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AAWP and Ubud Writers and Readers Festival Prizes 2022 Winners Announced

We are delighted to announce the winners of the 2022 AAWP/UWRF Emerging Writers’ Prize and the AAWP/UWRF Translators’ Prize.

The winner of the Emerging Writers’ Prize is ‘This is just to say’ by Karen McKnight.

The winner of the Translators’ Prize is ‘Great Sertão: Meanderings’ by Alison Entrekin.

Congratulations to Karen and Alison, and thanks to everyone who contributed an entry in such a rich collection of work.

You can read more details about these and other AAWP writing prizes, as well as the judge’s reports and winner bios, over on our Prizes page.

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


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.


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.

Call for ‘sparks’

Dates: Monday 25 January and Tuesday 26 January, 2016
Venues: Jan 25—Ng? Kete W?nanga Marae, Manukau Institute of Technology, Otara Rd, Otara
Jan 26—Auckland War Memorial Museum, Parnell

Call for ‘sparks’

What is the state of creative writing pedagogy in Aotearoa? What can we learn from each other as teachers of creative writing? Do our creative writing institutions function as equitable places of learning in terms of diversity and identity? What are the challenges that face our learners in the changing world of the text?

The second conference of the Aotearoa Creative Writing Research Network aims to bring together creative writing teachers from Aotearoa, the Pacific and beyond to continue discourse around the practise of creative writing pedagogy in our time and place.

Ahi K? will feature a range of panel discussions and a keynote by Dr Selina Tusitala Marsh on the important issues facing creative writing and its teaching.

Key Dates

‘Sparks’ are brief papers (no more than ten minutes in length) encouraging discussion. By 19 November, 2015, submit a 300-word spark abstract related to the following subjects:
New Zealand voices: How do we approach issues of identity and place in New Zealand literatures through creative writing pedagogy? How does creative writing in New Zealand negotiate with the world?

  • M?ori literature: What constitutes a M?ori creative writing pedagogy? What is the future for global creative writing connections via indigeneity?
  • Pasifika literature: How do we build a Pasifika writing ethos? How do Moana/Pacific centred approaches work in the writing workshop?
  • Research: How do we teach approaches to research for a creative writing project?
  • Youth: What are the challenges and outcomes of teaching creative writing at primary and secondary school level, and in the community? What is the future of the field?
  • Book culture: How does the creative writing academy prepare its students for the world of publishing, disseminating, and selling books?


Key Dates

13 October, 2015: Call for ‘sparks’
19 November: Spark abstracts due
27 November: Online Conference registration open; early bird rates apply (online registration will be linked from the ACRWN website)
11 January, 2016: Online Conference registration closes (additional registration available during the conference)
25 – 26 January, 2016: Ahi K?: Building the Fire


For general conference queries contact Robert Sullivan (Robert.Sullivan@manukau.ac.nz) or Courtney Meredith   (Courtney.Meredith@manukau.ac.nz).

Send abstracts to Thom Conroy (T.Conroy@massey.ac.nz).

Conference Committee: Robert Sullivan, Courtney Meredith, Thom Conroy


To reward Postgraduate excellence in creative practice, the AAWP Executive will be awarding a prize for the best creative Postgraduate paper.

Prize: $300 cash prize, annual subscription to Overland, Island and Review of Australian Fiction.

Eligible: Refereed stream (Creative) 2015 conference papers

Criteria: Clarity; originality in thought and approach

Deadline: 9 December 2015

Submission: Dr Julia Prendergast (j.prendergast@deakin.edu.au)

Results: Announced by February 2016