Marianne Curley – Author Interview

  

For those unfamiliar with your fiction, how would you describe your novels? 

My novels are adventures in paranormal fiction that draw you in and sweep you away to another place, or another time, where you might find yourself hiding out in John of Gaunt’s bedroom or on a white bridge between worlds where only your soul mate can stop you from crossing over. They are novels about first loves, best friends, trust, loyalty, second chances, right and wrong, good versus evil, and figuring out what’s really important in life.

You have written: “In Old Magic I had toyed with the concept of what might happen to the present, or the future, if a figure from the past was tampered with or even killed. I took this concept further and thought of writing a story about organised manipulation of the past, and the potential havoc it would create.” What is one of your favourite stories about time travel, and what makes it work so well for you as a reader? 

Strangely, for someone who loves time travel, I haven’t read many time travel books, but I did read one recently, All Our Yesterdays by Cristin Terrill, which is an intelligent, brilliantly plotted story of love, choice and sacrifice. It works for me as a reader because the scientific technique used to travel through time is not overly complicated or detailed, but is enough to satisfy, allowing the reader to be drawn in to the tense unfolding mystery, and the characters. Presented at different ages as they pass through time, we see their growth through their failures and desperation as they struggle back and forth, believing in their ability to do what they must in order to save the world.

You have written: “I am inspired every day by my surroundings. I live on a mountain with beautiful scenery of waterfalls, rainforests, fresh-water creeks, interesting foliage, and an abundance of Australian wildlife. The birds are especially beautiful. I am also greatly inspired by music and always have songs playing when I am writing. I love to listen to dramatic music or songs that tell a passionate or epic story.” What is an example of a particular song or sight that inspired you, and how did this come through in your writing? 

My idea for my first published novel, Old Magic, came to me while I was with family picnicking on Dorrigo Mountain. I was sitting on a bench watching my children walk across an open field when a mist rolled in from behind them. The image was magical and my thoughts started to spin and come alive with ideas. When the mist rolled to where I was sitting and I felt it on my skin, it was as if I felt the mountain, and I knew in that moment that I would write a book about a girl who lived on Dorrigo Mountain, who had the rainforest in her heart and the ability to work magic running through her veins. This sight, and others of the Dorrigo National Park that I saw that day, stayed with me as I wrote Old Magic. I drew on these memories particularly when I created the forest chapters where spells were cast and time travel occurred.

Has your approach to writing novels changed significantly since you wrote your first novel? If so, how has it changed? 

There was a seven-year break between my fourth book and my fifth due to my battle with bone marrow cancer – Myelofibrosis, for which I spent six months in hospital having a stem cell bone marrow transplant, which included treatment for a crushed back fracture after sustaining a fall during chemotherapy. When I was writing again, I noticed big changes in how books were published, with the swell of electronic books, the influx of social media, and instant technology had become second nature to most of the population.

Nowadays, I tend to do more planning and taking notes, but that is mostly due to having to take medication that affects my short-term memory recall. As for my style of writing, my method and technique, nothing much has changed. The way I visualise my scenes has worked for me in the past and I still go for walks, listen to music, and browse through photographs for inspiration, though these days the photographs are online and saved to my Pinterest boards.

When writing your The Guardians of Time trilogy, what challenges did you encounter in making each novel stand alone as well as belong to the trilogy? 

Initially, other than knowing this trilogy would be time travel of an organised kind, my first idea for it was that there would be a girl, her brother and the brother’s best friend – three main characters, three teenagers with special talents linked together for an important cause, but with a book for each of them to tell their story. Right from the start I had determined to write each novel as an entity in itself. The challenges were making sure each novel stayed true to the main theme while they continued to move the story forward towards its dramatic conclusion.

What kinds of stories did you enjoy as a child and teenager, and have these had a significant impact on how you write your own fiction now? 

The first book I read that swept me away was Charles Dickens’ Oliver Twist. I was eight, and from that moment I was hooked on reading. I always searched for the novel without pictures, the longer the better. By the time I was a teenager I was reading epic novels of great struggles, formations of empires, tragic love stories and historical fiction – the stuff of Leon Uris, James Clavell, James A Michener, Colleen McCullough, Anya Seton and of course who of my age hasn’t read Margaret Mitchel’s Gone with the Wind?

I grew up wanting to write my own epic novels. I always had a story in my head. I tried different genres and found my place in writing for young adults. The compulsion that stemmed from my younger days to tell the epic story is still strong inside me today. It’s why I write paranormal fantasy, so I can immerse my heroes and villains in the dangers of the journey, the sacrifices they must make along the way, the fierce romances, battles, tragedies, and the eternal struggle of good versus evil.

If you could bring a fiction writer back to life for one day for the sole purpose of discussing fiction writing, who might you choose and why? 

This is a really hard question because there are so many. Firstly, there is Dickens, who wrote the book that launched me into the amazing world of reading. But then there are the classics authors such as Oscar Wilde, Charlotte Bronte, Jane Austen, whose works I have admired and have inspired me in many ways, or the more recently departed Sara Douglass, whose Axis Trilogy and Wayfarer Redemption Series were some of the first fantasy works I had read and thoroughly enjoyed. But then there was Bryce Courtenay, a writer whose work I have loved and admired since The Power of One. A prolific writer of everlasting saga’s, I would love to chat with him over a cup of coffee.

What is next for your fiction writing?  

Next for me is the publication of the second book in The Avena Series. It’s called Broken and will be in stores in March 2014. I am currently working on the third and final book in The Avena Series. The first draft is complete and I will be spending the next few months polishing this. After that, I’m looking forward to starting something completely fresh and new.

***

You can read more about Marianne Curley and her fiction at www.mariannecurley.com.

  

The Australian Literature Review
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Chris Allen – Author Interview

   The DeltaGhost Watch

For those unfamiliar with your fiction, how would you describe your novels?

I think the best summation would be – old school action thrillers with a modern edge, or cold war novel/modern action movie hybrid.

Who is one of your favourite fictional characters and why?

I’d be kidding myself if I didn’t say Bond, but not for the reasons you may think. When I was a kid the Bond films only came around once every couple of years and there were no video stores then either. So, unless there happened to be one of the old Sean Connery films on TV, I developed my attachment to the character via Ian Fleming’s books. The books were pretty raw with none of the flash of the movies, and I prefer that.

Fleming created the character of Bond loosely around his service as a Naval officer during the war while fleshing him out with characteristics and exploits of other people he knew at the time. Inherent in that development were all of the normal human failings and flaws which grounded Bond in a reality that readers could relate to while he was having these incredible adventures in unreal situations. I loved reading those stories as a kid and I still do. It should come as no surprise that Fleming is my primary influence!

You have written: “I always wanted to create some kind of international agency, because of all the things I used to watch and read as a kid – The Professionals, The Man from U.N.C.L.E and so on. When the time came to get it down on paper, the agency became Intrepid.” An agency such as Intrepid supplies your main character goals (missions) and motivations (to bring criminals to justice). Do you find it difficult personalise these goals and motivations for your main character, or do you find that his values are in sync with those pursued by Intrepid to an extent that he gladly carries out the missions give to him?

I try to keep my main character, Alex Morgan, as grounded as possible. He is after all a human being and I don’t subscribe to the idea of a hero being a machine who doesn’t get affected by what he does. Morgan very much believes in Intrepid. Intrepid exists to protect the underdog unencumbered by borders or bureaucracies which appeals to Morgan’s sense of what is right rather than what happens to be politically expedient at the time in the eyes of one particular nation. He suffers the physical and mental scars of his profession but he prevails.

It’s very important for Morgan to believe in what he’s doing in order for him to justify the violence that is occasionally required. The tag line I use for Intrepid is: ‘No Name. No Country. No Borders. No Limits’, and that’s exactly what Alex Morgan is all about.

You have written: “I absolutely think about the audience [for my novels]. I set out to write thrillers with international appeal […].” How have you built international appeal into your novels?

Firstly, I work hard to give each story and very international flavour. Not just in terms of locations but also with characters. Secondly, I have deliberately made Intrepid an international agencies with the individual members representative of many countries. This is something I will continue throughout the series and will expand upon by adding new characters to ensure that the organisation grows and develops. Fundamentally, the international-ness comes from Intrepid not being the instrument of just one country or another.

In your opinion, what makes a good espionage thriller? Or what is a good espionage thriller you have read, and what made it work so well?

For me it’s all about a compelling story grounded in reality, great characters, heaps of pace and action and, of course, escape. Think Fleming, Le Carre, Higgins, Forsyth, Cussler et al.

You have written that the hardest part of being a writer has been: “Making sure that each story stands on its own right as an epic tale, while still maintaining the overarching themes of the series.” Could you discuss how you made your novels stand on their own while still maintaining the overarching theme of the series?

I’ve always held the view that a person should be able to randomly come across one of my books anywhere – whether it be in a book store, a library or just borrowing it from a friend – and enjoy it without ever having read one of the others. So, in simplest terms, each book represents a new mission and, if I’ve done it right, each story should provide a sufficient thread for the reader to grasp the grand narrative of the series by the way I (attempt to!) entwine the attitudes, experiences, character traits and motivations of the principal characters into every story.

Occasionally I may reference a previous story but hopefully that will entice a reader to go back and discover the earlier books and connect the dots.

You have written: “Book one in the series, Defender, took me a decade to write and book two, Hunter, was roughly six months, so my writing process has vastly changed.” What advice do you have for writers starting out who want to get their debut novel written over the next 6-12 months?

Plan! Plan! Plan! Honestly, plan in your own way but just get the bones of the idea down before you set off. I find that the best thing to have down before you start writing are the major reference points of the story. These don’t need to be very detailed but enough for you to know where you’re going. How you’ll get there is the fun part. That’s where you get to be creative!

What is next for your fiction writing?

I’m currently finishing the third novel in the Intrepid series, working on the development of a TV pilot, and planning a new series of thrillers which I’m really excited about.

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You can read more about Chris Allen and his fiction at http://intrepidallen.com.

   The DeltaGhost Watch

The Australian Literature Review
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Banafsheh Serov – Author Interview

The Russian Tapestry by Banafsheh SerovUnder a Starless Sky by Banafsheh Serov  

For those unfamiliar with your fiction, how would you describe your debut novel, The Russian Tapestry

The Russian Tapestry is based on my husband’s grandparents, Marie and Alexei Serov. It’s a love story set against the turmoil of WWI, the Russian revolution and civil war.

Marie Kulbas, the daughter of a wealthy Estonian merchant, is a young law student, excited about her new life in the vibrant city of St Petersburg. Ahead of her is a life of invitations to glittering balls, sumptuous midnight suppers and ballets in gilded theatres. This idyllic world however is threatened by the start of the war and the departure of her beloved brother and fiancé to the German Front.

Alexei Serov is a Colonel in the Tsar’s Army. From a long line of professional soldiers, Alexei is a fine horseman and an excellent shot, fiercely loyal to his country and to his men. His allegiance to the army surpasses everything, including his duty to his wife and daughters. His role is clear, until he meets Marie and emotions rise in him that he’s never felt before.

Running parallel to the story of Marie and Alexei is the tragic tale of the Romanov’s and a cast of supporting characters whose lives become entangled. As war escalates, and their world starts to crumble, they each discover a love that they will cling to in their search for a path to safety.

You have written of The Russian Tapestry: “It’s the weaving and threading of anecdotes recited at family dinners with lessons in history.” Many aspiring novelists run into difficulties trying to turn family history into a novel that will also appeal to readers outside their family. What advice do you have for making family history appealing as a novel for a wider readership? 

For a book to have appeal the characters must face mounting conflict. No conflict, no story! It makes little difference if the characters are real or fictional, if they’re just ambling along with little conflict in their lives, then there is no appeal for the reader to continue with the book.

In The Russian Tapestry, the setting of war and revolution creates a natural backdrop for conflict. All the characters in the book are forced into situations that require inner strength and resilience for them to survive. Alexei and Marie have the mounting problem of being in relationships with other people when they first meet. In real life, they met during the civil war but for the interest of story telling I have them meet years earlier at the start of the war. That way, even as their attraction grows, their obligations and circumstances keep them apart, adding tension and obstacles to them coming together.

What is one of your favourite novels, and what makes it stand out for you as a reader? 

I’m lucky that, as a bookseller, I’m exposed to a wide range of books. I read widely – both fiction and non-fiction – and especially love discovering talented emerging writers. It’s hard for me to pin down one favourite book, but if pressed I’d choose The Year of Wonders by Geraldine Brooks. It literally took my breath away and since then, I’ve read all her books. I love her skill in seamlessly weaving history (often choosing real life characters) into her fiction. Vikram Seth is another one of my heroes along with Tolstoy and Hugo for their sheer ability to write epic novels.

Writing a historical novel set in another country, as you did with The Russian Tapestry, can be challenging to do well. What were some of the challenges you overcame when writing The Russian Tapestry

Starting out I knew very little about Marie and Alexei’s life other than a skeleton of family anecdotes bandied across the dinner table. When it came to writing The Russian Tapestry, the main problem I had was how to fit what I knew about Marie and Alexei’s lives in the context of historical and cultural background.

Researching proved problematic. Although there is a plethora of books on the Western Front, there are hardly any books in the Australian market on the Eastern Front.

As for cultural nuances, my husband is a second generation Australian and grew up in a household with no Russian cultural influence. We had travelled to Russia in our twenties, but of course visiting a country does not give one the familiarity with a culture as growing up with it.

I started by reading whatever I could get my hands on. Russian novels proved great help in reference to cultural nuances. By chance I came across a set of WWI encyclopaedias that proved a god send in providing me with extensive diary entries, essays and factual information on the Eastern Front.

Together, the Russian novels and the encyclopaedias became the foundation for which I could then build my setting. It was tough and I still worry I did not get all the references to culture right. Having said that, I’ve since had plenty of Russians who have read and enjoyed The Russian Tapestry contact me, so maybe I’m worrying unnecessarily.

What has it been like for you making the transition from unpublished novelist to published novelist? 

The Russian Tapestry would not have had the success it enjoys today without the enthusiasm and dedication of the editors, publishers, designers, sales team and publicist that work tirelessly to bring the book to the attention of readers. Ultimately the goal of any writer is to have their books read (this is also the scariest aspect since you’re opening yourself to criticism) and to have a major publishing team behind me is certainly preferable to trying to do it on my own.

As for my day-to-day life, little is changed. We own and operate 6 stores (5 book stores and 1 news agency). I generally work 3 days in Your Bookshop stores and juggle that with looking after my family and writing. It’s hard when time is at a premium but having been published twice, and knowing that I have a publisher, who’s interested in my work, gives me the discipline to push through even as I feel like giving up.

What kinds of stories did you enjoy as a child and teenager, and have these had a significant impact on how you write your own fiction now? 

Growing up, we didn’t have the range of books available that young adults enjoy today. As a young girl in Iran, I enjoyed Roald Dahl and had read Charlie and the Chocolate Factory but the first book I remember being immersed in was The Adventures of Tom Sawyer by Mark Twain. I was ten at the time and stayed up all night to read it. After that I read Gone with the Wind by Margaret Mitchell which I suppose set me on the path to reading epic historical fiction.

If you could bring a fiction writer back to life for one day for the sole purpose of discussing fiction writing, who might you choose and why? 

I get amused when asked these questions because I often fantasise about being a Doctor Who companion and visiting 19th century authors in the TARDIS. If I was to meet any author, it would be a toss between Victor Hugo or Leo Tolstoy and I wouldn’t bring them back to life but travel to meet them in their lifetime.

What is next for your fiction writing? 

I’ve just finished the first draft of my next novel. It’s different to The Russian Tapestry and my memoir, Under a Starless Sky, in that it’s not steeped in personal family history.

Keeping with the theme of history and migration, it’s a story of three generations of women in one family and the tragedy that tears at the fabric of their relationship.

***

You can read more about Banafsheh Serov and her fiction at www.banafshehserov.com.

The Russian Tapestry by Banafsheh SerovUnder a Starless Sky by Banafsheh Serov  

The Australian Literature Review
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Luke Preston – Author Interview

 

For those unfamiliar with your fiction, how would you describe your novels? 

Dark City Blue and Out of Exile are the first two in a series of Melbourne based crime novels that feature human wrecking ball, Tom Bishop as the ‘kick in the doors, ask questions later’ hero who struggles not to become like the monsters he takes down. It’s an action packed thrill ride with the pace of 24 and the social conscience of The Wire.

Many major Australian publishers have a strong emphasis on publishing print books to sell within Australia (or in Australia and New Zealand if they are the Aus/NZ division of a major publisher). Your publisher, Momentum (part of Pan Macmillan Australia), instead focuses on digital and print-on-demand publishing globally, with the majority of sales coming from outside Australia. How are you finding this approach to publishing? 

I love this approach to publishing. There is something very cool in the fact that anybody, anywhere in the world can buy my books and be reading them within 60 seconds of purchase. A story is still a story and a book is still a book and that will never change. Digital publishing doesn’t change the way we read, only what we are reading on. And the more people reading, makes the world a better place.

You have written: “When I have an idea for a novel, the very first thing I do is spend a day playing through my playlists and records (yep, I still have ‘em). What I am trying to do is find the musical personality of the novel. When I wrote Dark City Blue a tale about a career cop who tears apart the police force to expose corruption, I had compiled close to one hundred songs that I thought best musically represented that story.” Could you explain a bit about how songs help you develop a novel? 

After hearing one single musical chord, you can be transported through time, taken across boarders and thrown into tales of woe about broken hearts and social conscience. Every single song in the world means something different to every single person who hears it. When you listen you bring your own experiences and world view to that particular song and you make it your own. Choosing a song to listen to isn’t an intellectual decision; it’s a subconscious one that reveals not only how you’re feeling but also what is important to you. Listening to my subconscious helps me find the story I want to tell.

You wrote in a recent interview: “I find it difficult to write anything without first knowing what I am writing. I envy writers who one day can sit down at the typer, write a sentence and see where the story takes them. That approach doesn’t work for me. Every single story strand, character arc, turn-around as well as the overall thematic question is predetermined way before I write page one. I generally know who my hero is, what predicament they are in, what they want, what stands in their way and what happens if they don’t get it. That may all sound like a lot and in a way it is, but it’s also nothing more than can be written on a single A4 page or on the back of a couple of cocktail napkins (depending on where you are).” This is fairly standard practice for feature film screenwriters (and I notice you are studying a Master of Screenwriting) but many novel writers find this extremely difficult to do. What advice do you have for novel writers who wish they were better at planning and outlining their novel manuscripts? 

Not every novel writer needs to outline and plan their story, just as not every story needs a solid outline. But I write in the crime genre which means, to a certain degree my readers are interested in solving a puzzle. They want to discover who the murderer is and they want to work their way through the crime, which means as a writer, I need to build that puzzle and therefore, need a plan. Novelists who find it difficult to outline probably do so because outlining is difficult to do. That’s where all the heavy lifting in a story is and my advice is to push through it and start small.

Write a one sentence outline.
Write a one paragraph outline.
Write a one page outline.
Write a ten page outline.
Then write the book.

If you set small achievable goals, you can achieve the big goals.

You also wrote: “Characters exist to be put through hell… and hopefully make it out the other side better for it. OUT OF EXILE is a story about redemption and hope. Tom Bishop does bad things but is desperate to prove he is still a good man. Every single violent, distasteful and just downright mean thing that happens to Bishop, in a strange way is for his own good. It forces him to evolve…” How do ensure that your story is not just a barrage of different obstacles put in the way of a character achieving their goal but also a journey in which the character’s personality changes in a meaningful way? 

Character is action and action defines character. What that means is that character is defined by the decisions they make. Not what happened to them before the story started, not if they walk with a limp and certainly not by what their favourite colours, movies, drinks or foods are. Every obstacle a character overcomes should reveal something new about the character or push the story forward.

That said, there are many different types of stories and a protagonist doesn’t always have to change. The heroes in most westerns don’t change nor do heroes in crime procedurals. My rule of thumb is, either the character changes or they change the world around them.

In another recent interview, you wrote: “As far back as I could remember I had a pen in my hand. It started off with a couple of abandoned novels when I was a teenager that were about everything and nothing. Then a bunch of short films, a few feature films and back again to novels. I can’t survive without writing. It’s an addiction. If I don’t produce at least 1000 words a day I’m a miserable bastard to be around.” How would you describe your journey to successfully completing a novel manuscript, and is there an important lesson or two you learned along the way that you would like to share? 

My journey to successfully completing a manuscript was long and hard. I wrote many drafts to many pieces of works that never saw the light of day. My garage is a graveyard of boxes littered with dead stories. Writing is hard. It takes a long time to get good and when you’re not good you’re bad. Push through that bad writing. Finish every short story, every short film, every screenplay and manuscript. The more you write the better writer you will be. But the one overall piece of advice which outweighs every other, write like you and never apologise for doing so.

Who are some of your favourite novelists, and why do their novels stand out for you as a reader? 

Some of my favourite novelists are Bret Easton Ellis, James Ellroy and Charles Bukowski. They stand out because they take chances. I’m not interested in stories that play it safe. I want to be challenged. I want to be exposed to new ideas and new ways of thinking.

What is next for your fiction writing? 

I have two screenplays which are market ready so we’re busy putting together a team for a shoot for hopefully next year. And there’s also a new Tom Bishop rampage in the works with a story that is bigger in scope and scale.

***

You can read more about Luke Preston and his fiction at www.lukeprestonwords.com.

 

The Australian Literature Review
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Breakout Novelist Scholarships with Novel Writing Retreats Australia

Novel Writing Retreats Australia propertyNovel Writing Retreats Australia is running fifteen 9 day/8 night novel writing retreats in 2014 at a dedicated retreat property in Taroona, Tasmania (just south of Hobart).

There are Breakout Novelist Scholarships available for a retreat to be held on February 15-23, 2014, with UK Sunday Times bestselling historical adventure novelist Ben Kane and retreat facilitator Steve Rossiter. These scholarships are open to writers who live in Australia.

The Novel Writing Retreats Australia website has an article about each of the four steps in the application process: developing and conveying the concept for your story, writing an outline of your story’s plot, writing the opening chapters of your manuscript and writing a statement about your author background.

Novel Writing Retreats Australia in The ExaminerThe aim is to select writers and novel manuscripts which have strong potential to produce a breakout novel. This means writers and novel manuscripts with strong potential to stand out and to connect with many readers in deep and enduring ways, not just writers and novel manuscripts with strong potential to be published by a major publisher.

Unpublished and published writers are equally welcome to apply.

You can read an article by Steve Rossiter about the retreats on the author website of Australian rural novelist Nicole Alexander. Nicole Alexander is attached to a retreat on March 1-9, 2014. For more about the novelists attached to retreats in 2014, see the Attached Novelists page on the Novel Writing Retreats Australia website.

Applications for the Breakout Novelist Scholarships are open until November 30, 2013. Writers are invited to submit a draft application between Monday October 14 and Friday October 18 for a chance to receive some personal feedback.

For full details, see the Breakout Novelist Scholarships page on the Novel Writing Retreats Australia website.

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The Australian Literature Review
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June 2013 Short Story Competition Winner

Congratulations to Thea Adams for her short story Footsteps In The Sand, which has won the June short story competition (theme: mystery or detective).

Footsteps In The Sand shows the story of a girl, living with her father in a lighthouse, who investigates a strange occurence.

Thank you to the other shortlisted writers and to everyone who entered a story.

The June short story competition is one in a series of three monthly short story competitions running in AprilMay and June.

PRIZE:
– a book pack (titles below) courtesy of Simon & Schuster Australia
– feedback of 400-500 words on your story by Phillipa Fioretti

House for all Seasons by Jenn J McLeodThe Island HouseBlack RosesClose My EyesRed SparrowThe Accidental ApprenticeSumerford's AutumnThe Burgess Boys

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The fan fiction competitions for The Life and Times of Chester Lewis and for Possessing Freedom are also open to entries of 2000-4000 word stories until August 31. Each has a first prize of $2000 and entry costs $10 if you pay your entry before the end of June (or $15 if you pay your entry between from the beginning of July and the end of August).

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The Australian Literature Review
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Posted in auslit, australian fiction, australian fiction writer, australian short fiction, mystery fiction, short fiction, short stories, short story, short story comp, short story competition, short story competition 2013, short story competitions | Tagged , , , , , , , , , , , , , , , , , , , , , | Leave a comment

June 2013 Short Story Competition Shortlist

Congratulations to authors of the following stories, which have been shortlisted for the June short story competition (theme: detective or mystery):

Murder At Beaumont Manor by Jo Hart

Below The Deck by Reena Mukherjee

Adult Activities: A Tale Of Domestic Detection by Rae Litting

An Eye For Detail by Karen Carlisle

Footsteps In The Sand by Thea Adams

Belinda by Rhea Roy Ganguly

The June short story competition is one in a series of three monthly short story competitions running in AprilMay and June.

PRIZE:
– a book pack (titles below) courtesy of Simon & Schuster Australia
– feedback of 400-500 words on your story by Phillipa Fioretti

House for all Seasons by Jenn J McLeodThe Island HouseBlack RosesClose My EyesRed SparrowThe Accidental ApprenticeSumerford's AutumnThe Burgess Boys

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The fan fiction competitions for The Life and Times of Chester Lewis and for Possessing Freedom are also open to entries of 2000-4000 word stories until August 31. Each has a first prize of $2000 and entry costs $10 if you pay your entry before the end of June (or $15 if you pay your entry between from the beginning of July and the end of August).

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The Australian Literature Review
www.auslit.net

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