Reflections on the Historical Novel Society Australasia Conference 2019, 25/26 October, Parramatta NSW
1: It is enormously endearing for an audience to be referred to as ‘Dear hearts’, which Kate Forsyth (HNSA patron) did as she began her introductory address. She went on to deliver a call to action: to let everyone know of the active and vibrant community of lovers of historical fiction in our part of the world. https://hnsa.org.au/kate-forsyth/
2: Keynote speaker Paula Morris, from NZ, spoke of her Maori culture in which history is seen as a spiral, and reminded us that all characters are a combination of their past and present – and that ‘historical figures’ existed in their own contemporary world and didn’t know they were to become historical. Interesting to contemplate that for our own times and selves.
Literature can make visible the unbroken lines with the past and the unbroken lines to the future.Paula Morris
3: Jackie French, Conference Guest of Honour, never sets out to write a book- she writes scenes which then become a book.
4: Kelly Gardiner, in the session ‘The Versatile Writer’, divulged that she is working on a book about her Great Grandmother who was active in Australia’s Suffrage and Women’s Peace movements.
Definitely a book I’d like to read. https://hnsa.org.au/kelly-gardiner/
5: Jane Caro shares my interest in the life of Elizabeth I, so much so that she wrote a trilogy about her. In Jane’s view, female heroic figures often had to pay horribly for their independence. Not so Elizabeth, says Jane:
Elizabeth I became her own Prince and rescued herself.
6: Paula Morris again, on ‘Respectful research’:
Living in the internet era it’s easy to think we should have access to everything and all information. Not everyone has the right to everything. The notions of ‘no secrets’ and ‘nothing is sacred’ are problematic.Paula Morris
7: If you have emotional connection to a place it comes out naturally in the words you write. (Lucy Treloar on the resonance of place in fiction.) https://hnsa.org.au/lucy-treloar/
8: A strong pitch to a literary agent or publisher will contain the following: Emotion, a strong sense of the protagonist and their challenge, and the stakes will be clear. (First Pages Pitch Contest)
9: When considering using personal or family stories as the basis for fiction (yes, that’s me) look at one aspect or kernel of a story and expand your fiction around that, don’t try to tell the whole story (excellent advice from Nicole Alexander which spoke straight to me as I’m currently wrestling with these sorts of issues) https://hnsa.org.au/nicole-alexander/
10. Madison Shakespeare, a Gadigal woman living in Adelaide, spoke on the panel on Dispossession and Betrayal: Recovering the erased history of First Nations. She reminded us that we were on Dharug land – pertinent land for its history of dispossession and violence.
It’s difficult going back, looking back…Ancestors we thank you, for your tenacity, dignity and diplomacy.Madison Shakespeare https://hnsa.org.au/madison-shakespeare/
On the question of writers worrying that, if when writing about indigenous people or indigenous histories, they might ‘get it wrong’, Madison posed the question: How much more damage if you don’t do it at all?
11. The reason I love dual narrative or timeline books is this, as put by Carla Caruso:
There’s a point in your life when you realise realise that your parents, grandparents etc have experienced loss and heartache. That fashions and technologies change but we humans go on and we all want the same things: security, love, passion.Carla Caruso https://hnsa.org.au/carla-caruso/
12: Expert use of point of view allows the writer to take the reader by the hand and lead them through the story. It’s the first splash of colour on the page. Greg Johnson at the ‘I am a Camera: Exploring point of view’ panel session.
13. Juliet Marieller and Elizabeth Jane Corbett write strong female protagonists set during times in which women did not always have great agency or independence, by focusing on how they confront their challenges, find inner strength, have the courage to face truths and move forward.
14. Watching demonstrations of historical fencing over lunch is surprisingly engrossing.
15: Meg Keneally, when talking about the partnership between novelist and historian, described herself as historian Gay Hendriksen‘s
This in reply to Gay being asked by an audience member if she sometimes comes across a story from the historical record or archives and thinks I wish I could find a novelist to write that.
16: The second conference day (27th October) was the anniversary of the first ever female industrial action since colonisation: otherwise known as the 1827 ‘Parramatta Female Factory Riot‘.
17: Kate Forsyth has had enormous respect for the power of words since she delivered a magic curse to a bully in primary school and it worked.
Magic is for the powerless, when you want something so much you exert your full intention upon the universe until it comes true.
Kate told this story in the conference’s final session, Love Potions and Witchcraft.
18: As I suspected, the historical fiction writing community is friendly, energetic, encouraging and inclusive. And the HNSA puts on a jam-packed and satisfying conference. Thanks to all involved:
I had a ball.
Last year I wrote a post about a new online program I was about to start with the Australian Writers’ Centre, called ‘Write Your Novel.’ I’m now almost half way through this six month course and I’m pleased to report that it is proving to be a worthwhile venture.
When I began the program I had a first draft manuscript of over 119,000 words. Yes, I know, far too many words. I knew I needed to redraft, edit, cut and whittle away a whole lot of those words…words that I’d sweated over and celebrated as the word count mounted. Odd, now that I’m celebrating as the word tally goes down…
Anyway, as this was my first novel, I was a bit lost as to how to set about this (mammoth) task. How to critically examine my story’s plot, structure, characters, dialogue, description. How to make sure all the parts work together to make a satisfying whole. What are the themes of my story and how to ensure they shine through? And of course, how to tighten the language.
This is where the ‘Write Your Novel’ program has been invaluable. I’m in an online classroom with eight other aspiring authors. We have an online tutor, Cathie Tasker, an editor with many years of experience in publishing. Cathie gives each of us feedback as we take turns to submit segments of our manuscripts. And, we all workshop each others’ work and provide feedback on what works well and what needs more work. Already I have learnt so much – from giving feedback and receiving it, and reading the comments given by my classmates on others’ work as well.
I’m happy that I’ve already trimmed over 14,000 words, mainly through tightening language, deleting those pesky repetitious or unnecessary words and checking my overuse of adverbs! And I’ve been able to write more convincing characters by getting closer to their point of view.
Lots more work to do, of course. But I’ve been pleased at the things I’ve learnt so far and confident that I can keep applying this to my writing, even after the program finishes.
To find out more about the ‘Write Your Novel’ program or other classroom and online courses at Australian Writers’ Centre, go to their website: https://www.writerscentre.com.au/
(I promise I am receiving no payment of any kind for this mention! I spent ages online trawling through writing courses and was happy to discover the AWC, so I’m sharing the love. 🙂 )
I’ll be back in another few months to update my progress.
My first visit to Varuna, the Writers’ House in Katoomba on Saturday 6th October. Such a thrill to spend an afternoon at this gracious house, a place dedicated to writing and the development of Australian literature. And to participate in a workshop facilitated by Michelle de Krester, twice Miles Franklin Award winner. The workshop was on ‘The Art of the Sentence’. Michelle is knowledgeable, friendly and very encouraging. I felt honoured to meet her.