Author Archives: Sarah Giles

About Sarah Giles

Sarah Giles (she/her) is a PhD candidate at Swinburne University researching the possibilities of the contemporary short story cycle exploring women’s experiences of isolation, trauma and mental illness. Her writing has been published in The Writing Mind: Creative Writing Responses to Images of the Living Brain, ACE III and ACE IV (Arresting Contemporary stories by Emerging Writers), The Incompleteness Book, TEXT Journal among others. Sarah works at Writers Victoria as Marketing and Memberships Officer and is a sessional tutor across multiple universities.

Call for Papers : The writer’s place

A Special Issue of TEXT Journal of Writing and Writing Courses

Deadline for EOIs: 29 May 2023.

This Special Issue seeks to explore the experience of the place of writing. Much has been written about how writers immerse themselves and ‘feel’ – even vicariously in recent years – in/to the place/s their stories are set. But little scholarly attention has been given to the writer’s place, where the works are often ‘written up’. 

Yi-Fu Tuan clarifies in differentiating ‘space’ from ‘place’:

Place has a history and meaning. Place incarnates the experiences and aspirations of a people. Place is not only a fact to be explained in the broader frame of space, but it is also a reality to be clarified and understood from the perspectives of the people who have given it meaning.  

(Tuan 1979:387).

This Special Issue seeks contributions from writers (of creative nonfiction, fiction, academic writing, poetry/poetics, life/self-writing) as to the meaning attached to their place of writing.   

Malcolm Holz (2022) suggests that as many writers work alone, a large space may not be required to be most creative/productive, rather, that it is often the small place, the archetypal writer-hermit’s hut in the wild, where many influential (and infamous) writers retreated. Martin Heidegger, for example, produced most of his vast works in a hut in the Black Forest (Sharr 2006). Virginia Woolf’s (1929) classic essay illuminated the significance of having ‘a room of one’s own’ in which to write.

This provocation/invitation for contributors is centred on the phenomenology – the phenomenological experience – of the writer’s place. Potential contributors might like to consider:

  • What are the characteristics of the writer’s (preferred or limited) place of writing, and how important is the articulation/decoration/function of that place in the creative process e.g., the writer’s chair, desk, bookcase, pictures, music, temperature?
  • What is the writer’s experience – how does the writer ‘feel’ when writing – and how does the place of writing influence that experience, the creative process, and creative outputs; can the place be imagined/ virtual; how does technology affect the planning or design of the writing space; what does writing in that place smell or taste like? 
  • Does the writer (or their editor?) feel that the work created in a place of the writer’s own making is of a higher quality than if produced in a place they would prefer not to be?
  • Is the writer’s place only/solely the mind/body, and if so, what goes on in writing in that place?

This Special Issue of TEXT is seeking, but is not limited to, creative works and scholarly studies in the coalescence of the psychological space and the physical place of writing. Where do writers go: is it alone in their head, or bed; down the hall, or beside the pool; perhaps on the veranda, or in a fold-up chair by the beach, or a hut in the mountains? What is it about that place which attracts, and what happens – what is the writer’s experience – when the writer gets ‘t/here’?

How to submit your expression of interest:

Please submit a 200-word Expression of Interest by email to Malcolm Holz with ‘The Writer’s Place’ as the subject line. In your EOI please outline how your paper or work(s) explore(s) aspects of the experience of the writer’s place.  Please also include the following information: your full name, institutional affiliation (if any), email address, title of paper/work, brief biography (50–100 words), and 3 to 5 keywords (at least 2 of which should clearly relate to the issue’s title).

Deadline for EOIs: 29 May 2023.

Deadline for finished works/papers: 31 July 2023.  
Enquiries: Malcolm Holz (malcolmholz@outlook.com)

References

Holz, M. (2022) (Re)creative reflective writing in Focus and Flow: towards a timeless way of Being

Paper presented at Australasian Association of Writing Programs Annual Conference, Fire Country, University of the Sunshine Coast, November 2022

Sharr, A. (2009) Heidegger’s hut

MIT Press, Massachusetts

Tuan, Yi-Fu. (1979) Space and Place: Humanistic Perspective

In Gale, S. & Olsson, G. (Eds.) Philosophy in Geography

D. Reidel Publishing Company, Dordrecht, Holland.  pp. 387-427

Woolf, V. (1929) A room of one’s own

Hogarth Press, England

ENTRIES FOR THE 2023 ARA HISTORICAL NOVEL PRIZE NOW OPEN

Historical Novel Society Australasia (HNSA), in partnership with Australia’s leading essential building and infrastructure services provider ARA Group, is excited to announce that entries for the 2023 ARA Historical Novel Prize opened at 9am on 12 April 2023.

The ARA Historical Novel Prize is the richest genre-based literary award in Australasia, incorporating both an Adult category and a Children and Young Adult (CYA) category. The Prize is worth a total of $100,000 in prize monies. The Prize will award $50,000 to the Adult category winner, with an additional $5,000 to be awarded to each of the remaining two shortlisted authors. In the CYA category, the winner will receive $30,000, while the two short listers will receive $5,000 each.

Key dates:

  • Awards open: 9am (AEST) 12 April 2023
  • Awards close: 5pm (AEST) 14 June 2023
  • Longlist announced (nine books): 13 September 2023
  • Shortlist announced (three books): 27 September 2023
  • Winners announced: 19 October 2023

Winners will be announced at a cocktail party in Sydney on 19 October.

The HNSA supports and promotes the writing, reading and publication of historical fiction across Australia and New Zealand. It is the third arm of the international Historical Novel Society.

To enter the 2023 ARA Historical Novel Prize, visit: https://hnsa.org.au/the-2023-ara-historical-novel-prize/

Call for Abstracts | We Need to Talk: The 28th Annual Conference of the AAWP

The deadline for submission of abstracts is 28 July 2023, 11:59PM (AEST). 

The 28th annual conference of the Australasian Association of Writing Programs is hosted by the University of Canberra’s Centre for Creative and Cultural Research. 

The event will be held on Ngunnawal Country; we acknowledge with gratitude that we have been welcomed to walk on this unceded land, and pay our respects to their elders, past and present, and emerging.  

We invite proposals for conference papers, panels, or performances that focus on issues that demand personal, social and institutional attention; and we are very interested in proposals that are collaborative, dialogic, improvisational, and/or performative.  

Please consider the following list of starter-topic areas as you construct your abstract/proposal:  

Orality – e.g. 

  • Spoken word forms 
  • Writing/improvising for performance 
  • Song / chant 
  • Script/screenplay 
  • Audio and transdisciplinary storytelling modes 
  • Yarning Circles 
  • Podcasts 

Poetry – e.g. 

  • Performance poetry 
  • Transformative practice 
  • Collaborative work 
  • Ecopoetry
  • Poetry of resistance

Essay – e.g. 

  • Intimacy 
  • Lyrical or dialogic essay
  • Writing as conversatio, or collaboration
  • Reading as intimacy 
  • Manifesto / diatribe / rant 

Sustainability – e.g. 

  • The environment and living in the more-than-human world 
  • Traditional ways of knowing, being and storying 
  • Economic and political engagement in writing/by writers 
  • Object writing 
  • Alternate knowledge systems 
  • Umwelt 

Queering Writing – e.g.  

  • Decentred and diverse voices 
  • Indigenous stories 
  • Neglected art forms 
  • Queering forms 
  • AI / Chat GPT – implications, limitations, possibilities  
  • Gatekeeping 

Arts/Health – e.g.

  • Writing, reading, and wellbeing 
  • Transdisciplinary practice for health 
  • Creative interventions and trauma 
  • Working beyond the academy (outreach, communicating research) 
  • Silences in academia 
  • Care for the author 

(or other topics, though we do ask that you aim to accommodate the theme of the conference in your work)

The deadline for submission of abstracts is 28 July 2023, 11:59PM (AEST). 
Proposals should include: 

  • your name
  • your university or other institutional affiliation 
  • your e-mail address  
  • the title of your proposed paper 
  • your abstract (250 words max) 
  • identify whether it is for a paper, a panel, or a performance
  • a short bio (100 words max).  

Please submit your queries to jen.webb@canberra.edu.au.

NB: while everyone is welcome to attend the conference, only current AAWP members are eligible to present. You can find membership details, prices, and online sign-up options here. 

VI Premium Virtual Edition | European Course for Teachers of Creative Writing

Enrolments are already open until March, 15th, 2023.

From the 21st to the 23rd of March, 2023, the EACWP launches the sixth Premium Virtual Edition of its European Course for Teachers of Creative Writing. Worldwide participants are welcome to join us.

In the spirit of abundance, gratitude and enjoyment of a new rising year to come, EACWP are delighted to announce a course they have longed for that has finally come true: a pedagogical proposal on both the sensual, Dyonisian experience of the body up to the sacred, Apollonian, even mystic experience of the soul approached from the complementary and intertwined disciplines of Food, Drink and Drug Writing. Just as a garden of earthly, literary delights.

The enrolment process for the sixth virtual edition of our Teachers Training Course, which, as in its regular format, will comprise three different workshops that will take place on Tuesday, 21st, Wednesday, 22nd and Thursday, 23rd of March (2023) from 17.00 to 19.00 (CET).

For more details, visit the EACWP website.

Call for papers: EACWP VI Pedagogical Conference 2023

The deadline for submissions has been extended to March, 24 (2023).

The EACWP Conference is a biannual event devoted to foster a European and Worldwide dialogue on the different approaches to creative writing education. The VI EACWP conference will take place in Madrid, in the locations of Casa Árabe (The Arabic House) and in the context of Escuela de Escritores 20th anniversary, from Thursday 4 to Saturday 6 May 2023. The on-line format for proposals will only be accepted for the Multilingual Workshops. 

Central to the conference will be an acknowledgement of the importance of creativity and how enhance it through the practice of writing. In times of crisis – probably, the only possible times – writers can make creativity a permanent way of living as artists, continuously questioning, developing and reformulating our craft.

Visit the EACWP Conference website for further details.

University of Canberra Vice-Chancellor’s International Poetry Prize

The Vice-Chancellor’s International Poetry Prize is running again in 2023.

The prize is now open until 30 June 2023, 23:59 GMT.

About the Prize

The University of Canberra Vice-Chancellor’s International Poetry Prize has been offered annually since 2014. On behalf of the University, this is administered by the Centre for Creative and Cultural Research in the Faculty of Arts and Design.

The prize celebrates the enduring significance of poetry to cultures everywhere in the world, and its ongoing and often seminal importance to world literatures. It marks the University of Canberra’s commitment to creativity and imagination in all that it does, and builds on the work of the International Poetry Studies Institute in identifying poetry as a highly resilient and sophisticated human activity. It also builds on the activities of the Centre for Creative and Cultural Research, which conducts wide-ranging research into human creativity and culture.

The 2023 prize winners will be announced by November 2023 and the prize winners and short-list will be notified prior to that.

Important details are:

  • The winner will receive AUD$15,000
  • The international winner will receive AUD$5,000
  • The runner-up (second-placed poem) will receive AUD$5,000
  • Four additional poems will be short-listed
  • An online prize anthology of up to 60 longlisted poems will be published

Entry fees

  • Entrants may submit up to six poems, and will pay a separate fee for each poem.
  • First Entry: $AUD25 or $15 concession
  • Additional Entry (up to five additional entries): $AUD20 or $10 concession
  • See How to Enter for details and Early Bird fee options

Outline of prize rules and conditions

  • All poems entered for the prize will be single poems that have a maximum length of 60 lines
  • All entries will be in English
  • No simultaneous submissions will be allowed
  • Entries must be unpublished and original works of the author
  • Translations will not be eligible unless they are English translations from another language produced by the original author
  • Judges (To be confirmed for 2023)
  • Full Conditions of Entry

Please direct all enquiries to: vcpoetryprize@canberra.edu.au
Do not call the University, unfortunately they cannot address queries over the phone.

Call for papers

Editors Lili Pâquet and Rosemary Williamson (University of New England, Australia) invite submissions of chapters for an edited collection: True Crime and Women: Writers, Readers, and Representations.

Proposals due by Friday 26 August.

Research on true crime demonstrates that while it once was mainly targeted at male audiences (Punnett, 2018), in recent decades it has been consumed by women (Boling & Hull, 2018). This shift is significant in several ways. The representations of women as victims and perpetrators in true crime have had effects on cultural perceptions around crime and safety. True crime readers are less supportive of criminal justice institutions, and audience’s fears can have real effects on the public opinion of legal policies around crime (Kort-Butler & Hartshorn, 2011). Studies of true crime often aim to discover why audiences are drawn to true crime (see Harris & Vitis, 2020), finding that women look for survival strategies in the genre (Browder, 2006; Vicary & Fraley, 2010) and for a kind of informal justice outside formal institutions such as courtrooms (Pâquet, 2021). The genre also presents women with the issues related to their representation through media (Yardley, Wilson & Kennedy, 2017; Slakoff 2022).

Editors Lili Pâquet and Rosemary Williamson (University of New England, Australia) invite submissions for a peer-reviewed edited collection to be proposed for Routledge’s new ‘Studies in Crime, Culture and Media’ series. We are interested in chapters that investigate the intersections of the true crime genre, cultural perceptions of justice, media (both traditional and new media forms), and women (as readers, writers, or through representations within narratives).

We are looking for academic chapters on the following topics, but are open to other related topics:

  • The representation of women in true crime, as victims or criminals
  • Female audiences of true crime, their motivations and responses
  • Feminist true crime
  • Writing and structuring narratives in true crime
  • Rhetorical analyses of true crime
  • How true crime affects perceptions of gender-based violence
  • True crime podcasts
  • Historic true crime
  • True crime on screen: documentaries, TV series
  • Fictionalised true crime such as Inventing Anna, The Dropout, etc.
  • Institutional justice and its intersections with true crime
  • Quantitative and qualitative research of true crime audiences
  • True crime and biography, autobiography, memoir or biofiction
  • True crime from the writer’s perspective

Deadlines

Please send proposals of up to 500 words, plus short bios of up to 50 words to Lili Pâquet at lpaquet@une.edu.au by Friday 26 August 2022. We will notify authors of the outcome in September 2022. Full chapters will be 5000-6000 words length.

References

Boling, K. S. & Hull, K. “Undisclosed Information – Serial is my Favorite Murder: Examining Motivations in the True Crime Podcast Audience.” Journal of Radio & Audio Media 25.1 (2018): 92-108.

Browder, L. “Dystopian Romance: True Crime and the Female Reader.” The Journal of Popular Culture 39.6 (2006): 928-953.

Harris, B. & Vitis, L. “ Digital Intrusions: Technology, Spatiality and Violence Against Women.” Journal of Gender-Based Violence 4.3 (2020): 325-341.

Kort-Butler, L.A. & Hartshorn, K.J.S. “Watching the Detectives: Crime Programming, Fear of Crime, and Attitudes about the Criminal Justice System.” The Sociological Quarterly 52.1 (2011): 36-55.

Pâquet, L. “Seeking Justice Elsewhere: Informal and Formal Justice in the True Crime Podcasts Trace and The Teacher’s Pet. Crime Media Culture 17.3 (2021): 421-437.

Punnett, I.C. Toward a Theory of True Crime Narratives: A Textual Analysis. New York and London: Routledge, 2018.

Slakoff, D.C. “The Mediated Portrayal of Intimate Partner Violence in True Crime Podcasts: Strangulation, Isolation, Threats of Violence, and Coercive Control. Violence Against Women 28.6-7 (2022): 1659-1683.

Vicary, A.M. & Fraley, R.C. “Captured by True Crime: Why Are Women Drawn to Tales of Rape, Murder, and Serial Killers?” Social Psychological and Personality Science 1.1 (2010): 81-86.

Yardley, E., Wilson, D. & Kennedy, M. “‘To Me Its [sic] Real Life’: Secondary Victims of Homicide in Newer Media.” Victims and Offenders: An International Journal of Evidence-Based Research, Policy, and Practice 12.3 (2017): 467–496.