2013
SEPTEMBER
to OCTOBER
September
Margo Lanagan
Friday 13th:
Australian Poetry Slam
& Acoustic Cabaret
at William Farrer Hotel
6.00pm to 10.30pm
Margo Lanagan is a
multi-awarding winning,
internationally acclaimed
Australian writer of novels and
short stories; she is considered
one of the most exciting voices
in speculative fiction.
October
Sea Hearts was shortlisted for
the Stella Prize, and was recently
announced as winner of the
2013 CBCA for Older Readers.
1st to 15th:
Writer-in-Residence
Margo Lanagan
Thursday 10th:
Reading
with Margo Lanagan
at WWCC Library
5.00pm to 7.00pm
Saturday 12th:
Writers’ Workshop
with Margo Lanagan
at Booranga
2.00pm to 4.00pm
Saturday 19th:
at Multicultural Festival
Launch of Fusion
November
Saturday 23rd:
at WWCC Library
Launch of our anthology
fourW twenty-four
Black Juice was a Michael L.
Printz Honor Book, won two
World Fantasy Awards and the
Victorian Premier’s Award for
Young Adult Fiction.
Red Spikes won the CBCA Book
of the Year: Older Readers, was
a Publishers Weekly Best Book
of the Year, a Horn Book Fanfare
title, was shortlisted for the
Commonwealth Writer’s Prize
and longlisted for the Frank
O’Connor International Short
Story Award.
Her novel Tender Morsels won the World Fantasy Award for Best Novel and was a Michael L.
Printz Honor Book for Excellence in Young Adult Literature.
I write because it’s my way of making sense of the world. I’ve always loved reading, both to escape
from real life and to make life more real, and I like doing both in my writing, too, writing straight
realistic and fantasy stories.
As for advice to new writers, I would say “Just do it, and keep doing it”. The rewards come from
sensing that you’re getting better at this writing thing, that you can express more and more of your
world in your own way, because your powers are always growing greater. Persistence is the main
quality you need, to the point of pigheadedness and beyond.
Margo lives in Sydney. She maintains a blog at www.amongamidwhile.blogspot.com and
can be found on Twitter as @margolanagan.
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
Excerpt from Margo Lanagan’s ‘Sea Hearts’
‘The old witch is there,’ said Raditch, peering over the top to
Six-Mile Beach. ‘Well settled with her knitting.’
‘It’s all right. We’re plenty,’ said Grinny.
‘We’re plenty and we have business,’ James said with some
bluster — he was as scared of her as anyone. He shook his
empty sack. ‘We have been sent by our mams. We’re to provide
for our families.’
‘Yes, we’ve come all this way,’ said Oswald Cawdron.
‘We have.’ And down the cliff we went. It was a poisonous day.
Every now and again the wind would take a rest from pressing
us to the wall, and try to pull us off it instead. We would grab
together and sit, then, making a bigger person’s weight that it
could not remove. The sea was grey with white dabs of temper
all over it; the sky hung full of ragged strips of cloud.
We spilled out onto the sand. You can fetch sea-hearts two
ways. You can go up the tide-wrack; you will find more there,
but they will be harder, drier for lying there, and many of them
dead. You can still eat them, but they will take more cooking
and, unless your mam boils them through the night, more
chewing. They are altogether more difficult.
Those of us whose mams had sighed or dads had smacked
their heads for bringing that sort went down towards the water.
Grinny ran ahead and picked up the first heart, but nobody
raced him; hearts lay all along the sea-shined sand there, plenty
for all our families. They do not keep, once collected. They
can lie drying in the tide- wrack for days and still be tolerable
eating, but put them in a house and they’ll do any number
of awful things: collapse in a smell, sprout white fur, explode
themselves across your pantry-shelf. So there is no point
grabbing up more than your mam can use.
Along we went, in a bunch because of the witch. She sat some
way along the distance we needed to go, and exactly halfway
between tideline and water, as if she meant to catch the lot
of us. She had a grand pile of weed that she was knitting up
beside her, and another pile of blanket she had already made,
and the end of her bone knitting-hook jittered and danced
at her shoulder as she made more, and the rest of her looked
as immovable as rocks, except her swivelling head, which
watched us, watched the sea, swung to face us again.
‘Oh,’ breathed James. ‘Maybe we can come back later.’
‘Come now, look at this catch,’ I said. ‘We will gather them all
up and run home and it will be done. Think how pleased your
mam will be! Look at this!’ I lifted one; it was a doubler, one
sea-heart clammed upon another like hedgehogs in the spring.
‘She spelled Duster Kimes potty,’ he whimpered.
‘Kimeses are all potty,’ I said. How like my dad I sounded, so
sensible, knowing everything. ‘Duster is just more frightenable
than the rest. Come, look.’ And I thrust a good big heart into
his hands, sharp with barnacles to wake him up.
The ones that still float are the best, the most tender, though
the ones that have landed, leaning in the wet with sea-spit
bubbled around them, are fine, and even those that have sat
only a little, up there along the drying foam, are still good. The
other boys were dancing along the wrack up there, gathering
too much, especially Kit Cawdron. He was only little and he
had no sense; why didn’t Raditch stop him? We would have to
tip most of that sack out, or half the town would stink up with
the waste.
‘They’ll not need to go as far as us,’ said Grinny at my elbow.
I dropped a
nice heavy-wet
heart in my
sack. ‘We could
get them back
down here, to
walk along with
us, maybe.’
No sooner had
I said it than
Grinny was off up
the beach fetching
them. He must
have been scareder
than he looked.
I busied myself
catching floating
hearts without
sogging my pantshems. Some folk
ate the best hearts
raw, particularly mams; they drank up the liquor inside, and
if there was more than one mam there they would exclaim
how delicious it was, and if not they would go quiet and stare
away from everyone. If it was only dads there, they would say
to each other, ‘I cannot see the attraction, myself,’ and smack
their lips and toss the heart-skin in the pot for boiling with the
rest. If you boiled the heart up whole, that clear liquor went to
an orange curd; we were all brought up on that, spooned and
spooned into us, and some lads never lost the taste. I quite
liked it myself, but only when I was ailing. It was bab-food, and
a growing lad needed bread and meat, mostly.
Anyway, the wrack-hunters came down and made a big crowd
with us. Harper picked up a wet heart and weighed and turned
it, and emptied his sack of dry ones to start again. Kit Cawdron
watched him, in great doubt now.
‘Why don’t you take a few of these, Kit,’ I said, ‘instead of those
jawbreakers? Your mam will think you a champion.
’He stared at a heart glistening by his foot, and then came alive
and up-ended his sack. Oh, he had some rubbish in there; they
bounced down the shore dry as pompons.
His brother Oswald was dancing in and out of the water-edge,
not caring what Kit gathered. I picked up a few good hearts,
if small. ‘See how the shells are closed on it? And the thready
weed still has some juice in it, see? Those are the signs, if you
want to make mams happy.’
‘Do they want small or big?’ Kit said, taking one.
‘Depends on her taste. Does she want small and quicker to
cook, or fat and full of juice? My mam likes both, so I take a
variety.’
And now we were quite close to the witch, in the back of the
bunch, which was closer, quieter, and not half so lively as
before, oh no. And she was fixed on us, the face of our nighthorrors, white and creased and greedy.
‘Move along past,’ I muttered. ‘Plenty on further.’
‘Oh, plenty!’ said Misskaella, making me jump and stiffen. ‘But
no one wants to pause by old Misska and be knitted up, eh?
No one wants to become piglets in a blanket!’ Her eyes bulged
in their cavities like glistening rockpool creatures; I’d have wet
myself, if I’d had anything in me to wet with.
September – October 2013
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‘We’re only collecting sea-hearts, Misskaella,’ said Grinny
politely, and I was grateful to him for dragging her sights off
me.
about in a clump? Staring there like folk at a hanging — get
out of my sight, before I emblanket you and tangle you up to
drown!’
‘Only!’ she said, and her voice would tear tinplate. ‘Only
collecting!’
Well, we didn’t need her to say it twice.
‘That’s right, for our mams’ dinners.’
‘You can never tell which way she’ll go,’ murmured Grinny as
we scuttled on.
She snorted, and matter few out one of her nostrils and into
the blanket. She knitted on savagely. The bone’s rustling in the
weed sent my boy-sacks up inside me like startled mice to their
hole. ‘That’s right. Keep ’em sweet, keep ’em sweet, those pretty
mams.’
‘You did grand, Grin,’ said Raditch. ‘I don’t know how you
found a voice.’ And Kit, I saw, was making sure to keep big
Batton Baker between himself and the old crow.
There was a pause, she sounded so nasty, but Grinny took
his life in his hands and went on. ‘That’s what we aim to do,
ma’am.’
‘Sometimes all she does is sit and cry and not say a word or be
frightening at all,’ said Raditch. ‘Granted, that’s when she’s had
a pot or two.’
‘Don’t “ma’am” me, sprogget!’
We all jumped.
‘Move along, all of you, and stop your gawking,’ spat the witch.
‘What’s to see? You think I’m ugly? Well, so are your dads, and
some of you yourselves. Look at you, boy-of-Baker, with your
face like a balled fist. So I’m out alone? What of it? You think
all women are maundering mere-maids like your mams, going
‘Sometimes she’s all sly and coaxy? And sometimes she loses
her temper like now.’
We collected most efficiently after that, and when we were
done we described a wide circle around behind Misskaella, on
our way back to the foot of the path. ‘From behind she’s not
nearly so bad,’ I said, for she was only a dark lump down there
like a third mound of weed, her hook-end bobbing beyond her
shoulder.
We had nine poets speak, scream,
sing, rap, howl and whisper their
words at the Wagga Heats of the
APS, held at the William Farrer Hotel
on Friday 13 September.
Right: Booranga president, David Gilbey,
congratulates our winners – Zohab Zee Khan
(first) and Jo Wilson-Ridley (second); who will
now travel to Sydney in October to compete
in a State Final.
September – October 2013
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3
Brittany Bishop
Alicia Byrnes
Joan Cahill
Maurice C. Corlett
Leah Ellis
John Harper
Zachary Lederhose
Our second place winner, Jo Wilson-Ridley, struts her stuff during her performance at the APS
September – October 2013
|
4
Our first place winner, Zohab Zee Khan, was powerful in the delivery of his winning performance at the APS
Enjoying the evening are left: Joan Cahill and Linda Elliott; below left: Claire Baker and Sandra Treble
Below right: Jayden Morris plays the guitar as Leah Ellis sings for the crowd
September – October 2013
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5
Our Booranga
Writers' Workshop
Noel Raynes – an Acoustic Cabaret was held after the APS competition
FREE
Saturday 21 September
2.00pm to 4.00pm
Saturday 12 October
2.00pm to 4.00pm
with Margo Lanagan
all are welcome
Booranga Writers’ Centre
McKeown Drive, CSU
Above: Barrie Price and Johnny Shilo. Below: Helen Capes and David Dunbar. Left: Will O’Neill.
September – October 2013
|
6
Booranga Gallery
The reading evening held on Thursday
15 August at WWCC Library with Sulari
Gentill was a great success and enjoyed
by many members and friends.
Sulari held a workshop and Q&A for writing students from Charles Sturt University at the Booranga Writers’ Centre on Monday 19 August.
September – October 2013
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7
Sulari Gentill’s Writers’ Workshop
Booranga’s monthly workshop for August proved to be a
big success. Not only did the attendees, some of them first
timers at our workshop, receive information regarding the
publishing world, but Sulari Gentill, our writer-in-residence,
provided insights into her personal journey from corporate
lawyer to a writer of novels.
As well as listening to her describing her start in the world of a
published author, we were able to handle some memorabilia
that Sulari has collected and which she has utilised in her
Rowland Sinclair mysteries, and also discovered how these
novels came.
Although fascinated with making the Iliad accessible to young
adults, resulting in several well-received books (Chasing
Odysseus, Trying War and Blood of Wolves) Sulari made the
decision to base a series in 1930s Australia to keep her
husband happy to work as her first draft reader and proof
reader.
Michael has a great academic interest in that period of
Australian history and can be relied upon to pick up any
discrepancies or factual problems.
During the workshop, we were able to read edited first
drafts and the small black notebooks in which Sulari keeps a
summary of each chapter of the novels.
The importance of keeping track of characters and actions
over several books allows for something that might be
initiated in one novel to be fully realised and developed in a
later one.
https://www.facebook.com/Booranga
Being allowed access to such documents is an indication of
the generosity and warmth that emanates from this writer.
Although not everyone present on the afternoon may have
been interested in writing a novel, the tips about writing
and believing in what you are producing provided by Sulari
inspired us all, and I think I can say that we all left feeling
uplifted and enthusiastic about the writing process.
by Claire Baker
https://twitter.com/Booranga
www.csu.edu.au/faculty/arts/humss/booranga/home
September – October 2013
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Tide Talk
by Max Fatchen
The tide and I had stopped to chat
About the waves where seabirds sat,
About the yachts with bobbing sails
And quite enormous, spouting whales.
The tide has lots to talk about.
Sometimes it’s in. Sometimes it’s out.
For something you must understand,
It’s up and down across the sand;
Sometimes it’s low and sometimes high,
It’s very wet and never dry.
The tide, quite crossly, said: ‘The sea
Is always out there pushing me.
And just when I am feeling slack,
It sends me in then drags me back.
It never seems to let me go.
I rise. I fall. I’m to and fro.’
I told the tide, ‘I know it’s true
For I am pushed around like you.
And really do they think it’s fair?
Do this. Do that. Come here. Go there.’
Then loudly came my parents’ shout.
So I went in.
The tide went out.
The ABC Book of Australian Poetry: a treasury for young
people compiled by Libby Hathorn, ABC Books, 2010.
“Dear Mr Fatchen,
I quite enjoyed your last
book, but I think you
could do much better.
But I think you’re quite
promising.”
Max Fatchen
A year ago Australia lost one of its most beloved wordsmiths – columnist, journalist,
novelist and poet. Max Fatchen received many prestigious awards including an Order of
Australia for literature in 1980, an Advance Australia Award for literature in 1991 and a
Walkley Award for journalism in 1996.
Max Fatchen (3 August 1920 – 14 October 2012) started his working life as a copyboy
for the Adelaide News in the late 1930s. His love of journalism never waned. At 92 Max
was still writing a column for a weekly newspaper in Adelaide (using his faithful old
typewriter ‘Ivan the Imperial’) as he had for the last 64 years – starting in The News in
1948 and then The Advertiser from 1955.
Having already had a successful career in journalism, Max began writing for children
in 1966. When asked in an interview in 2010 why he took up writing for children, he
reasoned, “Because they’re the most challenging audience in the world. And I’m very
fond of them, and they’re fond of me, but let me tell you, children are critics and as one
child said, ‘Dear Mr Fatchen, I quite enjoyed your last book, but I think you could do
much better. But I think you’re quite promising.’”
Max was a prolific writer for children, covering the spectrum of stories, poetry and
rhymes. For his children’s books and poems, he was awarded the Primary English
Teaching Association’s Award, the SA Great Award for literature and a Centenary of
Federation Medal.
There were three Children’s Book of the Year Award commendations and, for his
mentorship and support for other writers, he was made Inaugural Life Member of SA
Writers Centre.
Interview with Max Fatchen
“I find inspiration in small things. Ants riding a leaf in a little lake in my garden (A Pocketful of Rhymes), a night walk with my poodle
(Songs for My Dog).
“I watch people … for their expressions, the way their mouths are, what they do with their feet, whether they scratch their faces, how
they lick their lips. I like to watch them when they’re asleep in the train. Did you know that there must be a dozen ways for a head to
wobble when you’re asleep? Writing is constantly being attentive to what happens around you.
“Some of my inspiration comes from food. If you press your face to a bowl of jelly the whole world is bright technicolour. If you bite
a cream puff too hard the cream will squirt as fas as the television set. I have even written a poem about rhubarb! (Wry Rhymes for
Troublesome Times).
“There have even been moments of wonder: talking to an old Aboriginal songman under the Arnhem Land stars beside a still Northern
Territory river; sitting with a lighthouse man watching the sea march past and his saying as the lighthouse flashed above us: ‘I wonder
how many ships see my light?’
“And sitting on the banks of the Diamantina River at Birdsville with children and watching the brolgas dance against the sunset.”
The School Magazine, Blast Off Issue, 3 May 1990, page 88.
September – October 2013
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Publishing competitions and opportunities
The Rodney Seaborn
Playwrights Award
Entries close 9 October 2013
The Southern Cross
Literary Competition
Entries close 30 October 2013
The 2013 Award is $20,000 and offered
for the development of a play or other
approved performing arts project.
Short stories of up to 3500 words are
welcome from all writers and there is no
restriction on the number of entries each
writer may submit.
This national award is intended for those
needing income and support during the
writing or development of a project or to
assist with costs of production, workshops,
restaging, publishing or touring. It is not
intended as a prize for a finished work.
A recipient may be working alone or
jointly with others and might include
writers, composers, designers, directors,
producers, formally constituted performing
arts organisations or ad hoc groups of
performing arts professionals.
Entries will be accepted by mail only.
Applications forms available from
the Seaborn, Broughton and Walford
Foundation: www.sbwfoundation.com
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
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).
The competition is a biennial event run by
Ballarat Writers Inc. with the winning entry
to receive $1500.
Entry fee is $20 per story with results being
announced at the final reading for the year
on 5 December at the Ballarat Mechanics
Institute. Shortlisted entrants will be notified
in advance.
Individual stories cannot be entered in
more than one category, and must be
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
Stringybark Malicious Mysteries
Short Story Award 2013
Entries close 20 October 2013
Murder most foul. Ghostly images. A
stumped detective. A missing treasure. A
secret relationship. What crafty tale can
you weave to entrance and entertain your
readers?
We accept anything that could be
considered relating to a mystery. It’s an open
book, except that the story must have some
link (no matter how tenuous) to Australia.
You have 1500 words to produce a
short story that will delight the judges.
International entries welcome.
There is over $810 worth of prizes in cash
and books. Entry fees apply and all stories
must be sent via email:
More information and entry forms are
available at: www.ballaratwriters.com
The Best of Times Short Story
Competition #16
Entries close 31 October 2013
Humorous short stories (any theme) up to
2500 words.
First prize: $500, second prize: $100.
Entry fee is $10 per story with entries
accepted via post or email.
Each story must be written in English and
be the entrant’s own original work. Entrants
retain copyright and all rights to their work.
No entry form is required. Include a cover
sheet with your name and address, story
title and word count, and where you heard
about the competition.
Competition website: http://spiky_one.
tripod.com/comp16.html
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 twelvemonth (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
Further info: www.stringybarkstories.net
September – October 2013
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Prizes total $5000: first $2500; second $1000;
third $500; and five prizes of $200.
an idea in mind for something like that, and
are wondering where you can send it?
Writers must be citizens of, or reside in,
Australia or New Zealand at the time of
writing.
The novella is a gorgeous form of
storytelling and one that includes such
classics as Animal Farm, Of Mice and Men, The
Old Man and the Sea, A Christmas Carol, and A
Clockwork Orange.
Writers retain copyright to all work entered.
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.
More than one poem may be entered. Each
is to be accompanied by its own signed
Entry Form and payment of $20.
More information: www.ozzywriters.com
EJ Brady Mallacoota Prize
for Short Stories
Entries close 15 November 2013
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 are to be posted to:
Coordinating Editor 100 Years from Gallipoli
Poetry Project PO Box 170 Deloraine,
Tasmania 7304 Australia
No entries will be accepted via email or fax.
Poems must have been written between
Remembrance Day, Friday 11 November
2011 and Remembrance Day, Monday 11
November 2013.
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
The EJ Brady Mallacoota prize for writing
short stories is contested Australia-wide
and beyond and this year the Mallacoota
Arts Council has increased the major prize
to $2000 for the winner, with $300 for the
runner up, and the prize of $500 for the very
short story category.
The competition offers a choice of entering
a work of 700 words limit, or a major story of
under 2500 words.
For more info: www.artsmallacoota.org
Busybird is desperate to re-popularise the
novella and yours could be next!
The winner receives $1,000 and their book
published in both hardcopy and digital
formats.
Word count is 20,000 – 40,000, in any genre.
Entry fee is $25.00
This competition is available only to
residents of Australia and New Zealand.
More info at: www.busybird.com.au/
The Commonwealth Writers
2014 Short Story Prize
Entries close 30 November 2013
The Short Story Prize aims to identify
talented writers who will go on to inspire
their local communities. The Short Story
Prize is awarded for the best piece of
unpublished short fiction (2000-5000
words). Regional winners will receive £2,500
and the Overall Winner will receive £5,000.
Entries open 1 October and details are at:
www.commonwealthwriters.org/prizes
Busybird’s Great Novella Search
Entries close 29 November 2013
Written a story that’s too long to submit
to a journal and too short to submit to a
publisher as a book? Or perhaps you’ve got
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 October 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]
September – October 2013
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11
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
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assist of
and
promote
local
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promoting
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and
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throughout
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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
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and
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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:
September – October 2013
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