Next Meetings:
Exercises Group: 9 October 2010
Novel/Short Stories Group: 23 October 2010
About Us
- Fairfield Writers Group-Queensland
- Fairfield, Queensland, Australia
- Fairfield Writers Group is a mix of beginner and experienced writers who meet the second and fourth Saturdays of the month at the Brisbane City Council Library in Fairfield Gardens Shopping Centre, Fairfield road, Fairfield, Queensland. Our passion is writing and we work hard at our craft. Our aim is to encourage, support and help each other to reach new heights in our writing. New members are always made welcome and usually whisked off to the local coffee shop at the end of meetings for sustenance and socialisation with the rest of the crew.
Tuesday, September 21, 2010
****BOOKSIGNING****
FAIRFIELD WRITERS GROUP
BOOKSIGNING EVENT
Fairfield Writers Group launched its first anthology of short stories, Beginnings: Queensland stories, on September 26 2009.
Due to popular demand we are having a booksigning event.
Come meet the writers of this wonderful collection of stories.
Come one and all!
WHERE: INDOOROOPILLY LIBRARY
Level 4, Indooroopilly Shoppingtown
322 Moggill Road
Indooroopilly Qld 4068
WHEN: SUNDAY 31ST OCTOBER, 2010
TIME: 10.30AM
Monday, September 20, 2010
Writing Exercise for October
FAIRFIELD WRITER’S GROUP:
WRITING EXERCISE FOR OCTOBER 2010
Generating Story Ideas starting from Character
The blank page can be daunting! Writers often complain that they simply don’t know where to start─how to find an idea for a story.
Stories can begin from either plot, message, or character.
Beginning from plot:
A story that begins from plot is one that starts with a the writer having a fixed idea of what is going to happen in the story. While this is a valid way to begin, writers risk populating such stories with puppets created to serve the plot. If a character is invented merely to fill a purpose in the plot, that character may not be credible, or may be uninteresting.
John Grisham’s novels generally begin from plot, but succeed because the storyline is genuinely breathtaking. The enthusiastic young lawyers who appear are there to drive the story along, but Grisham usually succeeds in making them reasonably believable, and giving them a personality readers will react to.
Beginning from message:
A story that begins from message is one that seeks to convey a social or political message─a story with a moral, or written to urge action or change thinking. Such stories can have great plots and characterization, but there are risks that interest and/or credibility will be lost in a sermon!
Examples of books that began from a message are State of Fear by Michael Crichton (described by some as a ‘thinly veiled manifesto for the anti-global warming lobby’), and Jurassic Park, which highlighted the ethics of zoos, genetic engineering and environmentalism in what was, nevertheless, a great story.
Beginning from character:
Many of the most successful stories started with character. Character-based stories are memorable when the character really comes to life in the reader’s mind, and succeed when the character is so well defined that the plot can only take one direction─a direction consistent with the decision this character would logically make in the situation in which the author has placed him or her.
Many successful series are written based on a character, and conceived by placing that character in a situation and testing his or her response. One of my favourite examples of this is Agatha Christie’s series of Poirot mysteries. Readers find themselves able to predict the reaction or response of their ‘passionate about order’ egg-headed friend and would quickly identify any error were the author to make one.
Enid Blyton’s “Noddy” stories are among the more successful character-based stories for young children, and many older readers will recall the “Smiley” series. Of course most of us know Sherlock Holmes and Frankenstein. And more recently, Harry Potter has made himself very well known to readers and helped his creator achieve outstanding writing success.
Do you begin your stories from plot, character or message?
When writers create a character, some document every aspect of the character’s physical appearance background, mannerisms, thoughts, and personality. Others focus specifically on the traits that will be referred to in the story. Both approaches are valid, but if you want a story to be credible and interesting, it is wise to ensure that you know your central characters intimately─inside and out─and that they are people you can successfully ‘bring to life’ in the story. They should be people your readers will respond to emotionally.
There are books and software programs that purport to assist characterization by personality profiling. Characters can be created using much the same process as a psychologist uses to conduct examination. While such programs and methods can be helpful, authors can be equally successful creating exciting and believable characters based on real people they know, characters from a book they read, or their own observations and imagination. Once you have created a character, you can begin a character-based story by putting your character in a situation and observing how he/she responds, or by asking your character questions.
Begin with someone you saw in a coffee shop or walking through the park. Where did they come from? Why are they there? Where are they going? What are they carrying, and why? A man might be carrying a briefcase or a woman a handbag. What is in it? Someone may be approaching to meet your character. Why?
Choose one of the following approaches to creating an exciting, believable character and, in no more than 1000 words, tell a story that reveals your character’s unique personality to your reader.
1. Start with a picture of people─beautiful, ugly, dull, or interesting. Ask yourself who they are, how they got to where they are in the picture, why they are there, where they are going,what relationship they have to each other, how they met, if they like each other. Write a story about the people in your picture. (Don’t forget to bring the picture to the meeting along with your assignment!)
OR
2. Take a character you know from a favourite book or one you have written about at some time and ask yourself what are their best and worst memories. How did those memories affect them? What triggers their memories─a word or phrase, a song, a smell, a place?
Write a story about something that happened as a result of something triggering a memory.
OR
3. Look for someone in a coffee shop or store or walking along the road carrying a bag. Imagine that character reaching a table and emptying the contents of their bag onto it. What comes out? Why did they have those things in their bag? Ask your character to tell your reader which object is most important to them and why. (You will need to write this story in the first person, as if the character is speaking to your reader.)
OR
4. Think of someone who made a strong impression on you. Why? What was it about them that made them interesting or memorable? Write a story (it can be truth or fiction) that reveals why they made an impression and what you will remember about them in years to come.
WRITING EXERCISE FOR OCTOBER 2010
Generating Story Ideas starting from Character
The blank page can be daunting! Writers often complain that they simply don’t know where to start─how to find an idea for a story.
Stories can begin from either plot, message, or character.
Beginning from plot:
A story that begins from plot is one that starts with a the writer having a fixed idea of what is going to happen in the story. While this is a valid way to begin, writers risk populating such stories with puppets created to serve the plot. If a character is invented merely to fill a purpose in the plot, that character may not be credible, or may be uninteresting.
John Grisham’s novels generally begin from plot, but succeed because the storyline is genuinely breathtaking. The enthusiastic young lawyers who appear are there to drive the story along, but Grisham usually succeeds in making them reasonably believable, and giving them a personality readers will react to.
Beginning from message:
A story that begins from message is one that seeks to convey a social or political message─a story with a moral, or written to urge action or change thinking. Such stories can have great plots and characterization, but there are risks that interest and/or credibility will be lost in a sermon!
Examples of books that began from a message are State of Fear by Michael Crichton (described by some as a ‘thinly veiled manifesto for the anti-global warming lobby’), and Jurassic Park, which highlighted the ethics of zoos, genetic engineering and environmentalism in what was, nevertheless, a great story.
Beginning from character:
Many of the most successful stories started with character. Character-based stories are memorable when the character really comes to life in the reader’s mind, and succeed when the character is so well defined that the plot can only take one direction─a direction consistent with the decision this character would logically make in the situation in which the author has placed him or her.
Many successful series are written based on a character, and conceived by placing that character in a situation and testing his or her response. One of my favourite examples of this is Agatha Christie’s series of Poirot mysteries. Readers find themselves able to predict the reaction or response of their ‘passionate about order’ egg-headed friend and would quickly identify any error were the author to make one.
Enid Blyton’s “Noddy” stories are among the more successful character-based stories for young children, and many older readers will recall the “Smiley” series. Of course most of us know Sherlock Holmes and Frankenstein. And more recently, Harry Potter has made himself very well known to readers and helped his creator achieve outstanding writing success.
Do you begin your stories from plot, character or message?
When writers create a character, some document every aspect of the character’s physical appearance background, mannerisms, thoughts, and personality. Others focus specifically on the traits that will be referred to in the story. Both approaches are valid, but if you want a story to be credible and interesting, it is wise to ensure that you know your central characters intimately─inside and out─and that they are people you can successfully ‘bring to life’ in the story. They should be people your readers will respond to emotionally.
There are books and software programs that purport to assist characterization by personality profiling. Characters can be created using much the same process as a psychologist uses to conduct examination. While such programs and methods can be helpful, authors can be equally successful creating exciting and believable characters based on real people they know, characters from a book they read, or their own observations and imagination. Once you have created a character, you can begin a character-based story by putting your character in a situation and observing how he/she responds, or by asking your character questions.
Begin with someone you saw in a coffee shop or walking through the park. Where did they come from? Why are they there? Where are they going? What are they carrying, and why? A man might be carrying a briefcase or a woman a handbag. What is in it? Someone may be approaching to meet your character. Why?
Choose one of the following approaches to creating an exciting, believable character and, in no more than 1000 words, tell a story that reveals your character’s unique personality to your reader.
1. Start with a picture of people─beautiful, ugly, dull, or interesting. Ask yourself who they are, how they got to where they are in the picture, why they are there, where they are going,what relationship they have to each other, how they met, if they like each other. Write a story about the people in your picture. (Don’t forget to bring the picture to the meeting along with your assignment!)
OR
2. Take a character you know from a favourite book or one you have written about at some time and ask yourself what are their best and worst memories. How did those memories affect them? What triggers their memories─a word or phrase, a song, a smell, a place?
Write a story about something that happened as a result of something triggering a memory.
OR
3. Look for someone in a coffee shop or store or walking along the road carrying a bag. Imagine that character reaching a table and emptying the contents of their bag onto it. What comes out? Why did they have those things in their bag? Ask your character to tell your reader which object is most important to them and why. (You will need to write this story in the first person, as if the character is speaking to your reader.)
OR
4. Think of someone who made a strong impression on you. Why? What was it about them that made them interesting or memorable? Write a story (it can be truth or fiction) that reveals why they made an impression and what you will remember about them in years to come.
WRITING SOFTWARE TOOLS
Lorraine has provided some information on a software tool that she uses. Have a read below.
Anna :)
I have been using a FREE software tool called WordWeb and I thought some of our members might like to know about it. I find it a great help. It can be downloaded from http://wordweb.info/
Once installed on your computer, it integrates with almost any writing/text editing/wordprocessing program and when you select any word and press the hot key, it displays a very advanced dictionary/thesaurus showing the word definition and synonyms etc. You don't have to be online to use it, which is a plus, but if you are there are tabs to get further information via instant lookup from Wikipedia and other online references.
You can set the hot key combination, which by default is CTRL-ALT-W, to activate it. It seems to run smoothly and not interfere with anything (I've been using it for over a year now).
I find it brilliant. The Pro version, which costs $22, also has a 'find words like/containing' feature that would be great for writing poetry. I am tempted to try it. It apparently also features a 'reverse search' which lets you type in a definition and it finds the word (something I need lately, as my memory seems to be failing me!)
Anna :)
I have been using a FREE software tool called WordWeb and I thought some of our members might like to know about it. I find it a great help. It can be downloaded from http://wordweb.info/
Once installed on your computer, it integrates with almost any writing/text editing/wordprocessing program and when you select any word and press the hot key, it displays a very advanced dictionary/thesaurus showing the word definition and synonyms etc. You don't have to be online to use it, which is a plus, but if you are there are tabs to get further information via instant lookup from Wikipedia and other online references.
You can set the hot key combination, which by default is CTRL-ALT-W, to activate it. It seems to run smoothly and not interfere with anything (I've been using it for over a year now).
I find it brilliant. The Pro version, which costs $22, also has a 'find words like/containing' feature that would be great for writing poetry. I am tempted to try it. It apparently also features a 'reverse search' which lets you type in a definition and it finds the word (something I need lately, as my memory seems to be failing me!)
WRITING ARTICLES: NOVEL WRITING
Hi Fellow writers,
Lorraine has kindly sent us some information about writing a novel and has including her own comments. Have a read as it maybe useful for Octobers homework.
Anna :)
When considering the importance of characterisation versus plot in a novel, or the question of which to begin with, writers might observe that there are two distinctly different types of novel: the 'entertainment novel' and the 'serious novel' or 'literary work'.
Until I read "The Plot Thickens" by Monica Wood, in a book called The Complete Handbook of Novel Writing, which is a collection of articles by successful writers, I hadn't observed what is obvious when pointed out.
Entertainment novels have strongly developed (and very predictable) plots, and less well developed characters. Serious novels and literary works focus less on plot and more on character development.
Is there more merit to writing a 'serious' novel? Some would say so, but entertainment novels entertain readers, sell, make money for writers, and satisfy our desire for self-expression. Those are all noble goals.
So what types of novels are 'entertainment' novels?
"Entertainment plots are largely determined by the conventions of the genre", says Monica Wood.
Romances, westerns, crime stories... Stories in which there is a formula that must be followed and regardless of the character's individual traits and unique personality. The plot must move in a specified direction.
The detective must investigate the crime and find the perpetrator (or at least make a valiant effort and head in the right direction). He cannot run off to the Bahamas with the criminal's girl friend!
The Marshall in a western must pursue the bad guys and prevail in the 'shoot 'em up'.
The girl in the romance must win her man. She cannot decide it's all too hard and join a convent.
If you think about it, novels of this type have a very defined structure and plot, and only the details of the telling vary. It's the same story over and over, but told in a trillion different and very individual ways.
In 'entertainment' novels, there is generally minimal character development. Hercule Poirot doesn't change is character from the start of a novel to the end. He only changes the way he perceives things related to the crime. James Bond, Dirk Pitt, or Captain Kirk don't change much either.
Serious novels, or literary works, on the other hand, typically focus on the development of a character. The character faces a crisis - generally a moral or ethical dilemma. The character struggles with this dilemma, gradually exposing more and more of their unique personality and way of thinking to the reader. The character may ultimately resolve the dilemma, or not. It's not about what happens in the story. The focus isn't plot. The focus is on presenting social issues - moral, ethical, religious or political problems - and exposing the manner in which a particular personality respond to these issues. The protagonist often goes through a character transformation - as in A Christmas Carol, in which Scrooge reforms from a miser to a generous man; or The African Queen, in which Charlie Allnut reforms from a hopeless drunk to a responsible husband.
But sometimes there is no marked change in the character's behaviour, but only a recognition and acceptance of what is, which, in itself, is a transformation for one who previously could not recognise or accept. (There must be a resolution of some kind, otherwise the story is incomplete.)
Serious dramatic fiction is transformational by nature. The plot isn't just a sequence of happenings. The plot is a planned progression toward the resolution of a predicament, and that progression transforms the character in some way.
Enertainment novels are also typically 'plot line' stories. That is, everything that happens leads directly (and generally fairly obviously and almost inevitably) to the next happening.
Alternately, though, novel can follow a 'story line', in which the events are not causally related, but are part of the same chain of events that are progressing toward a resolution. In a story line novel, the character development is usually greater, because the characters are growing older and also changing as they progress toward a resolution of the central problem presented by the author.
A story line novel is more difficult to write, because the emotions of the characters tend to evaporate over time between events of the plot.
Story line and plot line can be combined in thesae story. Usually the story line comes first, serving as a background to the plot line. Zorba the Greek combines both. Most of the book has a tightly woven plot line, but the last chapter relates Zorba's life of many years after he leaves Crete.
Monica Wood goes on to discuss plotting problems, and says that the most common one occurs when a character refuses to do what author planned for them. This, she says, is a problem that occurs when authors identify too closely with the character. The author plots the story, rather than letting the character dictate the story.
Alternately, the character might lie dead on the page. That occurs when characters are not well orchestrated and pitted in conflict with one another.
Monica Wood offers six tips for successful plotting, prefacing her tips by advising that all good plots result from dramatic characters who are "on fire to obtain goals and who work like hell to achieve them".
1. Chart each major character's development through the actions.
2. In a work of entertainment, chart each major character's actions and indicate his/her motivations, making sure each is being as clever and resourceful as possible. (Agatha Christie's Poirot series would fail if Poirot were a clumsy fool who constantly failed to identify the killer!)
3. Spend some time brainstorming. Make lists of things the character might do. Don't judge the ideas. Allow yourself to be outrageous... even insane. You can prune the list later.
4. Conduct interviews with your characters and write diaries in their voices.
5. Follow the "Would he really?" test for believability.
6. Make sure your characters are well orchestrated. Pair them up with people who contrast markedly with them and create logical, believable conflict. (Monica refers to the TV series Leave it to Beaver, pointing out that Mr and Mrs Cleaver are so alike in their values,opinions, hopes, and ambitions that there would be no story at all if sociopath Eddie Haskell didn't rescue the series from total boredom. She also points out that The African Queen worked because of the marked contrast between the drunken sot ad the straight-laced, bible thumping Rose. A less dramatic contrast, or a combination of two drunks in the boat, would have failed dismally.)
Stories must have conflict, and conflict is created by well-orchestrated characters.
A comment from Lorraine: "Conducting an interview with your character" might be a useful exercise for FWG at some time. This might actually be an interesting approach to the novel group meetings - since we have struggled to find a suitable meeting format for dealing with longer works. Maybe we could set some exercises that assist novel development, like:
Interview your main characters
Write a series of diary entries in your main characters' voices
Contrast at least two of your characters and describe how the contrast in their personality, goals, ideals, opinions, etc. creates a conflict that your story will resolve.
Define the conflict on which your story focuses, and outline how each of the main characters responds to that conflict, and their role in its resolution
Draw a time line of story events and describe the changes in your character at each critical point, showing the progression towards conflict resolution.
I have been struggling with the thought that critiquing individual sections of a book, in isolation, might result in 20 or 30 great extracts, but these don't necessarily combine to make a successful novel. Working on the overall characterisation and conflict might be helpful to ensure that all those well-written extracts ultimately combine successfully.
Lorraine has kindly sent us some information about writing a novel and has including her own comments. Have a read as it maybe useful for Octobers homework.
Anna :)
When considering the importance of characterisation versus plot in a novel, or the question of which to begin with, writers might observe that there are two distinctly different types of novel: the 'entertainment novel' and the 'serious novel' or 'literary work'.
Until I read "The Plot Thickens" by Monica Wood, in a book called The Complete Handbook of Novel Writing, which is a collection of articles by successful writers, I hadn't observed what is obvious when pointed out.
Entertainment novels have strongly developed (and very predictable) plots, and less well developed characters. Serious novels and literary works focus less on plot and more on character development.
Is there more merit to writing a 'serious' novel? Some would say so, but entertainment novels entertain readers, sell, make money for writers, and satisfy our desire for self-expression. Those are all noble goals.
So what types of novels are 'entertainment' novels?
"Entertainment plots are largely determined by the conventions of the genre", says Monica Wood.
Romances, westerns, crime stories... Stories in which there is a formula that must be followed and regardless of the character's individual traits and unique personality. The plot must move in a specified direction.
The detective must investigate the crime and find the perpetrator (or at least make a valiant effort and head in the right direction). He cannot run off to the Bahamas with the criminal's girl friend!
The Marshall in a western must pursue the bad guys and prevail in the 'shoot 'em up'.
The girl in the romance must win her man. She cannot decide it's all too hard and join a convent.
If you think about it, novels of this type have a very defined structure and plot, and only the details of the telling vary. It's the same story over and over, but told in a trillion different and very individual ways.
In 'entertainment' novels, there is generally minimal character development. Hercule Poirot doesn't change is character from the start of a novel to the end. He only changes the way he perceives things related to the crime. James Bond, Dirk Pitt, or Captain Kirk don't change much either.
Serious novels, or literary works, on the other hand, typically focus on the development of a character. The character faces a crisis - generally a moral or ethical dilemma. The character struggles with this dilemma, gradually exposing more and more of their unique personality and way of thinking to the reader. The character may ultimately resolve the dilemma, or not. It's not about what happens in the story. The focus isn't plot. The focus is on presenting social issues - moral, ethical, religious or political problems - and exposing the manner in which a particular personality respond to these issues. The protagonist often goes through a character transformation - as in A Christmas Carol, in which Scrooge reforms from a miser to a generous man; or The African Queen, in which Charlie Allnut reforms from a hopeless drunk to a responsible husband.
But sometimes there is no marked change in the character's behaviour, but only a recognition and acceptance of what is, which, in itself, is a transformation for one who previously could not recognise or accept. (There must be a resolution of some kind, otherwise the story is incomplete.)
Serious dramatic fiction is transformational by nature. The plot isn't just a sequence of happenings. The plot is a planned progression toward the resolution of a predicament, and that progression transforms the character in some way.
Enertainment novels are also typically 'plot line' stories. That is, everything that happens leads directly (and generally fairly obviously and almost inevitably) to the next happening.
Alternately, though, novel can follow a 'story line', in which the events are not causally related, but are part of the same chain of events that are progressing toward a resolution. In a story line novel, the character development is usually greater, because the characters are growing older and also changing as they progress toward a resolution of the central problem presented by the author.
A story line novel is more difficult to write, because the emotions of the characters tend to evaporate over time between events of the plot.
Story line and plot line can be combined in thesae story. Usually the story line comes first, serving as a background to the plot line. Zorba the Greek combines both. Most of the book has a tightly woven plot line, but the last chapter relates Zorba's life of many years after he leaves Crete.
Monica Wood goes on to discuss plotting problems, and says that the most common one occurs when a character refuses to do what author planned for them. This, she says, is a problem that occurs when authors identify too closely with the character. The author plots the story, rather than letting the character dictate the story.
Alternately, the character might lie dead on the page. That occurs when characters are not well orchestrated and pitted in conflict with one another.
Monica Wood offers six tips for successful plotting, prefacing her tips by advising that all good plots result from dramatic characters who are "on fire to obtain goals and who work like hell to achieve them".
1. Chart each major character's development through the actions.
2. In a work of entertainment, chart each major character's actions and indicate his/her motivations, making sure each is being as clever and resourceful as possible. (Agatha Christie's Poirot series would fail if Poirot were a clumsy fool who constantly failed to identify the killer!)
3. Spend some time brainstorming. Make lists of things the character might do. Don't judge the ideas. Allow yourself to be outrageous... even insane. You can prune the list later.
4. Conduct interviews with your characters and write diaries in their voices.
5. Follow the "Would he really?" test for believability.
6. Make sure your characters are well orchestrated. Pair them up with people who contrast markedly with them and create logical, believable conflict. (Monica refers to the TV series Leave it to Beaver, pointing out that Mr and Mrs Cleaver are so alike in their values,opinions, hopes, and ambitions that there would be no story at all if sociopath Eddie Haskell didn't rescue the series from total boredom. She also points out that The African Queen worked because of the marked contrast between the drunken sot ad the straight-laced, bible thumping Rose. A less dramatic contrast, or a combination of two drunks in the boat, would have failed dismally.)
Stories must have conflict, and conflict is created by well-orchestrated characters.
A comment from Lorraine: "Conducting an interview with your character" might be a useful exercise for FWG at some time. This might actually be an interesting approach to the novel group meetings - since we have struggled to find a suitable meeting format for dealing with longer works. Maybe we could set some exercises that assist novel development, like:
Interview your main characters
Write a series of diary entries in your main characters' voices
Contrast at least two of your characters and describe how the contrast in their personality, goals, ideals, opinions, etc. creates a conflict that your story will resolve.
Define the conflict on which your story focuses, and outline how each of the main characters responds to that conflict, and their role in its resolution
Draw a time line of story events and describe the changes in your character at each critical point, showing the progression towards conflict resolution.
I have been struggling with the thought that critiquing individual sections of a book, in isolation, might result in 20 or 30 great extracts, but these don't necessarily combine to make a successful novel. Working on the overall characterisation and conflict might be helpful to ensure that all those well-written extracts ultimately combine successfully.
Sunday, September 19, 2010
Queensland Writing Centre
QWC News
QWC Resource Sheets
Want some advice on writing for children and young adults? Check out QWC's resource sheet on the topic.
AWMonline Writing Race - 7 September
Steph Bowe is the AWMonline Writing Race guest on 7 September - all writers are welcome to attend this special event (live forums are usually limited to AWMonline subs only) - young writers especially encouraged to come along and hear 16-year-old Steph's amazing journey from blogger to debut author with Girl Saves Boy.
Young Writers Rollout!
When: 6 September for one month
What: Attendees of our Young Writers Bootcamp and youth writers it's time to catch up with each other and Tristan Bancks, to find out what you've been writing since the Young Writers Bootcamp, or if you didn't attend Bootcamp to find out a bit more about our youth writing programme.
We will be publishing the bootcampers line-by-line stories on our twitter account, publishing their full stories on our QWC blog, and linking their youtube clips to facebook!
To launch the Young Writers Rollout, bootcampers and friends also be able to participate in the AWMonline Writers Race with guest racer Steph Bowe this Tuesday (7 September). Steph just had her first book published at the age of 16!!!
We'll have other Writing Race guests during the month, including Tristan Bancks who's interested in hearing about what you've all been writing since bootcamp!
The Writers Race will run from 7.45pm to 9pm. It is a self-directed, one hour (plus introduction from the Writing Captain ie. Steph Bowe on Tuesday 7 September) writing session done in the company of your online peers as part of a Forum. You might like to spend the time writing, editing, plotting your own work or thinking about your next story. Steph Bowe will moderate the Writing Race and share her experience with race-goers.
Usually the Writers Races are for subscribers to AWMonline but for our one month Young Writers Rollout we're opening them up to our bootcampers and their friends! If you would like to access the free AWMonline forum and aren't a current subscriber, please email Kristina Smith at ksmith@qwc.asn.au your full name and your email address by midday Tuesday 7 September and we'll set up your account and give you details about how to access the Writing Race on Tuesday evening.
QWC Raffle Winners!!!
The winner of the QWC bonanza BWF General Fiction Raffle was Bob Cleland. The winner of the Speculative Fiction Raffle was Marie Dowd. Thank you to everybody who visited us during Brisbane Writers Festival weekend, and everyone who bought tickets to the raffle. We hope the winners enjoy reading their tower of books.
AWM Online Learning Centre - Upcoming Courses
Mini Course
Duration: two weeks, starting 20 September 2010
This two-week mini course gives you the opportunity to try out online learning activities and explore different aspects of creative writing. Practical activities are offered on the following topics: Generating Ideas, Plot & Structure, Beginnings, Characterisation, Dialogue, and Where to from Here?
For more information, or to book into a course, visit the website: http://awmonlinelearn.com.au/course/category.php?id=9.
YONline with Belinda Jeffrey
Duration: 26 fortnights, 1 October 2010 till 30 September 2011
Challenge yourself to complete the ultimate writing journey in Kim Wilkins' YONline under the tutelage of author of Brown Skin Blue and Big River Little Fish, Belinda Jeffrey. Belinda will guide you through this course created by Kim Wilkins and help you get that manuscript finished in a year! For more information, or to book into a course, visit the website: http://awmonlinelearn.com.au/course/category.php?id=4.
Pitching to Publishers with Sally Collings
Duration: four-week course, 1-28 September
You've written your manuscript (or the beginnings of one), now you need a publisher. This course will show you how to push all the right buttons to attract a publisher's eye. Discover what commissioning editors love and what they loathe, in a range of genres (non-fiction, fiction, children's). From writing a captivating synopsis to deciding where to send it, participants will work through all facets of the proposal process. For more information, or to book into a course, visit the website: http://awmonlinelearn.com.au/course/category.php?id=12.
Writing Your Life with Patti Miller
When: 10am-4.30pm each day, Saturday 18 and Sunday 19 September
Where: Rockhampton workshop.
Cost: QWC members $160; concession members $140; non-members $220
A memoir is a powerful way to share your own personal story with the world. You may wish to share your extraordinary life with others, or highlight an event that changed your life. Shaping this story into a tale your reader finds memorable and rewarding can be a struggle. But with Patti Miller's help, you'll be enthralling them all. Patti, acclaimed writing teacher, will teach you techniques to help you find your voice, create a narrative from your life, and shape your story with texture and detail.
The Art of Writing Romance with Valerie Parv
When: 10.30am-4.30pm, Saturday 18 September
Cost: QWC members $110; concession members $100; non-members $160
Fallen in love with writing romance? Join Valerie Parv (The Art of Romance Writing) as she outlines various types of romance and their special requirements. By introducing you to the Awesome Foursome of Romance Writing, Valerie will help you create believable characters, handle dialogue and viewpoint as well as develop workable conflicts and effective plots.
QWC Special Event: Becoming a Professional Author with Simon Higgins and Rebecca Sparrow
When: 6.30pm-8.30pm, Thursday 23 September
Cost: $55
QWC and Simon Higgins have been hatching a new mentoring program for young writers over the last couple of years and are proud to announce their first joint fundraising event as part of this new initiative.
Proceeds from the event will enable QWC to kick off this amazing program in early 2011. The authors are generously donating their time to help get this new program off the ground. So have you entertained the dream of turning your love of writing into a career? How do you make the words pay the bills? And how do you take that step from being a hobbyist to a professional?
Join Simon Higgins and Rebecca Sparrow as they explain how they made the leap and turned their passion into a career at this captivating seminar. Simon and Rebecca will offer advice on what it means to be a professional author, the peaks and pitfalls of the industry . warts, champagne and all!
Editing Romance Without the Heartbreak with Valerie Parv
When: 10.30am-4.30pm, Sunday 19 September
Cost: QWC members $160; concession members $150; non-members $210
Explore the changing face of modern publishing and why your work needs to be publishing-ready when submitted. Valerie Parv (The Art of Romance Writing) will demonstrate her theory of matter versus manner and demystify the elements of editing romance writing such as line and copy editing, and looks at when not to make editorial changes. Learn to bullet-proof your manuscript before you take aim at your chosen market.
Bring out your Dead! Writing a Family History with Ian Townsend and Stephanie Ryan
When: 10.30am-4.30pm, Saturday 25 September
Cost: QWC members $110; concession members $100; non-members $160
A helpful course designed to get the most out of a most useful resource - The State Library of Queensland (SLQ). SLQ is the first place you should start when you want to research your family history. With an extensive collection of newspaper archives, genealogical resources, indexes published by the Australian state registries of births, deaths and marriages, photographs, and much more. Book into this session to find out how you can access this magnificent wealth of information, what is available, how to search the collection, and who to talk to when you have any questions. Uncover your family's past and trace your background as far as you can!
PIR NEWS
Poet-in-Residence Legacy Launch
When: 6.30pm-7.30pm, Tuesday 21 September
Where: The Edge Auditorium, slq
Join QWC in farewelling the 2010 Arts Queensland Poet-in-Residence Emily XYZ as she launches her legacy item, Electronic Voice Phenomena: New Poems by Emily XYZ. EVP consists of recordings of works Emily has produced during her residency as well as remixes by Brisbane artists. Those of you who caught her performances at the Queensland Poetry Festival and Brisbane Writers Festival will not want to miss getting a copy of this gem to take home with you! Please RSVP by Thursday 16 September to rsvp@qwc.asn.au.
Fellowship of Australian Writers Queensland : 3 QWW Events!
Fellowship of Australian Writers Queensland (FAWQ) are plunging head first into the spirit of Queensland Writers Week (QWW) with these three great community events! For more information about QWW, visit www.queenslandwritersweek.com.
Readings on Sunday
When: 10 October (The QWW warm up event!)
Where: St Luke's Anglican Church Hall, Toowoomba
Cost: Gold coin donation.
This open mic session is set to sizzle with local writers of all ages being invited to come along and share their work. Gold coin donation requested to cover catering costs. All welcome! They request that material is family friendly. For more information contact Susan Skowronski on 0409 614 493.
Classroom Workshops
When: 11-15 October
Where: Gayndah State School
Cost: Free!
Students from Gayndah State School will be exploring Susan Skowronski's book Farmer's Kids using resources developed by Duncan Richardson to develop their skills and explore the wonderful world of writing!
Meet the Author
Where: 15 October
When: Springfield College
Cost: Free!
Springfield College students will meet Susan Skowronski and explore her book Farmer's Kids using resources developed by Duncan Richardson and engage in classroom activities using the work of both authors.
Resident Partners
How Does a Career in Publishing Sound?
black&write! Indigenous Writing and Editing Project is seeking Indigenous trainee candidates for the kuril dhagun Indigenous Editing Mentorships program, located in Brisbane at the State Library of Queensland. This two-year mentorship will train two trainee editors in the craft of manuscript development and the processes of book publishing. Tertiary qualifications, in any field, are required. Contact black&write! Indigenous Writing and Editing Project to set up an appointment for an interview. Interviews close COB Wednesday 15 September 2010. Email indigenous.writing@slq.qld.gov.au.
Community
Book Launch
Rebecca Bloomer will be launching her book, Foley Russel and That Poor Girl, published by Odyssey Books.
When: 11am, Sunday 19 September
Where: Billy's Beach House, Surfers Paradise Blvd, Surfers Paradise
The launch will be a combination book launch/fundraiser for the Cystic Fibrosis Foundation. Champagne and fingerfood provided. For more information, contact Rebecca on bloowillbooks@bigpond.com.
Book Launch
Gisela McIntyre will be launching her book, So Many Stories to Tell, which spans three centuries and three continents.
When: 10am-1pm, Saturday 25 September
Where: Blue Mango Bar, Cairns Espanade, Mercure Habourside (next block after Cairns Base Hospital along Esplanade)
To order a copy of the book, or for more information regarding the launch, please contact Gisela on
giselamc@optusnet.com.au.
Survey - Authors, Copyright, and the Digital Evolution
Francina Cantatore is conducting research on authors' views on copyright issues. She is currently doing an online survey entitled 'Authors, Copyright, and the Digital Evolution'. If you would like to have your say on this issue, you can do the survey here: www.surveymonkey.com/s/authorsandcopyright. The survey will only take a few minutes to complete and is completely anonymous. It will be open for completion until 30 September. Francina will be making the results of the survey available to the Australian Society of Authors (ASA) for their newsletter. There is a free paper available on the ASA website on E-books:
Royalties and Contracts if you would like more information on copyright issues.
Opportunity
FAW NSW Inc. Walter Stone Award 2010 for Life Writing
The Walter Stone Award is given on the even biennial year for an original, unpublished manuscript to show some aspect of Australian history or have some Australian historical significance. The prize is paid from a trust fund established by Margaret Stone to honour her late father. ife Writing' is defined as biography, autobiography, memoir, monograph, bibliography. Biography and autobiography may be an extract to meet the word count requirements. Word limit is between 10,000 and 25,000 words. Entry fee is $20. First prize is $1,500. Deadline for entries is Thursday 30 September. Further details and an entry form can be found at www.fawnsw.org.au/News/competitions.htm.
Songwriting Competition
When a song is created do the words or music come first? As an Australian poet/wordsmith, you are being set the challenge to write lyrics for a new hit single! You will have until Thursday 30 September to submit lyrics for this new song, composed by established ARIA award-winning music composer/producer, James Roche, who will select the winning entry in consultation with a judging panel. Please email admin@australianpoetrycentre.org.au with all questions. To download the music, or more information, visit the Australian Poetry Centre website: www.australianpoetrycentre.org.au/?page_id=975.
Publishing Freelancers - Expressions of Interest Required
Red Hill Publishing is seeking expressions of interest from talented professionals who wish to be added to our directory of freelance suppliers. They need people with skills and experience in the following fields:
Writing; Editing; Proofreading; Researching; Project management; Publicity and marketing. Commercial experience is important, but talent and enthusiasm are the real must-haves. Work will be offered on a project-by-project contract basis. Send your CV along with a brief letter noting your areas of interest and expertise to: sally@redhill.me. Red Hill Publishing is a Brisbane-based publisher. They publish their own list of non-fiction titles, and they provide book creation services to individuals and organisations with great ideas of their own. Find out more about them at http://redhillpublishing.com.
Ghostwriter for Memoirs
Former model Lisa Cox is looking for a ghostwriter to assist with the creation of her memoir. Lisa had the world at her feet before a massive brain haemorrhage put her in a coma a few months prior to her 25th birthday. Lisa lives on Brisbane's north side and would like a writer to assist her in conducting interviews and review her partially written manuscript. A female writer is preferred. Payment by negotiation. If you are interested please contact Lisa directly by emailing LisaCox1@hotmail.com. For more information on Lisa's story visit www.lisacoxpresents.com.
Win! Win! Win!
The second part of the film version of Stieg Larsson's world-famous Millennium Trilogy: The Girl Who Played With Fire, is released on 23 September. In this follow-up to The Girl With the Dragon Tattoo, when a Swedish couple are murdered in their apartment, a nation-wide manhunt begins for the prime suspect, Lisbeth Salander. The couple were working closely with Mikael Blomkvist at Millennium magazine to expose the sex trafficking trade in Sweden, and Blomkvist, convinced of Salander's innocence, starts his own investigation into his friends' murders. Once again Salander and Blomkvist find their lives entangled in the most mysterious, and dangerous, way. www.milleniumtrilogymovie.com
For your chance to win one of 10 double in-season passes, please answer this question: What is the name of the final book in Stieg Larsson's Millennium Trilogy?
Send your answer in the subject line of an email to jdevantier@qwc.asn.au, with your name and postal address in the body.
Classified Advertising
The events listed as classified ads are not organised or hosted by QWC. Please contact the relevant advertiser for further information.
Writing and Yoga Retreat
Byron Bay 6 - 12 October 2010
Join Sarah Armstrong, Alan Close, and Kathryn Riding in a beautiful peaceful setting. Be supported and encouraged in your writing, with one-on-one feedback and guidance as well as daily classes. Come away with lots of writing and confidence in your own writing voice. Beginners and unconfident writers welcome. From $1,780 for accommodation, classes, and all meals. For more info, visit www.sarah-armstrong.com, or call 0414 228 563.
Publishing Boot Camp 2010 - Everything you need to know about the business of books.
Publishing is a business. Big business. Unless you're prepared to sit around waiting for your lucky break the smartest thing you can do is get educated. That's why we created Publishing Boot Camp 2010. Using a typical publishing workflow we explain every process that makes a commercially viable book. Editorial, design, marketing, print, ebooks, distribution and more.
Publishing Boot Camp is about the business of books. The forum and workshop program is designed for: aspiring & established authors; independent publishers; current & future publishing professionals.
This might just be the smartest investment you make in your publishing career this year.
Publishing Boot Camp 2010. 16 October. Brisbane, Australia.
For more information visit www.redhillpublishing.com
Publishing Boot Camp 2010 is proudly presented by Red Hill Publishing.
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Queensland Writers Centre is the state's premier writing organisation. Use this site to find information on our workshops, services, tutors and writing resources in your corner of Queensland. You can also become a QWC member, register for workshops and purchase books and services.
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