Saturday, December 5, 2009
Hinterland Calling by Julie Chilver
Reduced to rustic, by choice. A brick cottage with no upstairs bathroom and ventilation holes big enough for snakes and more. “Eighth generation possum.” The vendor told us proudly. Andrew assured me that although the possum could get down into the bathroom, it wouldn’t. What did he know? A high pitched shriek from me and he appeared carrying a piece of gyprock. ‘We won’t block it up completely, just so she can stick her nose out and the kids can feed her.’ My friends would be amazed that I’d even pop in to use the toilet, let alone live here. And that was before a giant cane toad sat by my feet while I sat on said toilet. ‘Andreeeeeeeeewwww’.
That was just the main dwelling, there was another building which was to be my office and painting studio plus guest accommodation for anyone game to spend some time on the ‘farm’. I decreed that the building should be dismantled. Termites I could have lived with but that was the building my dad christened ‘the building that never was’. More accurately he was almost ‘the dad that was no more’. Chatting to Andrew and leaning on the wooden railing, he was spat from the first floor entrance way. Crunch, splat. He jumped and launched himself to avoid a steel post where only yesterday a tree had been tethered. He fell 10 feet, I wailed like a banshee and my mother didn’t speak for half an hour. A black bruised foot and a scar shaped like devil’s horns on his forehead. Unusual souvenirs for the couple who usually played it safe with a bag of local nougat or marmalade from the Ginger Factory in Yandina. The building was declared evil and Andrew took it to pieces over our first winter, some walls as thin as paper and as easily torn as sweet wrappers.
And the cottage, I repainted those bare walls in white. My instinct was to paint the entire building white, inside and out. To make it clean, to paint out the dark. Then came the stairs, a wooden step ladder I couldn’t imagine negotiating after a glass or two of cab sav. It was to be our first big job, the stairs, until we discovered the wooden floor was full of holes and little white friends. The day we found the little critters was the first day of many hard rains. The floor was ripped up. We had no stairs. To get to bed we had to climb a mud bank four feet from the ground which led to a door giving access to the bedrooms. It was raining as I emerged with a determined face, clutching a bottle a wine, trying not to fall as I negotiated a sea of mud. It wasn’t until day 10 that we had stairs and flooring and the rain still hammered on a, thankfully intact, tin roof.
I call it a farm because it is to us, despite the animals being wild; wallabies, hares and once a wandering dingo howling in the night. And two dogs that adopted our boys, or the other way around. Cold Comfort Farm is what I dubbed it in the early days. We planned to live off the land, without a clue we researched. We have clay soil and predators. We’ll turnover the soil with a crowbar, plant legumes. And we have to have chickens, right?
Tough for a girl with a bird phobia. There were bush turkeys who were here before we were. They were prince of darkness birds with rudders for tails but no sense of direction, their huge bulk and tiny heads. I asked the locals for advice on how to tackle them, ‘shoot them’ came the reply. I didn’t like them but I didn’t want to shoot them. I would name them to personalise them, make them less scary. Philip, Bartholomew and Lester. There was one left. I asked my boys if they wanted to name it. “Dave,” said Jordan the 10-year old.
Now I’m so used to them, secure in the knowledge that they’re scared of me. We live side by side and I protect my herbs with swathes of chicken wire. Not sure how I’ll go with those chickens. I love shopping in the local town. I chat on first name terms with the shopkeepers. I know the difference between fresh local produce and the smorgasbord of city choice. For me it’s all about the people. How things have changed since London or Sydney when I’d spend hours searching for an obscure ingredient for our evening meal. Now I’m happy with a locally grown tomato.
Now where was I? Anyone know a good name for a chicken?
Julie Chilver is the mother of two boys. A former city mortgage broker who now writes short stories and lives on acreage in the Noosa hinterland.
Saturday, October 31, 2009
Budding writer set to bloom
Chevallum author Rhys Rodgers has been awarded the Regional Writes manuscript development mentorship.
20 year old Rhys studied creative writing briefly at the University of the Sunshine Coast, but quit and wrote his novel instead. His story, "Jac and the Wild Children", picks up from where JM Barrie left off by re-imagining the origin of the lost boys and pirates of Peter Pan.
Rhys has written a beautiful moral tale about power and friendship, betrayal and resistance; about growing up and holding onto the truth that to love one another is the only rule we need to follow.
The winner was selected in a 'blind' read, (without knowing the identity of the authors) from 20 full length manuscripts received from all corners of the Sunshine Coast region. The strong field was narrowed to a shortlist of three, including Cooroy author Tanya Overson and Christine Wunderlich of Yandina.
Rhys will be mentored by local author Annette Hughes, writer in residence at the Butter Factory Arts Centre in Cooroy, and will receive one-on-one coaching through the process of redrafting to take his manuscript to the next stage of development towards publication.
"I've been completely blown away by the quality of submissions to this mentorship program," says Annette," and by the range of genres authors are working across in this region; from fantasy to non-fiction, travel writing to the philosophical investigation of the natural world."
“The professional development workshop component of the Regional Writes program has received great feedback from participants, with most of the workshops booked out, and an extra session scheduled to meet the demand.” said Councillor Jenny McKay. “There is an amazing wealth of literary talent on the coast which Council is pleased to be able to identify and nurture through the Regional Writes program. The collaboration between Council and funding bodies from the Regional Arts Development Fund and Arts Queensland have enabled the delivery of a fantastic program."
Monday, September 7, 2009
A Word from the Writer-in-Residence
All the best,
Saturday, August 15, 2009
About the Writer in Residence
She is an industry expert with many years experience in publishing from every possible angle. Her skill set includes; intimate knowledge of the entertainment and publishing industries, preparation of copyright contracts in all fields, structural editing of both fiction and non-fiction, life writing, art criticism, and assesses manuscripts for a major publishers. She has represented authors international rights to the London Book Fair, and attended Australian literary festivals to participate in the Australia Council's VIP program (Visiting International Publishers), selling international publishing rights. She has was also contracted by the Australia Council for a research project to scope and assess opportunities for regional writing in FNQ.
She is also a trained and registered art and English teacher, and speaks on a range of subjects encompassed by her professional skills. She has appeared at the Byron Bay writers festival, Reality Bites festival (Cooroy), Sydney Writers Festival, New South Wales writers centre, and various bookshops and libraries.
Annette is currently self employed, trading as Books&Writing, providing professional services to the publishing industry and teaching and mentoing to individual emerging and established authors. Her recent book, Art Life Chooks (a memoir) is published by Harper Collins Fourth Estate.
Blogging Workshops
Community access sessions
Submissions
To submit a story to the project, click on the comment link at the bottom of this post. A comment box will appear.
Manuscript development mentorship
The mentorship was announced 30 October and awarded to Chevellum writer Rhys Rodgers for his work for older readers entitled 'Jac and the Wild Children'.
The mentor will read the successful manuscript, write a full length assessment of the work and meet with the mentee to discuss development of the manuscript. The mentee will work to the mentor's notes and resubmit the manuscript to the mentor for another full read through, report and face to face meeting to discuss any further improvement. There will be one further meeting to work on a revised synopsis.
Applicants must be resident in the Sunshine Coast Regional Council area.
The successful mentee must be available to undertake the mentorship during the advised dates 30 Oct - 15 Dec 2009.
The submission should contain: a covering letter which notes the applicants name, address and contact details; a one page synopsis and the first three chapters of the manuscript with a footer bearing the title of the work and page numbers. The author's name should not appear on the synopsis or chapters.
The submission must be mailed as hard copy, double spaced in 12 pt times roman type and be printed on one side only on A4 paper.
Address the submission to The Writer In Residence Mentorship, c/- The Butter Factory Arts Centre, PO Box 141, Tewantin QLD 4565.
If the applicant wishes to have the material returned, the submission must contain a stamped, self addressed envelope.
This is not a prize or competition - there is no prize attached to the awarding of the mentorship, and there is no guarantee of publication.
The Writer in Residence will select the successful author on the quality of the submission alone, and will not enter into any correspondence regarding unsuccessful submissions.
Workshop feedback
Workshop Schedule
Places are limited to 12 participants, so book early.
Cost: Each workshop is $50 for the day - morning and afternoon tea, and lunch provided.
date: Sunday 6 September
This is an all day workshop that looks at the art of memoir. The workshop explores techniques for writing your own story. It gets you writing, offering informed feedback and guidance. Whether you are writing a story about place, collective memory or the story of your own life and times for your grandchildren, this workshop will set you on your journey. A practical workshop for anyone serious about writing their life and for those looking for a way to begin.
Workshop 2: The Business of Publishing
date: Sunday 20 September
A full day seminar covering the business and practicalities of being a writer. This seminar will cover the intricacies of the publishing process, following the path of a manuscript through a publishing house, the role of the agent, the work of the manuscript assessor and the editor, the bookseller and the librarian. Learn how to apply for funding for your writing project, how to pitch your story to the market place, how to find resources, and gain feedback about the commercial potential of your work.
Annette Hughes unpacks her toolkit of insider knowledge for emerging writers and those who are just plain curious.
An all day workshop for creative writers. Reading quality writing by the best in the business is one of the most effective ways to develop your craft. This workshop will focus on the written word, and what can be gleaned from the work of some of Australia's best writers. Learn how to unpick a text, analyse it and harvest it for style, technique and how to apply both macro and micro critical reading to your own work, looking at structure, tense, plot, narrative voice, pace, character and dialogue.
date: Sunday 8 November
This workshop is designed to build skills in polishing and preparation of your writing. Bring a sample of your own work (or work on a piece of supplied draft writing) and be guided through the process of applying an editorial scalpel to it. Discover what editors look for, what to cut, how to mould your writing into the most economical and pleasing form to keep your reader hooked, and to tell your story in the most elegant way possible. Lots of hands on exercises and experimentation.
date: Sunday 22 November