A Celebration of Books and Writing - Northern Beaches Readers Festival
“We spend hours and days, and months and years of our lives, writing these stories. And, doing that over and over again. And of course we do it because we love it. It’s work and it deserves to be recognised as such. ”
Buy A COUNTRY FARM CHRISTMAS
🎙️✨ Did you see Pam and some of the Writes4Women gang at the Northern Beaches Readers Festival last weekend? In this week’s episode Pam gives you her top takeaways after spending a weekend with amazingly talented writers and shares her exciting news! 📚🎉
Timestamps
00:00 Welcome and Introduction
01:39 Shoutout to Supporters
04:42 Course Announcement: Turn Up the Tension
06:37 New Book Release: A Country Farm Christmas
09:48 Northern Beaches Readers Festival Recap
10:20 Panel Insights: Stories That Don't Play by the Rules
15:41 Panel Insights: When Life Gives You Lemons
20:13 Panel Insights: The Business of Publishing
21:12 Exploring Australian Authors
21:32 Breaking into Overseas Markets
22:14 Do You Need an Agent?
23:13 Streams of Income for Authors
27:35 Marketing Approaches for Authors
28:10 Writing Tips and Techniques
30:09 The Importance of Writing Community
31:16 Insights from Experienced Authors
39:22 Character Development Workshop
40:10 Festival Highlights and Conclusion
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Transcript
This transcript is provided as a companion to the audio episode and has not been edited.
[00:00:00] Hello, and welcome to another episode of rights for women. It is Tuesday, the 1st of October as I'm recording this. And it is a beautiful spring day here in the Illawarra where I live. I am freshly back from the Northern beaches Redis festival. Fantastic. By annual. Now I think that means every two years, hopefully.
[00:00:22] Cause that's what it is. Every two U festival for readers of commercial fiction and Shaun reflection. So it's a little bit different to your usual writers' festival in that it's really targeted at the readers. But of course. Writers or readers too. And it's also particularly centered around. Commercial fiction. Books that you'll find in your average bookstore, but also in your big w target Kmart, the books that lots of us love to read and that often aren't featured at the bigger literary festivals. Like Sydney writers festival, for example, Melbourne writers festival, and even some of the regional festivals who now focus on. More literary fiction. So NBR F the NBR, if team decided to really change, mix that up a bit. The first. Festival. Evil was two years ago.
[00:01:16] This is the second one and it was a huge success. And that's why I'm actually going to devote this episode to. Sharing some of the things that I heard and learned. As I attended the festival sessions and just basically give you a little wrap-up of the Northern beaches, Redis festival. Before we get onto that, a few little things that I wanted to talk about today. The first is an absolutely massive shout out to everybody who is following the. Podcast rights for women on sub stack.
[00:01:48] We're picking up lots and lots of free subscribers people who are obviously interested in what we have to say on the podcast and on the things that we're putting out on sub stack, but we're also picking up some fabulous new paid supporters. And I just want to say how much I really appreciate that. The podcast. Does cost a little bit of money to put out.
[00:02:08] It takes my time, of course, but also there are editing programs, involved distribution platforms. Quite a few things associated with putting the podcast out there. And I have been doing it for quite some time on my own now and previously with Kel Butler.
[00:02:24] And it's definitely something I love doing, but it's great to feel that there are people out there. Who are happy to support that and to help. Rights for women along on its journey. So I wanted to give a little shout out today to people who have signed up as paid subscribers in the. Last week or two. That is Effie catcher, Casas, Effie.
[00:02:45] It was fantastic to meet you at Northern beaches, Redis festival. Joanna Nell. Philippa. Kay. Emma picnic TLO. And Cynthia Anderson. I'm sorry if I have any of those pronunciations incorrect. So huge shout out to Effie, Joe PIP, Emma and Cynthia. For popping on and supporting the P the podcast on substep.
[00:03:08] Those paid. Subscribers will be receiving additional bonuses, like my weekly diary of a procrastinator, where I fill you in, on my current writing process, the ups and downs of that. Also the weekly analysis that I do have. A couple of pages of writing from a book that I'm reading, where I really point out all the great things and the clever things that those writers are doing. We're going to have a monthly write in, and I'm about to send out a poll to all the paid subscribers to find out when they, that will be. And there's going to be other. A little perks along the way.
[00:03:42] It is definitely something that costs. Just over the cost of a cup of coffee, or if you drink a big coffee, that's probably about the cost. And as I said, I really appreciate that support. Now, if you have in the past, spent a Patrion subscriber on rights for women. That. Platform. He is now going to be closed. I kept it open for September. And everybody who was the patron supporter had the month free on sub stack.
[00:04:09] I'm now just going to wind down Patrion. So I can really focus on sub stack. And I hope that you will come along with us as we shift. Into a new phase of rights for women over there on sub-second. As I said last week, I am absolutely. Loving the platform. Because there is just so much great writing. Stuff on there.
[00:04:28] That's a fabulous writing and creative community over there. And well-worth joining. Even if you just come along for the free ride, we would love that. Thank you very. So much to everyone for that. Something else. I just wanted to tell you very quickly. I have got my turn up the tension online. Because it's an eight module course. Which I have previously run. Including some face-to-face. Zoom. Sessions and feedback. As I am super busy with deadlines and a few other things, I just don't have. The capacity to do that. Face-to-face zooming and feedback.
[00:05:02] So I have taken those elements out of the course. Reduced it down to. To the online components now. That doesn't mean that it's just a static screen that you watch there. I am there in a video explaining everything, talking. About everything. And you also have the capacity to email me at any point of the eight modules.
[00:05:20] There is about probably three. Three to four hours of work in each module. If you really want to cover the whole lot. And I've called the course to turn up the tension. But it's really. It should be called take your writing to the next level. I think because it really covers so many different things from having a really great hook in your opening. To characterization plotting structure, definitely creating tension on the page. And then the nuts and bolts of seen writing and lots of other things.
[00:05:49] So I have reduced the price of that. Now it was originally a 5 99 course in its full price. And a lot of people did say to me that even at that price, it was too cheap for the amount of work that had gone into it. But I've reduced it down to 1 99. For the time being while I just get on top of everything else.
[00:06:07] And I'd just thought the course was sitting there. I really want to be able to share that with people and to have allow people to have access to that. So you can find that course at great value on my website, Pamela cook.com.edu. If you go to the courses tab there and just scroll down a little bit, click on, turn up the tension. It will take you to the place where you can register.
[00:06:27] If you have any questions, just email me or message me and I can fill you in. So that is there ready and waiting and available right now. In other exciting news, I have a book out today. It's actually the Christmas anthology, a country farm Christmas. Which I was so pleased to take part in again this year, last year. HQ Harper Collins pulled a few of us together and we wrote a country vet Christmas. This year, the stories are all set on farms.
[00:06:57] There are four of us involved in the anthology this year, Penelope Genoo Lily Malone, Stella Quinn, and myself, and we've all written stories. With a little touch of romance or some of them have maybe a bit more romance and set in the country and it's out today. So for new villas, it's a nice chunky book.
[00:07:16] Each novella is around 33,000 words or so that's, there's plenty of great reading in there. Perfect gift for anybody in your family or friendship group who loves reading particular. Particularly if they love stories set in the country. And for yourself, of course, if you want to get a little bit into the swing of Christmas and a. I know it's early it's 1st of October, but you can always grab it now and pop it away. Or just, Sneak in and read one of these stories whenever you get the chance and then go back for the rest. My contribution to this anthology is a story called the Christmas contract.
[00:07:49] I had so much fun writing it. The main character is Brighty Granger. She's. A single mum. Ex lawyer turned organic farmer who has made a contract with her father that she's going to get her organic produce business up and running by Christmas. And if that doesn't happen, he's going to pull the pin. She's under pressure to make sure that the farm is nice and spruced up in time for her. Parental visit at Christmas. She's also under pressure from her ex who is wanting her, not very nice X in her mind, who is wanting excess. And additional time with their son Finn. Which bride it isn't feeling very happy about. And of course. There's the, her nemesis, the next door neighbor, bill Tucker, who wants to get his hands on her property as soon as possible.
[00:08:35] When he, in his mind, she fails. So brightly enlists the help of his son. Interestingly enough, Reese Tucker who is visiting from his fly in fly out job in Queensland. To. To help his dad. And let's just say some sparks fly. It's a romcom it's written in first person. This time, something really different for me. And I can assure you that the other three stories in here. Just so good and so worth reading.
[00:09:00] A country farm Christmas out. Now you can grab that at big w I think maybe the other discount department stores and. Definitely online in print, ebook and audio, and also. You might be able to ask your local bookseller, if you are near an independent bookstore to order that in for you. If they don't have it. Yeah, it's a big day.
[00:09:20] It's a huge celebration. I am. Currently working. Scrambling to meet my next deadline for the book I'm currently working on a place of her own, which is the third in the Blackwater lake trilogy that is going to be to my audio publisher by the end of October. And At some stage, you will also be out in print and a book. So I will keep you posted about that. So enough about me. Let's get onto chatting about the Northern. On beaches, Redis festival. Now, sadly, I could not split myself into two or three and attend all of the sessions. That were on the program.
[00:10:00] They were just all such great sessions. I could have gone to every single one and gotten so much out. Out of it. The good news is that the committee has had decided to record each session and it will be coming out. In podcasts. Form.
[00:10:13] I will let you know when that happens, because there's some great sessions there. You'll be able to listen to. If you weren't able to make it to the festival. So the first session that I attended was called stories that don't play by the rules. This featured at Ripley Pressler. Claire Fletcher. Justin Smith and was facilitated by a fabulous Cassie Haimer.
[00:10:36] So I thought just for each session, what I did was I just jotted down a few notes. If anything, that the writers said that I thought really resonated with me in terms of writing advice or anything about the publishing industry. There's really only, just a few little things from each session here that I'll share with you.
[00:10:52] So all three authors. I was on this panel, wrote stories which had some kind of element of sport.
[00:10:59] At Bruce book featured a gay. Protagonist. And she was finding that she just wasn't getting any kind of interest in the manuscript. And after quite a few rejection, she sent a random tweet out. Saying that she had a diverse. Gay. Friends to love as romance. And if there are any publishers out there who were into would be interested in having a look at it to please DM her. She was in fact, contacted by a publisher as a result. And was signed within a matter of weeks. Amber had previously been indie published.
[00:11:35] I think that's a really interesting case because while not many people are going to get picked up that way, it can be a case of look, what have I got to lose? And I think as long as you're not disrespectful or presumptuous in any way in these things, she didn't ever didn't DM anyone and say, please publish my book.
[00:11:53] She just put the tweet out there. Threw it out there into the universe to see what would happen. And in that case, something did happen. Don't discount that sort of let's throw it out there and see what happens type approach.
[00:12:05] There are limited ways in which we can get our work in front of a publisher. And of course the slush pile or going through. Speed dating type pitchers pitching at festivals, those sorts of things. Looking at when the publisher's books are open, they're all the kind of traditional formal ways.
[00:12:20] But sometimes, a little opportunity like that arises and average has thought why not? And there you go. So that definitely paid off for her.
[00:12:30] There was also some. Discussion about writing six scenes. And the comment was made. And I can't remember who actually made this, that writing sport is similar to writing six. The question from Cassie was about getting all those details about playing the game, onto the page and how much is too much, if you're writing a book about cricket which Justin Smith has done or had done in Cooper, not out How much detail do we want to know about the actual physical game of cricket?
[00:12:55] And I thought it was really. Interesting that the all three participants agreed that, writing sport is similar to writing six in a way. There is the physical aspect, but also those emotional and intellectual aspects, which are actually more important than the physical act, of really either the cricket or the game itself. Or sex if that's what you're writing in that particular instance Thinking about where the characters are in terms of their mental and emotional space. And really making sure that you include that.
[00:13:27] And I think if you do include those elements into, for example, a sex scene, it's going to be a much stronger scene than just, Part a goes into. The sloppy Which can be pretty boring to read.
[00:13:39] An interesting thing that Claris Fletcher spoke about was taking the reader back in time. I have read love match. So I was really interested in this. It's a great story. Her. Older character who is. Not really the protagonists, but a very important character in the story. Mabel has this dress collection, which she has collected over the years of all these beautiful designer dresses.
[00:14:00] And one of the things that happens in the stories that she and the. The main character. Curating and collating that, putting it all together. So
[00:14:08] as Mabel is telling a story about the dress.
[00:14:11] It takes her back in time. So we do have a kind of flashback scenario, but it's a really natural progression as she's telling the story about the dress. So she's using. The dress. Dress as a kind of trigger for the memory. And I think that's a really great tip there.
[00:14:26] If you are. Wanting to take the reader back in time. Think about what is triggering the protagonists to travel back in time in their mind. And that will be a really great kind of segue for, to take your reader back in time. And then also thinking about how are you going to come back to the present moment and bring the reader back into the here and now it could be. A noise or a sound or an interruption to the story, or just a particularly difficult part of the memory, which kind of cuts off that train of thought. Yeah, I thought that was a really interesting thing that Claire spoke about.
[00:15:00] And Justin to spoke about he was really interested in exploring not only what the characters do in terms of the action. But what they think and how they feel about things. I think that comes back to this idea of making sure that you have in your writing a really. Strong blend of action. Interiority Dialogue where they're expressing those thoughts and feelings to other people.
[00:15:23] But also making sure that the reader knows about the things they don't want to express and the things that they keep to themselves. And sometimes it's great to contrast what a character says to another character. With what they think. Because that in itself It's a great way of creating tension. So I really enjoyed that session.
[00:15:41] The next session that I went to was called when life gives you lemons. And that was with Amal. Awad Maxine force it, Corrina Mae and hosted by Amy. Love it too, is the current director of the Newcastle writers festival and also an author. This session was about writing characters who are really in a situation. That sucks, basically.
[00:16:03] That is not good. , and really the story is about how they're going to work their way out of that situation. Amy talked about working out her own issues through writing fiction. So that idea that if you have a particular problem in your life or things that you are grappling with, By giving your characters, those same issues or problems.
[00:16:22] It's a way of you working through them yourself. And I think that's a really valid way of writing a story. Amal mentioned that her characters at some point will probably evolve further than you. So your character is often grappling with things that you are as a human being as well. And Sometimes our characters are able to co to come to an understanding of those things before we are ourselves.
[00:16:46] And again, it's this idea of being, writing, being quite cathartic and therapeutic in some ways helps us to evolve. Just a set of characters. Do.
[00:16:55] Now, here is a comment from that panel that I cannot actually attribute to any one person.
[00:17:00] I have a feeling it may have been a mile, but I'm not exactly sure. But one of them did say, no, I fully agree with this. That if there is nothing left for you to learn as a writer, then there's nothing left to write about. I thought that was a great. Quote because I think. It's really important. That, with each story that we write. We are trying to learn. Not just about the craft of fiction. Thinking, okay, in this story, I'm really going to focus on my characterization or going deeper with emotion or really nailing my structure, my plotting or whatever it is.
[00:17:34] Of course there's all those craft things to learn, but. In terms of also exploring the issues that we are experiencing and that our characters are experiencing. It's a great way of. Really evolving as human beings. And of course, as writers, we know how valuable being able to tell stories can be both for ourselves.
[00:17:56] And for those who read them,
[00:17:59] Another topic that came up. On this panel was the emotional and mental fatigue of being a writer. And this was about, often if you are writing about things that you have experienced, Now Kareena is a first novel. She in her debut novel duck. The orange, sorry.
[00:18:16] I'm not very good at pronouncing things in French. Featured a character who had a brain tumor. Now Corrina has had a brain tumor herself. And she can openly talk about that now because it is a little way down the track. But she did draw on that experience for writing that debut novel. And she said it's important to write from our scars. And not our wound. Wounds. So meaning. Give yourself some time to heal. He'll if you are going to talk about. And. About something that is difficult for you and is, perhaps a traumatic experience that you have been through. If you write from your. Your scar.
[00:18:54] From that healing process rather than the wound itself, that it will be easier for you. And also Corrina's advice was to have, if you are an author and you're speaking at panels or talking to other people about your writing, To have boundaries on what you're prepared to share about your own life, both on the page. And in conversation.
[00:19:14] So I think that's something really worthwhile to think about as well. All talked about stepping into the character, soul, and world and how important that can be, really stepping deep into the character's skin. It can still be traumatizing. But our characters do exist in another realm. And you don't have to give yourself over so completely that it destroys you. Give yourself time to recover.
[00:19:37] If you are writing about personal or traumatic issues. Things that affect you deeply make sure that you're looking after yourself, that you are, practicing self care. That if you do need to talk to somebody after a writing session or, after writing the whole book that you do. Make sure you have those resources available and that you. Understand, when to draw that line, that Corinne has spoke about in terms of not letting it impact too seriously on you.
[00:20:08] So that was a really worthwhile session in so many great things being talked about there. Ah, the next session I went to was really about the business of publishing and it was super interesting. It was called. You can ask that. And it featured Penelope Genoo. And Sandy. DACA being interviewed by the participating host sexually. We have the panel Kesey Hamus so three very experienced authors. And there had been a call out to anybody who wanted to come to the camp panel to emailing questions.
[00:20:39] And there were also questions from the audience. One of the questions was about overseas interest in Australian stories. And it seems based on what was being said on the panel, that there has been a shift. Now it used to be the case that. Really, if you were wrote stories, sit in Australia, that they weren't going to get across the line overseas, that nobody in the us or the UK markets would be interested.
[00:21:02] Some European markets have been interested in our stories for some time, like Germany, for example. But it seems that there has been a shift in overseas interest for crime. So if you think about books like the dry Devlin, McTiernan. books as well. Book set in Australia which are becoming popular, Candace Fox, obviously.
[00:21:22] She. She writes some books set in Australia. A lot of hers are sit overseas as well. But also in some other fictions. So that's an interesting space to watch and hopefully one that's going to grow. And of course the U S and UK markets are bigger. So if you can, as a writer, get, across the line in those markets, it's fantastic. They are harder to get into, but they're bigger. And the other thing that was suggested was that if you are definitely interested in getting into those overseas markets, particularly if you're writing a book set overseas or not in Australia that you might want to think about getting an overseas agent. Now there are agents here, of course, who would be willing to represent you overseas.
[00:22:03] But I think it really comes down to doing your homework. Thinking about where your book is set. What market you really want to get into. And then putting the feelers out accordingly. Another question came up about whether you need an agent and this is something that always comes up for beginning or aspiring. Authors and even sometimes for down the track authors, do I need an agent? So on the panel Kesey was an agented.
[00:22:28] Penelope is an agent. Sandy has recently picked up an agent. She's with the. Same agency as me. Key people, literary management. And she was saying that, which is what I have found too, that having somebody in your corner, particularly when it comes to the business side of things can be really helpful. Because, you have a certain relationship with your publisher. If you don't want to talk dollars and cents and all the nitty-gritty of the contract. And some of those more difficult issues that can sometimes come up. It might be a good idea to think about. Trying to get an agent. And of course that's not always straightforward.
[00:23:01] And it's still a matter of going through pitching and the submission process and to do that, making sure that your manuscript is as absolutely polished as it can possibly be before you approach. Any agents or publishers? Streams of income for authors were spoken about And with the book sales were the main stream of. Income. For most authors, the main stream of income is still. Book sales which is problematic.
[00:23:24] If those books. Very high. Now, Cassie, I think, did say that she'd researched and the average annual wage for an author in Australia is $18,000. So not many people can live on that. And in fact, a lot of authors that I know earn. Less than that a year. We're obviously doing this for the love of it people, but The other analogy that was made was that there are lots of people doing pub gigs and very few people. People doing the big arena, Coldplay style concerts.
[00:23:50] And I think that's a really great way to think about it. But there are other sources of income. Public lending rights, which is Which take place every year, when there's a survey done across all the libraries in Australia to see how many books from each author. Being kept in stock and then authors are paid a kind of fee for those books being in the library. So it's not as straightforward as how many boroughs do you get each year from a library? But we definitely get money from people, borrowing books from libraries. And that now includes a book and audio as well as print, which has, that has recently changed. There's also educational lending rights.
[00:24:27] ELR if you're able to get your books into the school system. You will be remunerated on a yearly basis for that. Of course other streams of incomes are what I do, which is teaching online or face-to-face running workshops. For mentoring another great source of income for authors facilitating at events like the Northern beaches Raiders festival. And also being paid for appearances and the Australian society of authors has a schedule of rights.
[00:24:58] Just remember if you are an author. Yes. There are some things that we do for the love of it. And it's about making that call between. Doing things that you want to do for the, for your community, for your readers, but also being aware that you deserve to be remunerated for the work that you've put in.
[00:25:16] We spent hours and days, and months and years of our lives, writing these stories. And, doing that over and over again. And of course we do it because we love it. It's work and it deserves to be recognized as such. So just always keep that in mind and make sure that you are looking after yourself financially.
[00:25:36] Kathy's dad actually was in the audience and stood up and said he had heard on an interview. And I can't remember who it was with now on the radio. That in. Germany and some European countries when books are being released now that there is a fixed price on books for six to 12 months. This came up as a result of people asking if authors get the same amount of royalties. From a book that's sold at an independent bookstore for the regular realtor retail price.
[00:26:04] Say of 29 99. Or if it's sold in big, w do you get the same amount of money now? I know when I first was publishing books, it used to be that you always got 10% of the regular retail price, regardless of. How much that book. Was sold for it has changed now. And for most authors, I'm not saying across the board, but in most cases now in contracts, publishers, We'll have 10% of the sale price.
[00:26:34] So of course that means if the book is sold for $16. You're going to get 10% of that. So a dollar 60. If it's sold for $30, you'll get 10% of that, which is $3. If it's an ebook. It's around the 25% mark. And I think it's the same for audio, but. I really liked that idea of having a fixed price across the board for a certain amount of time, because it ensures that authors are getting remunerated appropriately for at least that first six to 12 months.
[00:27:04] And while it's great that we have places like big W's who are getting books into the hands of readers, it's really important to remember that that is taking money away from the authors.
[00:27:16] So just something to keep in mind, if you are able to buy books at your local independent bookstore or buy them online at full price. I know that sometimes you think, oh, but I can. Get it for almost half price at big w but if you do have the capacity, just keep in mind. Where that money is going to, just something to think about. A question came up on this. Panel about different types of marketing approaches. Sandy has been doing. Numerous library events.
[00:27:43] And the question was, how are they? Are they great for sales? Are they good for promotion? And she made the comment that they're great for connecting with readers and also creating that word of mouth vibe. It's really important to know your audience, to know where to find them in order to reach them with marketing messages. Meeting them face-to-face in libraries is great.
[00:28:03] And also building up your email is so can. You can directly contact your readers via that.
[00:28:10] Some other ideas that came up on the panel. Things like being open to the next idea, never discounting an idea if it's hanging around, hovering around there in your thought bubble. To make sure that you're spending lots of time at the keyboard and really focusing on the writing and keeping the other peripheral stuff in perspective. That no time. In writing is wasted.
[00:28:32] Even if those words that you type in one particular session or across a number of sessions, or maybe even over months. None of it is wasted. If it leads you to the story that you finally tell, sometimes we have to work our way through the sludge. A whole bunch of words that we're not going to use.
[00:28:47] And then find the gold if you like at the bottom of that. But that doesn't mean that those words or that time is wasted. It's part of the process. And just something that we need to accept. And go through. Having your bum on the seat. Of course, supplying the bum glue is really super important and sometimes changing the location of where you write can be really. Beneficial as well, sometimes mixing it up and going to a cafe, riding outdoors instead of indoors. But also if you do have a. Place where. Do you find. And you are. Most inspired and most creative. Stick to that on a regular basis.
[00:29:20] And maybe just mix it up when you feel the need. And just back on the thing of no writing ever being wasted, , the comment was made that you might complete a full manuscript before you find the hook. I think it was Sandy who was saying, she'd written a whole book and she just realized it didn't really have a proper hook. And then she sent it off to her editor who publisher and together, they nodded out what the hook was.
[00:29:44] And then once she worked that out and, revise that section and got it in there, the rest of the story just flowed from that. So never be afraid to keep going. And to. Even just finish something and then once you've got the finished product, you've got all of that to work with.
[00:29:58] So again, not time wasted. And also another comment was made to lean into your passions and interests. Don't. Don't be afraid. To put them into your writing. Some things that the authors wished that they knew when they first started. One very important. Comment. They all agreed on was to have a writing community around you. And that was really evident at the festival.
[00:30:20] Like I managed to catch up with so many authors who I have come to know over the years, and I have to say doing the podcast has really helped with that. But the writing community, certainly in Sydney and definitely I think Australia wide as well is a great supportive community. But finding your own tribe within that community and meeting with them on a regular basis, having someone you can swap work with someone you can brainstorm with someone you can vent with. And celebrate with is really important. One of the office, and again, I can't say who was that?
[00:30:51] They wish they'd been more tech savvy. But I guess in some cases it's needs maths dissonance. When we need to learn a particular style of technology. Then that's when we're going to do it. And also this idea that we do have imposter syndrome, all of us are going to have imposter syndrome at pretty much every stage of our writing life. But that you. Just right through it. Just accept that having imposter syndrome is part of the process. And right through it anyway.
[00:31:16] Now I did attend a fabulous session very briefly with Candice Fox, JP Pommery and hosted by Ray Cannes.
[00:31:24] I wasn't able to stay in that panel for very long because I had to chuff off to do a workshop myself. But just one thing I noted down that Candice said was that she starts with a character and a problem. And puts the person least likely to be able to solve that problem into the mix. , you need to make sure that the problem that you give your character is a big one. That it's going to be really hard for them to solve that problem.
[00:31:50] And also to put them in a setting that will make the solving of that problem as difficult as possible. I thought that was a great idea. Another panel I attended was fun, feisty and fabulous with Trisha stringer, Joanna nail Amanda Hampson and moderated by Penelope. I knew. So this was about writing about the older protagonists.
[00:32:08] I think they were talking of characters 50 plus.
[00:32:12] So just a few things that the authors said there, Trisha stringer, who is a prolific author of, I think, around 18 or so novel said that she is a procrastinator. It's just one of my soulmates. So she tricks herself by saying she's going to work in order to get the work done. So she sees sitting down at her computer as work. Which I think is a really smart idea.
[00:32:32] And she's off to work. She's going to work for the day and then she'll knock off and go home. Even though she is writing at home. Joe said that which is something that I completely agree with. Even if you have a full day in which to write. You can only create or write for a limited time of that.
[00:32:48] I have sat down the last few weeks and tried to write all day. But by the time I get to about, four hours in that's really the max I can do. And sometimes, getting to that kind of 3000 word limit is about all I can do.
[00:33:01] And I was even talking to Kate Forsythe who was on the panel that I facilitated. Fantastic tales. And Kate said, she can sit and write for 10 hours, but will I have 1000 words at the end of that day? Because a big part of her process is the thinking and the dreaming and, maybe writing something and then changing it.
[00:33:19] Just being aware that yeah. Okay. Even if you do have a full day or 12 hours in which to write. You still might only be able to get a few thousand words or even a thousand or 500 words in that time. Amanda talked about the cabin by the lake syndrome. That, that kind of old Chestnut that, oh if only I had a cabin by the lake, I'd be able to write a novel. She said it's rubbish, which I agree with.
[00:33:42] You just have to sit down and do it. It doesn't matter where you are, where you live. What your Workday is, what your schedule is. You can find time if you really want to get some words down. Very own same. Joanna said that there is no age barrier to writing. It's all about learning the craft and doing your apprenticeship and knowing that it is going to take some time to learn, to write.
[00:34:03] It's not something you can just do overnight, or even in a year or two that really, you have to learn your craft. And you either you do that by both writing the books. And also by doing courses and all those sorts of things that help you to learn. Amanda didn't start writing until she was 50. Because she never felt that she had the experience prior to that in order to be able to tell a story.
[00:34:26] So that's interesting. And Trisha also talked about having no retirement plan. And that writers don't retire. They die. . Joe shared a great thought to that. You should maybe go with the idea that scares you a bit, if you have a few different options in which to write, and one is the scariest go to that place and go with that story. Because that's where you're going to find the most gold.
[00:34:49] Another panel that I attended was chef's kiss.
[00:34:51] This was with Sophie Beaumont to also writes children's books. Has Sophie mesen. Mayella Neil and Vanessa, McCausland all three very experienced authors and moderated by Cheryl Arkle from better reading. Vanessa talked about
[00:35:05] When she wrote her first book that she was working part time. She's now writing. Yeah, she was working. So she was writing part-time now she's writing full-time. She said if she's editing. She could do eight hours a day plus but if she's doing a first draft, she can only really do a couple of hours because of again, supporting what Joe was saying.
[00:35:24] And Kate about that creativity kind of being quite taxing on. Your brain. And I agree with that. And it's also making me feel better about where I'm at with my writing currently. She said, if she's doing publicity for a book, having to promote and talk about the book, there's no way that she can be creative afterwards.
[00:35:40] And I think understanding these different parts of our brain is really important. In order to get words down, Vanessa tends to hide in the study. She lights a candle, she chooses the right tea and writes with the door closed. So in other words, she goes into a quiet space. That's just her own and helps her to tap into her intuition. Sophie Beaumont wrote from a young age. She would tell stories to her younger siblings and She used to think if I had to save my life, what story would I tell?
[00:36:09] So it really pushed her to tell a good story. When she gets a glimpse of a character, she goes into that quiet space. She doesn't hear what's going around on around her. She said her son. Can be playing the drums upstairs and she just chins out because she's so involved in the story. In terms of. Of getting. The writing done Mayer.
[00:36:27] The nail starts after school. Drop-off she listens to ABC classic in the background. She likes to. I have some classical music going. Even if the presenter talks. That's okay. Cause she said sometimes she actually puts what the presenter is saying. Into the writing. So that's very clever too, to just draw on what's happening around you to channel it into your writing. I absolutely loved the session with Shankari Chandran who has been on the podcast and is just an all around fabulous person and beautiful writer and winner of the miles, Franklin for her book, chai time at cinnamon gardens. Chancre. We spoke to Into Nellis of talking Aussie books and a major committee member of the festival about how right, how winning the miles Franklin has allowed her community, her Sri Lankan community to be seen and heard.
[00:37:17] It's also meant that her other books have been highlighted and picked up including one that has sat in a drawer for eight years. So that's just been a beautiful. Beautiful thing to experience for Shane Curry. She also made a funny comment is in. Writing is the things that make her happiest writing is the thing that makes her the happiest, which she said she could say, cause her husband and children were not in the room. Hopefully they're also not listening to this podcast.
[00:37:40] I'm sure they won't be. She read the book that she wanted to write because she really thought no one would read it. She'd had numerous rejections for over the years and really just thought. No, one's going to read this book anyway. And in a way it gave her permission to tell the story she really wanted to tell.
[00:37:58] And she. Operated from this space of having a conversation about racism in fiction. With the love that she has for the Australian community. And she poured a lot of her own grief. About the situation into that book.
[00:38:19] In terms of having that book published chart time published, she wanted the validation of a publishing contract. She wanted to be able to see her book alongside other Australian books on the shelf, because it's so important to tell the stories of diverse communities. And to make sure that they're all seen and taken out by readers. Chancre said when I am not writing, I am not myself.
[00:38:40] And I'm the most connected to myself when I am writing.
[00:38:47] So her, the driving force in writing a story is always rage and confusion. And injustice, which makes her very angry and she channels that anger into the writing in order to create her story. And I think that's a really important thing to think about. What is it that fuels your writing? What is it? That's the driving force behind your writing.
[00:39:07] And I think sometimes trying to come up with what what is often called the major dramatic. Amatic question. can Really help you to channel that driving force and to help you to get the words on the page. So they were all the sessions that I was able to attend. I ran a session called climb inside your character skin. Workshop, which was sold out.
[00:39:27] And thank you very much to everybody who came along to that workshop. I hope you got something out of that. It was all about tapping into the psychology of your character in terms of finding their wound, the lie that they tell themselves as a result. Tapping into our own wounds in order to access those. Experiences of our characters.
[00:39:45] And then going on to talk about, what does your character want? What do they need? And how are they going to go about getting it? So looking at the psychology of character, really, and I will be converting that I think, into an online course at some stage, and maybe even coming up with. A follow-up course as to how to really go about getting those things onto the page. And into our writing. That is all I can tell you about the festival apart from the fact that it was a fantastic celebration of Australian books and writing. It was so beautifully organized by the committee.
[00:40:21] So a massive shout out to Sandy DACA, clawed into Nellis, Penelope Genoo and alota and Cassie Hayma and Rosemarie. Marie putty and Shelley. Jelly. And Michelle. Parsons. Who were the major committee members and. and. of course. To all the volunteer. Volunteers I made the. Festival so wonderful. It was a pleasure. pleasure. to be part. part. of it.
[00:40:38] I can't. Wait to do it all again. In two. two. years time. Hopefully. And be involved. Once more. And I highly recommend you seeking out. The. Interviews. When they do come into podcast format. I hope that you. you. have. Found some of these tips that I've shared with you from their festival useful. And I hope that. You. R. Getting. Some words, Stan, and that your writing is. And that your creativity is. blooming. Have a great week. See you next week. on rights for women.