2013
JULY to
AUGUST
August
Sulari Gentill
9th to 23rd:
Writer-in-Residence
Sulari Gentill is Australian. She was born in Sri Lanka, learned to speak English in Zambia
and grew up in Brisbane. She went to university to study astrophysics and emerged with
a law degree. She’s not quite sure how it happened. After years of corporate contracts she
tossed in her law career, realising she just wanted to write books.
Sulari Gentill
Thursday 15th:
Reading
with Sulari Gentill
at WWCC Library
5.00pm to 7.00pm
Sulari lives and writes on a small farm near the Snowy Mountains of New South Wales
where she and her husband, Michael, grow French Black Truffles, breed miniature cattle
and raise two wild colonial boys.
Sulari was offered a Varuna Fellowship, commended in the Fellowship of Australian
Writers’ 2008 Jim Hamilton Award, long-listed for the Hachette/QLD Writers Centre
Australian Manuscript Development Program for fiction writers, and short-listed for the
2008 New Holland Publishers and NSW Writers Centre Genre Fiction Award.
Saturday 17th:
Writers’ Workshop
with Sulari Gentill
at Booranga
2.00pm to 4.00pm
September
Friday 13th:
Australian Poetry Slam
& Acoustic Cabaret
at William Farrer Hotel
6.00pm to 10.30pm
October
1st to 15th:
Writer-in-Residence
Margo Lanagan
Saturday 19th:
at Multicultural Festival
Launch of Fusion
Our previously promoted writer-in-residence for August was John Connell.
Unfortunately, John is unable to attend due to extended filming commitments overseas. Instead,
we welcome the talented and highly acclaimed author, Sulari Gentill, as our writer-in-residence!
Booranga Writers’ Centre
McKeown Drive (Locked Bag 588) Wagga Wagga NSW 2678
staff are in every Monday (9.00am-3.30pm), Tuesday (9.00am-11.30am), Thursday (9.00am-2.30pm)
phone: (02) 6933 2688 – [email protected] – www.csu.edu.au/faculty/arts/humss/booranga
Sulari is author of The Rowland Sinclair Mysteries, a series of historical crime fiction
novels set in the 1930s about Rowland Sinclair, the gentleman artist-cum-amateurdetective. So far, there are four books in the series, and the fifth will be released
for Christmas 2013.
The first in the series A Few Right Thinking Men was short-listed for
Commonwealth Writers’ Prize Best First Book 2011. A Decline in Prophets, the
second in the series, won the Davitt Award for Best Adult Crime Fiction
2012. Sulari has subsequently released Miles Off Course and Paving the
New Road, both of which have been listed as finalists in the Davitt Award
for Best Adult Crime Fiction 2013.
Under the name S.D. Gentill, Sulari also writes a fantasy adventure
series called The Hero Trilogy – Chasing Odysseus, Trying War and The
Blood of Wolves.
Most of her time is now happily devoted to researching and
writing. She likes painting, dogs and ginger ice-cream, and
could probably still draft you a contract ... but you might find
it has a plot ... and perhaps a twist or two.
Excerpt from Sulari Gentill’s
‘A Few Right Thinking Men’
As they approached the shire boundary, the wide expanse of
the Murrumbidgee River came into view. Rowland cursed—
there were hundreds of men by the bank. Periodic cheers
indicated that someone was giving a speech. Rowland drove
the car as close as he could. Again he tried to talk Edna into
remaining behind, and again she refused, certain she was safer
with him and Clyde. In the end they got out and, keeping Edna
between them, pushed their way into the centre of the crowd.
“What the hell are we going to do?” Clyde muttered.
Rowland shook his head. He had no idea. Milton was being
restrained by four men, while another stood upon a tree stump
and rallied the crowd against the Communist traitor in their
midst. Nearby, burned campfire over which was hung what
Rowland assumed was cauldron of tar. For his part, Milton
looked more contemptuous than anything else.
“Righto.” Rowland glanced at Edna, wishing he had insisted
that she stay behind. He could not see this becoming anything
but ugly.
The trio moved towards the fire, huddled close, shielding Edna
a much as possible. Luckily, the crowd was focussed on Milton.
A man waved a set of shears. “Let’s cut the dingo’s hair,” he
yelled. Of course the crowd roared.
Rowland saw his chance. He bent down and, seizing one of
the longer branches protruding from the flames, he used it to
topple the cauldron onto its side. As the sticky black liquid
spilled onto the coals and the dirt, someone tackled Rowland.
Edna screamed and Clyde joined the fray. The crowd pressed
in dangerously.
“Good on you, Rowly,” Milton shouted, defiant.
When Rowland was released from the dirt, he and Clyde
were beside Milton, and the mob leaders were arguing about
how to deal with both the loss of the tar and the additional
Communists. Edna was ignored. This was a business for men.
The same baritone from the town rally began to sing “God
Save the King”. As before, the mob removed their hats and
joined him. At the precise point when the anthem called for
the monarch’s long reign, Milton’s captors lifted him bodily and
hurled him into the water. Clyde struggled to get to his friend’s
aid. Rowland, who knew the river, was less frantic. Milton
stood up in the waist deep water, covered in mud and swearing
furiously just as the chorus of “God Save the King” became
loud enough to drown him out.
The blood of the mob was high but Milton was not going
quietly. He began to sing “The Red Flag”, off key, but as
stridently as the others were singing their anthem.
Men waded in and dragged him back to shore. The outraged
crowd was not going to be satisfied with a mere dunking,
and Rowland had thwarted their intention to tar and feather
Milton. Suggestions were shouted.
“Give them all a bloody good hiding!”
“I say shoot them.”
“Don’t be stupid—that’s Rowland Sinclair.”
“We’ll shoot the others—we’ll horsewhip Sinclair.”
“A rich Red is still a Red.”
Milton fell into silence. This was getting very dangerous.
A gunshot cracked the air and quelled the mob. The sounds
of engines and horns were now audible and the crowd parted
as several motorcars and farm trucks approached in billows
of dust. The Rolls Royce Phantom stopped just in front of the
smoking campfire, the tar only feet from its tyres.
Wilfred Sinclair stepped out.
July – August 2013
|
2
The APS is the largest spoken-word program in the southern hemisphere
Could you be Australia’s next Slam Champion?
Our Booranga
Writers' Workshop
speak, scream, sing, rap, howl or whisper your words
FREE
The search is on for Wagga’s best spoken word performer.
Compete for some great prizes as well as the chance
to win through to the state and national finals.
Saturday 17 August
2.00pm to 4.00pm
with Sulari Gentill
So come along to a slammin’ good time ... it’s FREE !
You have 2 minutes to make your mark!
at
Friday 13th September
Booranga Writers’ Centre
McKeown Drive, CSU
William Farrer Hotel
Keep it simple!
Use George Orwell’s six elementary
rules from his Politics and the English
Language, 1946.
1. Never use a metaphor, simile or
other figure of speech which you
are used to seeing in print.
2. Never use a long word where a
short one will do.
3. If it is possible to cut out a word,
always cut it out.
4. Never use the passive where you
can use the active.
5. Never use a foreign phrase, a
scientific word or a jargon word
if you can think of an everyday
English equivalent.
6. Break any of these rules sooner
than say anything outright
barbarous.
corner Peter and Edward Street, Wagga Wagga
Also on the night from 8.30pm will be
Acoustic Cabaret with Noel Raynes
Registration is from 6.00pm with a limit of 20 contestants
Live music will also be performed at this time
so you can sit back and enjoy some food and drinks before the Slam.
7.00pm to 8.00pm — Poetry Slam Contest
8.30pm to 10.30pm — Acoustic Cabaret
Don’t want to enter the competition? No problem, everyone is welcome
to be in the cheering, raucous, finger-snapping, poetry loving audience –
cheering on your favourite poetry super heroes!
Judges are chosen randomly from the live audience.
For more information visit: www.australianpoetryslam.com
The Australian National Poetry Slam is an event run by Word Travels, and is proudly
supported in Wagga Wagga by Booranga Writers’ Centre and the William Farrer Hotel.
July – August 2013
|
3
The reading evening held on Thursday 23 May at WWCC
Library with Keri Glastonbury and Lachlan Brown was a
great success and enjoyed by many members and friends.
Booranga Gallery
Right: Keri Glastonbury
Left: Lachlan Brown
July – August 2013
|
4
Keri Glastonbury’s Writers’ Workshop
Our Booranga workshop was held on Saturday 11 May with Keri and focused on the
writing of place in regional Australia – Wagga Wagga.
The afternoon included discussion about city versus bush; the differences and distances
of cosmopolitan society; specificity of flora, fauna, landmarks, events, naming and
language; and the established sense of hierarchy and localism.
We were then all encouraged to write a piece about Wagga based on an image (we
picked from a selection of photographs supplied by Keri) which we subsequently shared
and discussed.
Flame Trees – lyrics
Kids out driving Saturday afternoon pass me by
I’m just savouring familiar sights
We share some history, this town and I
And I can’t stop that long forgotten feeling of her
Try to book a room to stay tonight.
Flame-Tree in a Quarry
Number one is to find some friends to say “You’re doing well.
After all this time you boys look just the same.”
Number two is the happy hour at one of two hotels,
Settle in to play “Do you remember so and so?”.
Number three is never say her name.
From the broken bone of the hill
stripped and left for dead,
like a wrecked skull,
leaps out this bush of blood.
Oh the flame trees will blind the weary driver
And there’s nothing else could set fire to this town.
There’s no change, there’s no pace,
Everything within its place
Just makes it harder to believe that she won’t be around.
Out of the torn earth’s mouth
comes the old cry of praise.
Still is the song made flesh
though the singer dies —
But Ah! Who needs that sentimental bullshit, anyway
Takes more than just a memory to make me cry
I’m happy just to sit here round a table with old friends
And see which one of us can tell the biggest lies.
flesh of the world’s delight,
voice of the world’s desire,
I drink you with my sight
and I am filled with fire.
There’s a girl falling in love near where the pianola stands
With her young local factory out-of-worker, holding hands
And I’m wondering if he’ll go or if he’ll stay.
Do you remember, nothing stopped us on the field in our day
Oh the flame trees will blind the weary driver
and there’s nothing else could set fire to this town.
There’s no change, there’s no pace,
Everything within its place
Just makes it harder to believe that she won’t be around.
Oh the flame trees will blind the weary driver
and there’s nothing else could set fire to this town.
There’s no change, there’s no pace,
Everything within its place
Just makes it harder to believe that she won’t be around.
by Judith Wright, 1949
Out of the very wound
springs up this scarlet breath —
this fountain of hot joy,
this living ghost of death.
for review & comment
by Cold Chisel, 1984
written by Steve Prestwich and Don Walker
Random
Reading
https://twitter.com/Booranga
https://www.facebook.com/Booranga
www.csu.edu.au/faculty/arts/humss/booranga/home
Don't
Forget
Thursday 15th August from 5.00pm to 7.00pm
Reading with Sulari Gentill at WWCC Library
July – August 2013
|
5
Smarter Than Your Average Bogan:
On Being a Regional Writer
Kelly-Lee Hickey has often felt insecure about
her status as a regional writer. For her, success
has meant taking advantage of opportunities to
network with like-minded writers from around
Australia (both on social media and in real life) –
and, most importantly, being herself.
In this extract from The Emerging Writer, she traces
her journey as a regional writer making it on the
national (and international) stage.
Catching my breath between tech runs
for the 2010 Australian Poetry Slam Finals,
I was approached by one of the other
finalists, a middle-aged woman with
mousy brown hair. As I introduced myself
she looked me up, down and through.
‘You’re one of the NT finalists.’
I nodded.
‘I wouldn’t be disappointed,’ she said. I
looked at her quizzically, but had a hunch
where this was going.
‘If you don’t win,’ she explained. ‘I mean,
most of us have had to go through a
number of heats to get this far. Heats with
LOTS of people in them.’ She strung out
the word for effect. ‘How many did you
have up there?’
good without the competition and
opportunities we have in Sydney.’
Australia is one of the most urbanised
countries in the world, with most of our
population huddling along a thin strip of
the East Coast. Pop cultural iconography
pedalled for tourists still paints the rest
of the country as a barren expanse filled
with derogatory stereotypes about
beer guts and native savages. Urbancentric assumptions about the quality
of work in the regions are a hangover
from a colonial mindset that fears the
‘savage frontiers’ and equates the urban
centres with civilisation. This cultural
narrow-mindedness doesn’t just exist
in the arts; it pervades every aspect of
Australian culture, from our systems of
political representation to patterns of
employment. It’s frustrating, but easier
to handle if you remember that it’s not
personal.
“It’s not qualifications that
make your work interesting.
It’s you and your unique
experiences.”
The truth was I wasn’t there to win.
Watching YouTube clips of finalists from
the other states, I was intimidated by their
hip-hop stylings and comic repertoires. I’d
been ‘doing’ spoken word off and on for
the best part of ten years. After a decade
of experimentation with spoken word and
performance I’d found my niche telling the
only truth I knew. I decided to make the
most of my two minutes alone with a few
hundred Sydneysiders and a microphone
to give a personal perspective on one
of the most controversial pieces of
legislation in contemporary Australia – the
Emergency Intervention into Aboriginal
communities.
The road from country to city is well worn;
Australia has some of the world’s highest
rates of rural youth migration. I think
it’s important to link up with the urban
centres, and technology now affords us
regional folk a number of ways to do this.
Facebook groups, blogs and Twitter fests
are all important inroads, but nothing
beats actually rocking up to a writers’
festival in the big smoke and meeting as
many other young and emerging writers
as you can. Sure it can take a few deep
breaths to still your anxiety before you can
actually talk to other writers, particularly if
you’re like me and wear your insecurities
on your sleeve. It’s totally worth it though
– through the National Young Writers
Festival and Emerging Writers Festival I’ve
made friends and allies who’ve believed
in me, and given me the heads-up on
opportunities and feedback on my work.
Most states have quick response and
travel grant schemes which can help
finance your way to these events. Grant
applications are a style of writing essential
to the regional author’s repertoire.
After I won, she came up to me and
apologised, ‘I never realised. I just
assumed that you wouldn’t be any
As a dear friend and mentor of mine once
said, ‘Contrary to popular belief, writing
is not a lonely game.’ Social networks are
I cleared my throat. ‘Just two. One in
Darwin, one in Alice. I won the Alice heat.’
She went on, ‘And how many people
competed in that one?’
‘I dunno,’ I said, ‘About ten.’
‘There you go then,’ she shot me a look of
smug pity, ‘Just don’t get your hopes up
love.’
pivotal to sustaining you; they encourage
you when you’re doubting yourself, and
give you new perceptions on your work
through feedback. Giving feedback
sharpens your critical eye, and teaches
you what you like, which in turn helps you
when you go to self-edit your work.
In my hometown, music and visual
arts reigned supreme; as a young
writer, I was somewhat of an anomaly.
The middle-aged women at the
writers’ centre had kindly passed on
some Voiceworks magazines, so I knew
that somewhere out there were other
young people who were like me. But it
wasn’t until I went to the This is Not Art
festival in 2001 that I realised I wasn’t a
freak and that writing could be cool in
the way that playing in bands was back
home. That year I met some of the crew
who have stayed with me on the writing
journey, like the long-haired angel Daniel
Watson, from Paroxysm Press, who aside
from publishing my work, let me sleep on
his couch for weeks. I went home drunk
on zines and spoken word, convinced
that I’d found my path and that it burned
straight down the Stuart Highway.
Moving to Melbourne in 2003 I felt like
every caricature of a country bumpkin;
being from the tropics I didn’t know how
to layer my clothes until I read about it in
a zine, I didn’t know how to find the good
bars, or strike up a conversation with the
hipsters at a warehouse party. Coupled
with that I’d gone from being a big fish in
a small pond to being a minnow thrown to
and fro in the ocean. My ego transformed
from a bulbous helium balloon into a pair
of lead shoes; I was drowning in my own
preconceptions of how important and
unique I was.
Sitting on the editorial committee
for Voiceworks magazine for a year was
one of the best things I ever did for my
July – August 2013
|
6
writing; I made some great friends who
continue to inspire me to this day and
got hands-on learning about the editorial
process. I learnt what made a submission
stand out from the pile, how close
acceptance and rejection can be, and just
how many knockbacks a writer can get
before they are published. It was also one
of my first pathways into advocating for
other regional writers; I was able to fight
for others whose voice I recognised as
important, just as previous members of
the editorial committee had fought for me
when I was starting out.
other writers rave about. Postmodern
prose poetry makes no sense to me.’
Despite all the networks, support,
and publication and performance
opportunities I still harbour an insecurity
about being different from what I perceive
as a ‘real writer’. Sitting in a cafe in Ubud
for the 2011 Readers’ and Writers’ Festival I
shared my doubts with an author friend.
My co-director had recruited a number
of big names to the festival, including
Anna Funder and Shaun Tan. I took a punt
and programmed a panel called ‘Smarter
than Your Average Bogan’; writers from
working-class backgrounds talking about
how their cultural perspective informed
their art. We all wore fake handlebar
moustachios and drank cans of bourbon
and Coke on the stage. To my surprise the
Sunday afternoon session in the festival
club was packed. Even more surprising
was the glowing review of the panel
published in The Monthly.
‘But I’m not really a writer,’ I whined,
fiddling with my drink.
‘What do you mean by that?’
‘I mean, I’m not educated. I don’t have a
Masters in Literature from Melbourne Uni.
I haven’t read half the books that most
He scoffed. ‘It’s not qualifications that
make your work interesting. It’s you and
your unique experiences. That’s what
makes the work engaging and makes you
compelling to watch when you perform.
Own it.’ And that is some of the best
advice I’ve ever received. Own it. Let the
work speak through you. Don’t try to be
something you’re not. One of the most
powerful illustrations of this happened
when I was working on the National
Young Writers’ Festival.
ASAL
Country
Conference
2013
The ASAL Country Conference was a great success – attracting 100 speakers
over three days on a wide range of issues and topics in Australian literature with
academics, postgraduate students and writers from around Australia and overseas.
Booranga Writers’ Centre has a new director
A big hello to all the members and
friends of Booranga!
I would like to thank David Gilbey and
the rest of the executive committee
for entrusting me with the position of
creative director.
Everyone has been most welcoming
and helped me slide, albeit ‘sideways’,
into this important role.
Briefly, my background is in graphic
design, marketing and publishing – not
creative writing (although I’ve done
sub-editing for Fairfax, copyrighting for
advertising and proofreading for, well,
just about anything... if that counts!).
I look forward to meeting and working
with all the gang here at our dynamic
and creative Booranga Writers’ Centre.
Warmest regards, Debbie Angel.
(wife, mother, daughter, sister, aunt, niece, friend,
cleaner, cook, washer woman, taxi service,
counsellor, finder of all things lost, reader, knitter
etc etc... oh, and I almost forgot, director!)
There is a market for regional writing;
a trade publisher with decades of
experience told me that books about the
outback are one of her house’s biggest
sellers. That’s not to say that you should
back yourself into a corner and mimic the
iconoclast, but it does demonstrate that
there is an audience in Australia interested
in something beyond the urban sprawl.
One of the most powerful aspects of any
creative practice is that it can illuminate
the unseen by creating connections
between disparate ideas. Regional
writers therefore have a special role in
the creation of Australian culture; to peel
back the layers of cultural stereotypes and
illuminate the complexities of life outside
the city limits.
Kelly-Lee Hickey’s acclaimed performances have toured
across Australia and Asia.
You can visit her at www.kellyleehickey.com
Posted 3 July 2013. Retrieved 8 July 2013 from
www.wheelercentre.com/dailies/post/113e9cfa52f8/
Anthology Launch
Booranga Writers’ Centre took centre
stage on the evening of 3rd July by
hosting the launch of the poetry
anthology, Outcrop – radical Australian
poetry of land, published by Black Rider
Press.
With 46 people
in attendance,
Joan and I were
kept very busy
providing drink
and nibbles to
the capacity
crowd. Everyone
seemed to enjoy
socialising after
the second day
of the ASAL
conference, with much chatter and
laughter accompanying the mingling of
like-minded folk. It provided a welcome
chance to find out about others that
had come to Wagga from all parts of the
country to attend the conference.
Many of the contributors to Outcrop were
present so we were treated to hearing
their words with their voice – the best way
to experience poetry.
All in all, it was a successful evening
that made many aware of our Writers’
Centre and gave them an example of the
hospitality of Wagga Wagga.
Claire Baker, Committee Member
July – August 2013
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7
Publishing competitions and opportunities
Melaleuca Blue Life
Writing Competition
Entries close 14 August 2013
Got a secret worth telling? “What I couldn’t
tell my mother” is an open Life Writing
contest that seeks to challenge both the
writers and the readers. The competition
is open to all writers in Australia and
internationally. Genres include: Memoir,
Monologue, Letter and Short story.
Maximum of 2000 words. No minimum. For
details: www.lifewriting.info
Science Poetry Prize 2013
Entries close 23 August 2013
2014 Poetry d’Amour Love Poetry Prize
Entries close 25 August 2013
WA Poets Inc. invites entries to 2014 Poetry
d’Amour Love Poetry Prize
Your original, unpublished love poem
offers the opportunity for: over $500 in
cash prizes plus book bonuses for selected
awards; performance mentoring for selected
winners valued at $500; top ranking poems
published in the Poetry d’Amour Anthology
2014
More details: www.wapoets.net.
au/2013/07/08/2014-poetry-damour-lovepoetry-prize
Australian Poetry is proud to announce a
new prize for Science Poetry.
1500 Word Short Story Competition
Entries close 31 August 2013
Poetry submitted must have a theme which
explores scientific understandings and
achievements. Science includes the natural
and physical sciences, the applied sciences,
the newly emerging and interdisciplinary
fields and mathematics.
1500-word story with the theme of
‘What a week it’s been…’
A shortlist of poems will be announced and
those poems will be published by AP.
The winning entry will be published in
National Science Week and Australian Poetry
publications, and at the Prime Minister’s
Prizes for Science Dinner.
The winner will receive $1000, and be
awarded flights to, and accommodation
in Canberra to attend the Prime Minister’s
Prizes for Science Dinner on 30 October,
2013.
The competition is open to people over 18
years. Entrants must be Australian citizens
(living anywhere) or have permanent
resident status in Australia.
Entries must be single-authored poem of no
more than 50 lines, written in English.
Entries should not be on offer to other
publications or prizes or anthologies for the
duration of the Prize. Previously published or
prize-winning works will not be accepted.
Each entry must be accompanied by an
entry fee of $20, or $10 for current AP
members.
For details: www.australianpoetry.org/
competitions/science-poetry-prize-2013
First prize – $250 Digitalprintaustralia
voucher towards production of your book
and $100 cash.
Second prize – $250 Digitalprintaustralia
voucher.
Highly Commended – certificates.
The Scribe Nonfiction Prize
for Young Writers
Entries close 11 October 2013
This is a developmental award to foster
talented writers aged 30 or under who are
working on a longform or book-length
nonfiction work.
In addition to a cash prize of $1,500, the
winner receives the opportunity to meet
with a publisher or an editor and to
experience the process of working with
an editor on their writing. The winner also
receives a year-long subscription to Scribe.
The prize is open to writers who are working
in any nonfiction genre, such as memoir,
journalism, essay, biography, and creative
nonfiction. Entries must be between 5,000
and 10,000 words.
For more info: www.expressmedia.org.au/
express_media/prizes-grants-money-forwriters/the-scribe-nonfiction-prize-foryoung-writers
The entry fee is $7.50 per entry; $18 for 3
simultaneous entries by the same author.
For guidelines and submission info:
www.goldcoastwritersworkshops.com
Aesthetica Creative Writing
Competition
Entries close 31 August 2013
This competition offers both existing and
aspiring writers the chance to showcase
their work to a wider, international audience.
Now in its sixth year, the competition
celebrates and nurtures creative talent,
inviting writers to submit imaginative and
original work in either category for entry:
Poetry or Short Fiction.
Prizes include £500 prize money, publication
in the Aesthetica Creative Writing Annual
and a selection of books from partner
organisations. Submissions previously
published elsewhere are accepted.
For more info: www.aestheticamagazine.
com/creativewriting
Short Fiction Competition
Entries close 11 October 2013
Short Fiction Awards are now open, with
over $2000 in prizes to be won. Entry is free.
Authors can submit up to three stories.
Entered stories must be inspired by, drawn
upon, or use the theme of the artwork
“Brothers” by Cherry Lee, 1999, (seen above).
Individual stories cannot be entered in
more than one category, and must be
Remember to keep in mind those literary journals that are open for submissions all year –
A good place to start researching the major Australian ones is at: www.litmags.com.au
(Booranga receives copies of the NSW based journal Southerly, and issues are available to borrow for Booranga Members)
July – August 2013
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8
original, unpublished, not have received
an award in another competition, and not
be under consideration elsewhere from
the time of entry in awards until the official
announcement of winners.
To ensure anonymity, please do not put
names or contact details on the manuscript.
Entries are read ‘blind’ by the judge. All
manuscripts will be destroyed after the
competition, so please do not send original
copies. Include a business-sized stamped
self-addressed envelope to receive a results
sheet.
Further info at: www.rockingham.wa.gov.au/
Council/Latest-News/Short-Fiction-Awardsnow-open-for-entries.aspx
Positive Words Magazine End of Year
Competition
Entries close 31 October 2013
Open theme. Short stories up to 500 words;
poems up to 32 lines. Entry fee is $3.60. First
prize is $100, second prize a twelve-month
(12 issues) subscription to Positive Words
Magazine. Send entries to The Editor, Sandra
James, PO Box 798, Heathcote 3523, Victoria.
For further info:
www.positivewordsmagazine.wordpress.
com/competitions
100 Years from Gallipoli Poetry Project
Entries close 11 November 2013
This competition challenges poets to
answer the following questions:
What does ANZAC Day mean to you, to
today’s families, communities or nations?
What about Remembrance Day or other
military commemorations or anniversaries?
ALL poems entered for the Prize are to be
posted to the Co-ordinating Editor (no
entries will be accepted via email or fax).
Coordinating Editor 100 Years from Gallipoli
Poetry Project PO Box 170 Deloraine,
Tasmania 7304 Australia
Poems must have been written between
Remembrance Day, Friday 11 November
2011 and Remembrance Day, Monday 11
November 2013.
The prize pool of $5000 will be distributed
as follows:
First Prize $2500
Second Prize $1000
Third Prize $500
Five Prizes of $200
With their entry, writers give permission for
their poem or part of their poem to appear
in any publications generated by the 100
Years from Gallipoli Poetry Project, which
may include promotional materials.
Writers must be citizens of or reside in
Australia or New Zealand at the time of
writing.
More than one poem may be entered. Each
poem is to be accompanied by its own
signed Entry Form and payment of $20.
Writers retain copyright to all work entered.
More information: www.ozzywriters.com
Apology from the editor: I would like to offer my sincere apologies for the late publication of this newsletter. Due to the late change of our August writer-in-residence
new events and schedules had to be organised prior to its release. Again, I apologise for any inconvenience this may have caused our members and friends.
Submission Guidelines
Booranga News welcomes contributions.
They should be emailed to the editor,
Debbie Angel, at director@booranga.
com or to the president, David Gilbey at
[email protected].
We have no preference as to the typeface
as contributions will be altered to house
style when they are received. Items may
also be posted.
It is helpful if there is only one space after
a full stop or other punctuation, and the
en dash ( – ) rather than the hyphen is
used where appropriate. The hyphen
should only be used in ‘hyphenated’
words.
Original items are most welcome. We are
particularly glad to receive poetry, prose,
and lyrics.
Original reviews (yours!) of published
works by Australian authors, poets, song
writers etc. are also encouraged.
Digital photographs are acceptable. The
higher the resolution the better.
Items which have been ‘lifted’ or
copied from other sources must be
acknowledged and permission for their
reproduction obtained were required.
Unless otherwise requested your
submitted items may (also) be reproduced
on our website or social media.
Submitting items is no guarantee of their
reproduction.
The Editor
reserves
the right to
exercise her
discretion.
Submissions
for our next
newsletter close
20 August 2013
If you have a piece of writing you would like to be considered for reproduction in our newsletter
or know of an event, competition, or information that may be of interest to Booranga’s members and friends
please email it to the editor, Debbie Angel, at [email protected]
WWWW and the Booranga Writers’ Centre are proudly supported by:
July – August 2013
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9
Wagga Wagga Writers Writers
Application
for 2013
Membership
Wagga
Wagga
Writers
Writers
Application for 2013 Membership
Wagga Wagga Writers Writers Inc. was formed in 1987 to assist and promote local authors and
their work. The group holds regular readings at local venues, conducts writing workshops,
offers writing fellowships at Booranga, the Riverina Writers’ Centre at Charles Sturt University
and publishes
an annual
anthology,
under
the to
imprint
fourW
press,
andauthors
is active
in
Wagga
Wagga Writers
Writers
Inc. wasfourW,
formed
in 1987
assist of
and
promote
local
and
promoting
writing
and
writers
throughout
the
Riverina.
their work. The group holds regular readings at local venues, conducts writing workshops,
offers writing fellowships at Booranga, the Riverina Writers’ Centre at Charles Sturt University
st December
Membership
1st January
to 31
2013:
and
publishesperiod
an annual
anthology,
fourW,
under the
imprint of fourW press, and is active in
promoting writing and writers throughout the Riverina.
Group membership (including one copy of anthology)
$55.00
st
st
Single
membership
(including
one
copy
of
anthology)
$36.00
Membership period 1 January to 31 December 2013:
Single membership (not including anthology)
$25.00
Concessional
membership
(including
one
of anthology)
$26.00
Group
membership
(including
one copy
ofcopy
anthology)
$55.00
Concessional
membership
(notone
including
$15.00
Single
membership
(including
copy ofanthology)
anthology)
$36.00
Student
membership
(under
21 years)
not including anthology
$11.00
Single
membership
(not
including
anthology)
$25.00
Concessional membership (including one copy of anthology)
$26.00
Membership also
entitles you
to: including anthology)
Concessional
membership
(not
$15.00
- Regular
newsletters
and
mailouts
Student
membership
(under
21e-list
years)
not including anthology
$11.00
- 10% discount at Collins Book Store, Wagga
- 10% discount
at Angus
& Robertson Bookworld, Wagga
Membership
also entitles
you to:
Membersnewsletters
discounts to
readings,
performances and workshops
- Regular
and
e-list mailouts
Invitations
to writing
events
and
get-togethers
- 10%
discount
at Collins
Book
Store,
Wagga
Access
to a network
of writers,
book enthusiasts
other writers’ centres
- 10%
discount
at Angus
& Robertson
Bookworld, and
Wagga
- Members discounts to readings, performances and workshops
- Invitations to writing events and get-togethers
- Access to a network of writers, book enthusiasts and other writers’ centres
-------------------------------------------------------------------------------------------------
Please fill out, detach and send application to:
 Wagga Wagga Writers Writers Inc., Booranga Writers’ Centre,
Charles Sturt University, Locked Bag 588, Wagga Wagga NSW 2678
------------------------------------------------------------------------------------------------Phone/Fax
(02) 6933
2688application to:
Please fill
out, detach
and send
 Wagga Wagga Writers Writers Inc., Booranga Writers’ Centre,
Name: Charles ...............................................................................................................
Sturt University, Locked Bag 588, Wagga Wagga NSW 2678
(02) 6933 2688
Address:Phone/Fax
...............................................................................................................
Name:
...............................................................................................................
...............................................................................................................
..........................................(home) .................................................(work)
Telephone: ...............................................................................................................
Address:
..........................................(mobile) ...............…………………….........………...........(email)
...............................................................................................................
for single/concession/student subscription (Please circle).
Enclosed:  ..........................................(home)
$...................... cheque/money order .................................................(work)
Telephone:
________________________________________________________________________________________________________
..........................................(mobile) ...............…………………….........………...........(email)
TO PAY ELECTRONICALLY:
Enclosed:
$...................... cheque/money order for single/concession/student subscription (Please circle).
Bank:
NAB Wagga
BSB: 082 811
________________________________________________________________________________________________________
Account Name: Wagga Wagga Writers Writers
Account Number: 02951 4435
TO PAY ELECTRONICALLY:
__________________________________________________________________________________________________________
Bank:
NAB Wagga
BSB: 082 811
Account Name:
Wagga Wagga Writers Writers
Account Number: 02951 4435
__________________________________________________________________________________________________________
WWWW and the Booranga Writers’ Centre are supported by:
July – August 2013
|
10