside my main character's head, and I'll be ready to go. I can write between 1000 and 1500 words in an hour. I'm not one who sits and agonises over every comma. I have enough of a handle on my grammar and punctuation that I'm not thinking too much about it, and so I can splurge on the page. It's not always that easy, of course. Some days are harder: the words don't want to come. I might try some free writing. I might play a few games of spider solitaire, but the only way to get over the block is to do it. Sit down. Bum on seat. Write.
If I'm aiming for a particular mood in a scene, I'll put some music on. Usually a soundtrack. It works best if I'm not singing along. Humming I can handle -- that doesn't fill my head with words and leaves me room to write.
I don't often plot ahead. With my first two books I had the start and end points and a rough idea of what had to happen. The last is a bit more sketchy, but I do know where it has to end. Sometimes I find the not knowing what's going to happen exhilerating; sometimes it's just downright frightening. When I had finished my third draft and had sent my novel out and it came back with a detailed reader's report, I decided I had to weave a second storyline through the first, and that involved extensive plotting, extensive thinking about structure and where things were going to fit. More often, if I'm stuck, I'll do a little plot noodling -- I'll sit with a pen and paper and start asking "What if?", which helps me explore possibilities. That's always hard but rewarding.
I have extensive character and setting notes -- one of my favourite tools is Patricia Wrede's article on worldbuilding questions -- a fantastic resource for any spec fic writer, and available on the SFWA site. Filling those questions out was perhaps the hardest thing I ever did with my novel, but also the most enriching. I knew so much more when I had finished.
I don't make pictures in my head, so I can't "see" the scenes unfolding as I write them. It's more that I hold the idea of what's happening conceptually. It's the same when I read, so it's no disadvantage, though I must say I envy people who say they can see the whole book unfolding for them, just as if they're watching a movie. Still, I find it amusing when people tell me my work is so visual that they can see a movie unfolding. How can that be? Perhaps because I'm used to the cues that other writers use -- and that's why reading is such an important thing, for all of us writers.
Tracey
Tuesday, April 27, 2010
Advanced notice
Here's a note from Bruno:
Please be aware that ALICE PUNG ("Unpolished Gem") will be our next guest at Rotunda in the West: Conversations with Australian Writers (all details in attached flyer)
June 3rd
7pm
Footscray Park.
Please keep your diaries free too for
Raimond Gaita "Romulus, My Father"
June 24th
7pm
Footscray Park.
Brought to you by Professional Writing and Editing (TAFE)
Grazie mille!
Bruno Lettieri
Rotunda in the West
0422 29 86 43
Please be aware that ALICE PUNG ("Unpolished Gem") will be our next guest at Rotunda in the West: Conversations with Australian Writers (all details in attached flyer)
June 3rd
7pm
Footscray Park.
Please keep your diaries free too for
Raimond Gaita "Romulus, My Father"
June 24th
7pm
Footscray Park.
Brought to you by Professional Writing and Editing (TAFE)
Grazie mille!
Bruno Lettieri
Rotunda in the West
0422 29 86 43
Williamstown Literary Festival this weekend
Hi, everyone,
Hope you're all geared up and ready for the Williamstown Literary Festival this weekend. Last year I went to lots of great panels and really enjoyed myself and caught up with lots of students -- present and past. As always, I'll be attending the Ada Cambridge Award, to see which of the great stories we listed has been announced as the winner. It's always fantastic to see who entered and to match faces with stories.
In the meantime, I just have to sit down and work out exactly which sessions to book -- I've already highlighted a lot, but of course there's some overlap in the sessions I want to go to, so it may be a matter of negotiating with a friend to swap notes!
For our on-campus students, there are copies of the program on the table outside our office, and on the noticeboard. Three of our teachers are involved this year: Sherryl Clark will be interviewing Tasma Walton as one of our Rotunda events on Saturday (5.30--6.30 in the supper room), Lucia Nardo is presenting a workshop on unblocking creativity on Sunday (11.30 am in the carpark marquee), and Chris Beck is "On the Couch" with Jeff Sparrow and Steve Grimwade on Sunday (3.30--4.30 in the ballroom).
Hope to see you all there!
Tracey Rolfe
Hope you're all geared up and ready for the Williamstown Literary Festival this weekend. Last year I went to lots of great panels and really enjoyed myself and caught up with lots of students -- present and past. As always, I'll be attending the Ada Cambridge Award, to see which of the great stories we listed has been announced as the winner. It's always fantastic to see who entered and to match faces with stories.
In the meantime, I just have to sit down and work out exactly which sessions to book -- I've already highlighted a lot, but of course there's some overlap in the sessions I want to go to, so it may be a matter of negotiating with a friend to swap notes!
For our on-campus students, there are copies of the program on the table outside our office, and on the noticeboard. Three of our teachers are involved this year: Sherryl Clark will be interviewing Tasma Walton as one of our Rotunda events on Saturday (5.30--6.30 in the supper room), Lucia Nardo is presenting a workshop on unblocking creativity on Sunday (11.30 am in the carpark marquee), and Chris Beck is "On the Couch" with Jeff Sparrow and Steve Grimwade on Sunday (3.30--4.30 in the ballroom).
Hope to see you all there!
Tracey Rolfe
Thursday, April 22, 2010
Opportunity for students to read their work
Here's an opportunity I've just copied from the intranet
Dear Colleagues,
VU Library and Student Life (St Albans) are proud to showcase readings of original poetry and prose as part of VU’s sponsorship of the Williamstown Literary Festival.
The event will feature:
· Readings of original works by students, staff and invited guests
· Great prizes/giveaways
· ***Free coffee and cake for everyone!***
Date: May 3, 2010
Time: 11am til 12.30pm
Venue: Library/Learning Commons, Building 7, Victoria University, St Albans Campus
REGISTER YOUR INTEREST!
Please register at libraryevents@vu.edu.au by April 26, 2010
· Please include a brief description of your work (Including title and if poetry or prose)
· Each reading will be limited to 2 poems or 3 minutes of prose
Classes are welcome! Just let us know your approximate numbers by sending your RSVP to the address above.
PLACES ARE LIMITED AND SELECTION OF PARTICIPANTS WILL BE BASED ON A FIRST COME FIRST SERVED BASIS
Just want to be part of the audience? Great! Come along, bring your lunch and enjoy the programme!
Janetta Mascilongo
Marketing and Information Literacy Librarian
LibraryVictoria UniversityPhone 61 3 9919 2980
Dear Colleagues,
VU Library and Student Life (St Albans) are proud to showcase readings of original poetry and prose as part of VU’s sponsorship of the Williamstown Literary Festival.
The event will feature:
· Readings of original works by students, staff and invited guests
· Great prizes/giveaways
· ***Free coffee and cake for everyone!***
Date: May 3, 2010
Time: 11am til 12.30pm
Venue: Library/Learning Commons, Building 7, Victoria University, St Albans Campus
REGISTER YOUR INTEREST!
Please register at libraryevents@vu.edu.au by April 26, 2010
· Please include a brief description of your work (Including title and if poetry or prose)
· Each reading will be limited to 2 poems or 3 minutes of prose
Classes are welcome! Just let us know your approximate numbers by sending your RSVP to the address above.
PLACES ARE LIMITED AND SELECTION OF PARTICIPANTS WILL BE BASED ON A FIRST COME FIRST SERVED BASIS
Just want to be part of the audience? Great! Come along, bring your lunch and enjoy the programme!
Janetta Mascilongo
Marketing and Information Literacy Librarian
LibraryVictoria UniversityPhone 61 3 9919 2980
Tuesday, April 13, 2010
Literary exhibitions and other free events from Hobsons Bay Libraries
As well as The Independent Type: Books and Writing in Victoria exhibition, Hobsons Bay Libaries are running a series of workshops on a great variety of topics. They're free, so why not sign up to one or more?
Exhibition Opening and Curator Talk - Steve Grimwade
Thursday, 22nd April 7.00pm – 8.30pm
Curator and Melbourne Writers Festival Director, Steve Grimwade will present an engaging session on the exhibition.
Bookings: http://www.stevegrimwade.eventbrite.com/
Children’s Books and Poetry - Publishing Your Work
Wednesday, 28th April 6.30pm – 8.00pm
Adam Wallace, poet and writer, will workshop tips on writing for children, rhyme, getting published, self-publishing and writing resources. Join us for warming soup at 6.00pm and bring some of your writing or poetry to share.
Bookings: http://www.adamwallace.eventbrite.com/
Books, Banjo and Bushmen - The History is in the Story
Thursday, 29th April 2.00pm – 3.30pm
Join storytellers Dave Davies and Jackie Kerin, and musician Greg O’Leary for an afternoon of traditional tales, from Banjo Paterson to Ned Kelly.
Bookings: http://www.booksbanjo.eventbrite.com/
Getting it Down - The Basic Steps to Becoming a Writer
Express Media workshop with Arnold Zable
Tuesday, 4th May 9.30am – 11.30am
Express Media are a key contact point for people under 25 wishing to enter the realm of literature. Author of Café Scheherazade Arnold Zable will workshop the basic steps to
‘getting it down’ and becoming a writer.
Bookings: http://www.arnoldzable.eventbrite.com/
Writing the Perfect Crime - Explore the Possibilities
Victorian Writers Centre workshop with Jared Henry
Saturday, 8th May 10.00am – 12.00pm
Have you ever wanted to write a crime novel or short story? No matter what kind of crime novel, be guided by leading Australian crime writer Jared Henry, author of Blood Sunset.
Bookings: http://www.perfectcrime.eventbrite.com/
Winning Writers - Secrets and Lines
Saturday, 15th May 10.00am – 12.00pm
Award winning writer and editor Glenys Osborne will talk about what to do, and not to do when you are writing and sending your stories out to competitions and publications.
Bookings: http://www.writersecrets.eventbrite.com/
Exhibition Opening and Curator Talk - Steve Grimwade
Thursday, 22nd April 7.00pm – 8.30pm
Curator and Melbourne Writers Festival Director, Steve Grimwade will present an engaging session on the exhibition.
Bookings: http://www.stevegrimwade.eventbrite.com/
Children’s Books and Poetry - Publishing Your Work
Wednesday, 28th April 6.30pm – 8.00pm
Adam Wallace, poet and writer, will workshop tips on writing for children, rhyme, getting published, self-publishing and writing resources. Join us for warming soup at 6.00pm and bring some of your writing or poetry to share.
Bookings: http://www.adamwallace.eventbrite.com/
Books, Banjo and Bushmen - The History is in the Story
Thursday, 29th April 2.00pm – 3.30pm
Join storytellers Dave Davies and Jackie Kerin, and musician Greg O’Leary for an afternoon of traditional tales, from Banjo Paterson to Ned Kelly.
Bookings: http://www.booksbanjo.eventbrite.com/
Getting it Down - The Basic Steps to Becoming a Writer
Express Media workshop with Arnold Zable
Tuesday, 4th May 9.30am – 11.30am
Express Media are a key contact point for people under 25 wishing to enter the realm of literature. Author of Café Scheherazade Arnold Zable will workshop the basic steps to
‘getting it down’ and becoming a writer.
Bookings: http://www.arnoldzable.eventbrite.com/
Writing the Perfect Crime - Explore the Possibilities
Victorian Writers Centre workshop with Jared Henry
Saturday, 8th May 10.00am – 12.00pm
Have you ever wanted to write a crime novel or short story? No matter what kind of crime novel, be guided by leading Australian crime writer Jared Henry, author of Blood Sunset.
Bookings: http://www.perfectcrime.eventbrite.com/
Winning Writers - Secrets and Lines
Saturday, 15th May 10.00am – 12.00pm
Award winning writer and editor Glenys Osborne will talk about what to do, and not to do when you are writing and sending your stories out to competitions and publications.
Bookings: http://www.writersecrets.eventbrite.com/
Invitation to the opening of The Independent Type: Books and Writing in Victoria exhibition
Rosemary Clark at the Hobsons Bay Libraries has sent through an invitation for students and anyone else who is interested to attend the opening of The Independent Type: Books and Writing in Victoria exhibition. It's a free exhibition, which should be really interesting, and there's free wine on offer, and the chance to win tickets to the Williamstown Literary Festival.
Here's some more information:
The Independent Type: Books and Writing in Victoria is a free exhibition that celebrates Victoria’s literary history, from the first stories to the contemporary scene. It highlights the stories, the voices and the spirit of independence that have made Victoria’s literature unique. The touring exhibition is presented by the State Libraryof Victoria and Public Libraries Victoria Network.
The Hobsons Bay exhibition includes the literary journey of local authors, Andy Griffiths, Claire Saxby and Jackie Kerin.
Steve Grimwade, the exhibition curator and Director of the 2010 Melbourne Writers Festival will give an overview of Victoria’s rich literary history.
Thursday, 22nd April, 7.00pm – 8.00pm
Altona Meadows Library and Learning CentreCentral Square Shopping Centre,
2 Newham Way, Altona Meadows
RSVP by Thursday, 15th April 2010
tel: 9932 3020 email: libraryevents@hobsonsbay.vic.gov.au
Here's some more information:
The Independent Type: Books and Writing in Victoria is a free exhibition that celebrates Victoria’s literary history, from the first stories to the contemporary scene. It highlights the stories, the voices and the spirit of independence that have made Victoria’s literature unique. The touring exhibition is presented by the State Libraryof Victoria and Public Libraries Victoria Network.
The Hobsons Bay exhibition includes the literary journey of local authors, Andy Griffiths, Claire Saxby and Jackie Kerin.
Steve Grimwade, the exhibition curator and Director of the 2010 Melbourne Writers Festival will give an overview of Victoria’s rich literary history.
Thursday, 22nd April, 7.00pm – 8.00pm
Altona Meadows Library and Learning CentreCentral Square Shopping Centre,
2 Newham Way, Altona Meadows
RSVP by Thursday, 15th April 2010
tel: 9932 3020 email: libraryevents@hobsonsbay.vic.gov.au
Wednesday, April 7, 2010
Rotunda at the Willy Lit Festival
A message from Bruno, our events organiser:
Professional Writing and Editing (TAFE) , Victoria University
Presents
Rotunda in the West: Conversations with Australian Writers
Special Collaboration: Rotunda goes to Williamstown Literary Festival (http://www.willylitfest.org.au/)
Tasma Walton (debut novel “Heartless”)
-actor, scriptwriter, artist and novelist
-“Blue Heelers”, “The Secret Life of Us”, “City Homicide”
in conversation with
VU’s Sherryl Clark (“Farm Kid”, “Sixth Grade Style Queen(Not!)), over 40 books published.....poet, (former) broadcaster on 3CR
5.30pm-6.50pm
Saturday, 1st May 2010
Supper Room
Williamstown Town Hall
$7 adults $5 concession
· Bookings Essential through Williamstown Literary Festival Website.
· http://www.willylitfest.org.au/
· Please see website for full program.
Grazie mille!
Bruno Lettieri
bruno.lettieri@vu.edu.au (0422 29 86 43)
Professional Writing and Editing (TAFE) , Victoria University
Presents
Rotunda in the West: Conversations with Australian Writers
Special Collaboration: Rotunda goes to Williamstown Literary Festival (http://www.willylitfest.org.au/)
Tasma Walton (debut novel “Heartless”)
-actor, scriptwriter, artist and novelist
-“Blue Heelers”, “The Secret Life of Us”, “City Homicide”
in conversation with
VU’s Sherryl Clark (“Farm Kid”, “Sixth Grade Style Queen(Not!)), over 40 books published.....poet, (former) broadcaster on 3CR
5.30pm-6.50pm
Saturday, 1st May 2010
Supper Room
Williamstown Town Hall
$7 adults $5 concession
· Bookings Essential through Williamstown Literary Festival Website.
· http://www.willylitfest.org.au/
· Please see website for full program.
Grazie mille!
Bruno Lettieri
bruno.lettieri@vu.edu.au (0422 29 86 43)
Tuesday, March 30, 2010
Opportunities abound!
Hi, everyone,
I've just posted a whole lot of different opportunities that are available at the moment, so make sure you peruse what follows. Some, like the short courses, are intended more for people who aren't currently students, but of course students would be welcome to attend if they wanted. Some of these opportunities are targeted at particular groups, but I've put them all up so you can all see what's around and whether any of these opportunities suit you.
Hope everyone's enjoying the holidays and doing lots of writing!
Tracey
PWE short courses
VU Creative Writing Short Course
The Creative Writing Short Course covers a range of introductory writing topics and gives each student the chance to create and read their own writing in a lively and supportive atmosphere.
This class is the ideal way to try creative writing if you’re not sure where to start. It also offers direction for those who want to continue writing but are unsure where to go next.
The Creative Writing Short Course is an energetic mixture of writing exercises, readings and discussion. It covers several forms of writing so students can embark on writing pieces that are new and satisfying.
Find out about
· Original ideas: finding them
· Fresh words: creating them
· Scenes: the building blocks of story
· Characters: making them real and interesting
· Writing choices: point of view
· Editing your own writing
· What to do next.
___________________________________
Course length: 2.5 hours every week for 6 weeks
Begins April 10, 2010.
___________________________________
Saturdays 9.30 am-12 noon at Wyndham Cultural Centre, Werribee
OR
Tuesdays 9.30 am-12 noon at Point Cook Library
___________________________________
$230 / $210 concession
This Course is run by Professional Writing & Editing TAFE, Victoria University.
For more details, email margaret.mccarthy@vu.edu.au or phone 9919 2681.
_______________________________________________________________________________________________________________________________________
Have you secretly harboured desires to create your own short film?
Are you itching to write a film-script but aren’t sure how to begin?
Do you need help to shape your film-script??
Professional Writing and Editing TAFE, Victoria University
Presents
Write a Short Film Script
VU Short Course
2.5 hours a week for six weeks
Begins April 10th, 2010
Saturdays 1pm-3.30pm
At Wyndham Cultural Centre, Werribee
See attached flyer for full details.
More information:
9919 2681
Email: margaret.mccarthy@vu.edu.au
Grazie!!! Wave back if you’re interested!!!
Cheers
Bruno
0422 29 86 43
Write a Short Film Script
VU Short Course
This short course is an introduction to the basics of Screenwriting.
Making films is now easier than ever—but shaping a good story is a vital skill. If you’re itching to try to write a film-script but haven’t been sure how to begin, this class will get you on the right track. It will also suit people who have already had some experience, but who would like some guidance on where to go next.
This course will be a lively combination of activities, examples, readings and discussions. You’ll get the chance to explore and shape your ideas for making a short film through a series of six supportive and inspiring sessions.
Find out about
- Understanding mainstream genres: crime, comedy, teen, romance
- Crucial elements: the plot and the premise
- Creating screen characters
- Creating dramatic tension
- Organising your ideas into practical actions to make your film.
___________________________________
Course length: 2.5 hours every week for 6 weeks
Begins April 10, 2010.
Saturdays 1 pm-3.30 pm at Wyndham Cultural Centre, Werribee
$230 / $210 concession
___________________________________
Another event at the Writers' Centre
It is important for a new writer to consider all options available to them. When it comes to being published it is not simply a case of bigger is better and very often writers will have far more success approaching a smaller publishing house. Find out more at...
Small Press and Magazine Publishers
With Affirm Press, Wilkins Farrago and Host, Zoe Dattner (SPUNC)
Panel: Join SPUNC general manager, Zoe Dattner, Rebecca Starford (Affirm Press) and Andrew Wilkins (Wilkins Farago), members of the Small Press Underground Networking Community. Small publishers produce award-winning fiction, critical non-fiction, acclaimed journals and magazines and serve as a launching pad for some of Australia’s best known authors. This session will cover current markets out there for new writers and the benefits of approaching small press publishers.
Rebecca Starford is the associate publisher at Affirm Press. http://www.affirmpress.com.au/ She is the former deputy editor of Australian Book Review and writes regularly for the book review pages of The Age and The Weekend Australian.
Andrew Wilkins is the former publisher of Australia's book industry magazine, Bookseller+Publisher, and now the Director of Wilkins Farago (http://www.wilkinsfarago.com.au), publishing both adult and children's books.
When: Wednesday 31 March, 6.30-8pm
Cost: $15, Members $12/$10
Small Press and Magazine Publishers
With Affirm Press, Wilkins Farrago and Host, Zoe Dattner (SPUNC)
Panel: Join SPUNC general manager, Zoe Dattner, Rebecca Starford (Affirm Press) and Andrew Wilkins (Wilkins Farago), members of the Small Press Underground Networking Community. Small publishers produce award-winning fiction, critical non-fiction, acclaimed journals and magazines and serve as a launching pad for some of Australia’s best known authors. This session will cover current markets out there for new writers and the benefits of approaching small press publishers.
Rebecca Starford is the associate publisher at Affirm Press. http://www.affirmpress.com.au/ She is the former deputy editor of Australian Book Review and writes regularly for the book review pages of The Age and The Weekend Australian.
Andrew Wilkins is the former publisher of Australia's book industry magazine, Bookseller+Publisher, and now the Director of Wilkins Farago (http://www.wilkinsfarago.com.au), publishing both adult and children's books.
When: Wednesday 31 March, 6.30-8pm
Cost: $15, Members $12/$10
More on one of the Writers' Centre events: novel weekend
A Novel Weekend
With internationally acclaimed author Linda Jaivin
Saturday 17 & Sunday 18 April 2010
10am-4pm
Cost: $270, VWC Members: $210 / $190
Ever wanted to write your own novel? Sitting on an unfinished manuscript? Over two days, Linda Jaivin will guide you on a journey from inspiration to creation. Through a combination of lecture, discussion and a vari-ety of short writing exercises, she will introduce the ba-sics of novel-writing. How do you come up with a good idea for a novel? How do you get started? What comes first, character or plot? How to stop telling and start showing? Where will it all end? She will also teach you how to be your own best editor. This course is open to writers of all levels.
Linda Jaivin is the internationally acclaimed author of six novels, numerous short stories and has also produced several plays. Linda’s first novel Eat Me was an interna-tional bestseller and remains a cult-classic. Her fourth, The Infernal Optimist, was shortlisted for the ASL Gold Medal. Her latest is A Most Immoral Woman (2009).
Victorian Writers' Centre
Level 3, The Wheeler Centre
176 Lonsdale Street
Melbourne, VIC
3000
Book and pay via our website:
http://vwc.org.au/what-s-on
Phone: 03 9094 7855
Call for submissions for Cursive Scripts
NMIT Bachelor of Writing and Publishing second year students are completing a one off journal for a publishing assingment and would appreciate if you would pass this email to all students in your classes interested in submitting their work to be published in our Journal, Cursive Scripts. Terms and Conditions are attached below. If any questions you require answering please reply to this email. Thank you for your time, we are looking forward to your reply and submissions from your students Regards NMIT students ------------------------------------------------------------------------------------------------------------------------------------
Submissions end 20th April 2010. General Submissions Works Must be Under 800 - 3000 words We are currently only accepting general submissions in English. If you would like to submit in a language other than English a translation must be made available. Please contact us before submission. Non-discriminatory language is mandatory. Defamatory content will not be accepted Words considered a proprietary term or trade mark must use the symbol ® or TM. The author must have copyright of the manuscript/s submitted. Works must be submitted in MS Word format. Submissions must be sent via email attachment
Authors will not be paid. All authors selected for publishing will receive a hard copy of the publication. The Author retains full copyright of their work. Authors may be contacted by any member of the Editorial Team regarding their submission.
All submissions are subject to editing. Manuscripts submitted are subject to full peer review. If your submission is an unrevised manuscript extract please note that substantial editing may be required before it is approved for publishing. |
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