Beneath the rainbow

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Any title that includes Rainbow is bound to conjure images of crystals and incense sticks. Nope, there’s not a tinkle of glass nor a whiff of sandalwood to be found in this post, only photographic proof that it is possible to see the end of the rainbow, and live a serene life beneath it. We’re talking Maatsuyker Island, site of Australia’s southernmost lighthouse, the island where my novel Wildlight plays out, within cooee of the south-west corner of Tasmania.

Our six months of caretaking and weather observing at Maatsuyker Island has come to a close. Now, even more than our first few days of treading paved roads, it feels like crashing back to earth. The work on the island was hard, the living conditions cold, and the wind rarely stopped blowing, but perhaps all these challenges contributed to us having the time of our lives. And even though we turned into eating machines, we each left the island many kilograms lighter, and fitter, thanks to hauling lawnmowers up and down slopes, wielding brush cutters, digging drains and tending a large vegetable garden, plus all the walking. It’s a win-win formula that I’m naming The Maatsuyker Diet.

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Here is my partner Gary with ‘Helga’ the mower. There’s little scope for traditional gender roles on Maatsuyker Island. We divided the mowing and brush cutting work that tends a 2-kilometre-long grass road, 2 helicopter pads, 1 vegetable garden, the surrounds of 3 cottages and 1 lighthouse, 1 paddock, and brush cutting 7 bush tracks, paths and numerous slopes too tricky or hazardous to mow. One round took each of us 4–5 days on a 3-weekly cycle.

A corner of the Maatsuyker pantry at the start of our stay; strawberries from the veggie garden’s poly house; sushi rolls for dinner (my partner Gary’s speciality); during our stay we consumed 42 kgs flour transformed into sourdough loaves and baked goods.

During our first caretaking term in 2010–11 we barely saw another two-legged being, but on this stint we relished the company of several energetic visitors. Long-time friends Katherine and Kevin from Western Australia arrived on a crayfishing boat and stayed for five days. The permits and arrangements took them months, and even then it was nail biting times as the ocean swell and weather was against them both on their arrival and throughout their stay. Katherine and Kev were thankful for the handrails in the howling gales; they very quickly found their footing, embraced nature, and contributed to Maatsuyker with all manner of island work.

The wonderful Friends of Maatsuyker stayed over for two intensive working bees. This volunteer group contributes to almost every aspect of the island. Amongst the hard workers was Mark, who has turned his passion for lighthouses into restoring those around Australia that require serious TLC. Mark made his own way down to Tasmania and donated time and skills to continue work on restoring Maatsuyker’s lighthouse. During his days on the island we would regularly cross paths at first light as he headed down the hill to begin his day, working until late into the nights. He made impressive progress by removing damaging paint from a big section of the inside walls, and repainting top parts of the tower.

An unexpected visitation came from Dutch presenter-producer Floortje Dessing and her camerawoman Renée, who flew all the way from the Netherlands at short notice to produce a documentary about life as caretakers on Maatsuyker Island. () is a popular Dutch TV series which focusses as much on the people who choose to live in remote corners of the world as it does on the the natural wonders of wild places. While they were on Maatsuyker the girls got to experience the brunt of the Roaring Forties latitudes with 6-metre ocean swells and a record wind gust for January. Maatsuyker claims plenty of ‘personal bests’ when it comes to record winds: still to be beaten is its August 1991 squall of 112 knots (207.4 kms per hour), the country’s highest non-cyclonic wind gust. Floortje and Renée embraced every moment of the weather and were fun to be with. I only learned later how big a celebrity Floortje is in her home country, while to us they were simply two sparkling, energetic women who joined us each evening for dinner, washed up afterwards, brought a whopping great round of Edam cheese in their suitcase and followed us here and there on our daily routines.

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Lastly we welcomed Tasmanian Parks and Wildlife video competition winner Simon whose prize was a visit to Maatsuyker Island. Simon and his mate Noodle lobbed in for an overnight stay via helicopter, though with under-par weather conditions it was touch and go whether they could even make it to the island. Thanks to the skilled pilots at  they arrived safely after a short delay. Without losing another minute, the boys donned wet weather gear and bounded from one end of the island to the other with cameras in tow. In the evening, between ducking outdoors to watch a brilliant sunset, they joined us at Quarters 1 for curry and a pint of home brew beer. Next morning at 0400 they were up and at ’em to watch Maatsuyker’s thousands of short-tailed shearwaters launch off the island. In 24 hours Simon and Noodle succeeded in filming and later producing a professional 3-minute video which showcases the island. I will have that clip available to share in a week or so, along with an interview with Simon.

I could go on about Maatsuyker, but will close with the info below and a selection of photos which I hope express the magic of the island.

The nitty gritty of caretaking at Maatsuyker Island

The volunteer caretaker program is coordinated and managed by who currently advertise the position through . every two years. Each applicant must demonstrate a range of skills and an adequate level of physical fitness, and will be responsible for purchasing their own provisions for the six-month term. Part of the Maatsuyker caretaker duties is to conduct daily weather observations for the . Many short-term volunteer caretaking opportunities across Tasmania are advertised through ., the incorporated community partner organisation that provides management and support for volunteers working in natural and cultural heritage conservation and reserve management.  (Wildcare Inc.) is a volunteer group who contribute time and skills to the island, raise funds towards maintenance and improvements on Maatsuyker, run day trips to the island via boat, and conduct annual working bees.

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Last gasp of a big year

dsc_3874-robyn-gary-at-maatsuykerWith my times away from home, my blogging pattern tends to be feast or famine. This week sees no nutritional lack. Despite spotty attendance I feel great personal reward in the interactions with readers and guests that maintaining a website generates. Imagine, then, a world with no internet, no email and no mobile coverage; then—as daunting as the prospect may be—picture me in that world for the next six months. Shortly, my partner Gary and I are off to remote Maatsuyker Island, site of Australia’s southernmost lighthouse, for a second term as volunteer caretakers and weather observers. While the island remains happily rodent and snake-free, it also remains staunchly internet-free, just like its old light keeping days, minus the carrier pigeons.

Maatsuyker Island with Needle Rocks in foreground

Maatsuyker Island with Needle Rocks in foreground. ©Robyn Mundy

This has been a mega year for me with the launch of my second novel, Wildlight, a story set on Maatsuyker Island. I feel personally touched to have had many lovely responses from readers who in different ways have been moved by the story, along with the relief any writer feels on receiving favourable media reviews. This doesn’t come without the sting of the odd 1- or 2-star reader rating on  but—Man-up, Robyn!—such is the nature of writing and reading. This year I also feel fortunate to be amongst the lucky few to receive a grant from toward my new novel in progress. Thank you, ACA, for considering the project worthy of support. Those of us who throw our hats into the ring for such funding understand how competitive and slim the prospects. There are so many talented writers deserving of success, combined with brutal slashes in funding for Australian Arts.

Between ship work and writing research, it’s been a scramble preparing for Maatsuyker Island, months in the planning with the need to provide 6 months of provisions for our island time. Imagine running short of coffee. Or wine. Or chocolate! Imagine forgetting to take books to read. It has been the mother of all shopping lists, let me tell you. As seasoned  there will be no shortage of lawn mowing, brush cutting or maintenance tasks; thankfully, there will still be ample time to savour the beautiful island surrounds and to make solid progress on my new novel. Novel 3 will not be a sequel to Wildlight, though my Auntie Muriel is keen to know why I refused to write Wildlight‘s final chapter. 🙂 This new story is set in a vastly different wilderness, about as far away from Maatsuyker Island as is probable to venture.

Earlier in the year I was invited to write an article for magazine on what attracts writers like myself to wild places. With permission from the New South Wales Writers’ Centre, I have reproduced the article below.

For now and always, keep safe and happy. Keep loving books. More from Writing the Wild in March 2017.

Robyn x

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Writing the Wild

This article first appeared in , June 2016, and is reproduced here with permission of the New South Wales Writers’ Centre.

When asked to consider why, as a writer, I feel drawn to wild places and isolation, I initially grappled for an answer, which led to this confession: forget about being a writer; the urge to experience places such as Maatsuyker Island and Antarctica where my novels are set, originates from purely self-seeking motives, from some deep well of longing to experience nature. As a novelist, the fascination for wilderness precedes all else; from immersion in its landscape comes story.

The Nature of Ice frontcov smallMy first novel, The Nature of Ice, draws on Antarctica, the backdrop of my life for nearly 20 years. I have wintered and summered at Australian Antarctic stations, working as a field assistant on science research projects that included a remarkable winter on the sea ice with emperor penguins. I am doubly fortunate to spend several months each year aboard a small ice-strengthened vessel, guiding adventure tours to Antarctica, the Arctic, and other wondrous outposts.

While the Antarctic wildlife rates as a huge drawcard, the ultimate spellbinding seduction for me is the ice. Being within it. That is not to imply some trippy state of serenity. If wonder is one face of awe, the other is a guarded caution in knowing how easily Antarctica can turn from beauty to malevolence. You can’t be in a wild place for long without respect for its might.

The first draw to Antarctica began with someone else’s story. As a young adult I read Lennard Bickel’s This Accursed Land, a dramatised account of polar explorer Douglas Mawson’s 1911–14 Australasian Antarctic Expedition. Along with the iconic images of photographer Frank Hurley, the story of that thwarted expedition ignited my curiosity and imagination. How might such a hostile place feel, where nature determines everything? I had to find a way to go.

when_the_night_comesAs a contemporary Antarctic novelist, I am not alone in this draw to the frozen south. Favel Parret’s has its origin in the history of Nella Dan, a former Australian Antarctic supply vessel. I posed the question to Favel: what attracts you to wild places?

‘At first I was drawn back into my childhood memories of the south of Tasmania. Mostly it was the child’s fear of the wild that I wanted to understand. Then at 27 came surfing and the feeling of wanting to be on the wild water, and wanting to find remote wild beaches that were pristine and free of concrete car parks and cars and houses. The clean waters of Bass Strait and the Southern Ocean became vitally important to me.’

Reflecting on the genesis of When the Night Comes: ‘Nella came first. I had to follow her and experience where she went. I had to go to sea and visit the Southern Ocean properly. On my first trip, to Macquarie Island, I found that I was in love with seabirds and could easily spend the rest of my life watching them. That trip was not enough; I had only scratched the surface and I knew I had to go to the ice. It was wonderful to experience Antarctica for the ten-day resupply at Casey Station, but it was the long journey at sea that felt most wild. The moments always changing, the ship always moving, new birds to watch, different whales to see, different swells to navigate. The wildness of that ocean speaks to me in so many ways and I would go again in a heartbeat. It is the wildest place I know.’

chasing-the-lightAuthor Jesse Blackadder also travelled south to understand Antarctica. Her novel draws on the 1930s history of Ingrid Christensen, wife of a Norwegian whaling magnate. Ingrid and two unlikely female companions are each poised to become the first woman to land on Antarctica. Serendipitously, I recently met up with Jesse and asked which came first, the draw to Antarctica, or Ingrid’s story? Like me, like Ingrid Christensen, Jesse’s personal longing to experience Antarctica stretched back years, driven, in Jesse’s case, by images of wildlife and ice. Place first, story second.

All three Antarctic novels are fictional works inspired by history, yet the authors’ personal experience infuses an undeniable verisimilitude into their sense of place. Similarly, the voyage across a vast Southern Ocean to reach Antarctica is as fundamental to each story’s narrative arc as it is to the writer’s personal quest. For writers where place sits at the forefront of the work, it behoves us to connect with its landscape, to fully know it through personal experience or memory or research.

Wildlight front coverMy new novel Wildlight plays out on remote Maatsuyker Island off Tasmania’s South West. Here, my partner Gary and I spent four months living in isolation as volunteer caretakers and weather observers. The inspiration for Maatsuyker Island was triggered by a childhood at our family shack on the edge of the ocean. Maatsuyker amounted to a dot on the wall map, to a reputation for wild weather and the home of Australia’s southernmost lighthouse. Evening weather reports on Dad’s crackly transistor radio conjured images of light keepers trudging to and from the lighthouse in knockdown gales, of a place riven by storm and fearsome seas. As a child I wanted to know such a place. As an adult, I wanted to write it. Yet I couldn’t—not with credibility—until I had experienced it.

The sheer force of wild landscapes—their capacity to slough away the noise and clutter of urban life, to command our full attention, to beguile us with their majesty then strike with their hostility—preoccupies me as both a novelist and traveller. Each season on polar voyages I see fellow travellers ‘expanded’ by these other worlds. For some, like me, the experience is a form of meditation, the likes of which is largely unattainable in the workaday world. For others, the journey may mark a pivotal turning point. As sites of transformation, places of wilderness offer a bounty of riches for literary fiction.

It feels important to qualify that a love of nature—of any landscape—is not sufficient to sustain a work of fiction. Within the layers of a compelling story lies human conflict. It must. ‘Without the friction of conflict,’ says author Stephen Fischer, ‘there is no change. And without change, there is no story. A body at rest remains at rest unless it enters into conflict.’

Even during the lead-up to being on Maatsuyker, the anticipation of the island performed its alchemy, stirring characters into being and offering potential conflicts: what would months on Maatsuyker be like for a teenage girl dragged there by her parents, removed from her friends and the comforts of home? What if that family were isolated from each other, grieving for the death of a child? What would the surround of ocean mean for a 19-year-old deckhand who fears the sea and holds a premonition that some day it will take him? And the big question: how do I make best use of island and ocean in a story where these lives collide?

I strive to make place dynamic, to function as a fickle, layered character. Landscape holds a capacity to not only reflect the inner turmoil of characters, but to shape and transform. Who better, it seemed to me, than two young people at odds with their landscape, still making themselves up as they go along?

On a recent walk to a wilderness lookout, I happened upon an interpretative sign with this, by author-environmentalist Aldo Leopold: Our ability to perceive quality in nature begins, as in art, with the pretty. It expands through successive stages of the beautiful to values as yet uncaptured by language. The challenge for the writer remains one of language: to fathom the meanings of wild places through the characters that inhabit them.

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Image of the week

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Storm front off Maatsuyker Island. ©Robyn Mundy

On a day of screaming winds and rain squalls right across this island state of Tasmania, I am reminded of this rain-bearing front approaching Maatsuyker Island. Within minutes Maatsuyker was deluged. During the writing of Wildlight I frequently drew upon my island photographs; this one helped build a scene for a destructive storm that would leave its mark on a fleet of fishing boats as well as those on the island.

The reluctant writer

Author Annabel Smith, who I interviewed a little while back (just scroll down), has launched a new series on her website called Coming to Writing. Annabel invited me to share my circuitous journey to becoming a writer. I’ve titled it The Reluctant Writer 

Publishing: getting the word right

The Editor

Thinking back to my debut novel, The Nature of Ice, in truth I found the first phase of editing—a developmental review—big and daunting. I felt I could never fully achieve what was asked of me. (Having said that, I was acutely aware of the editorial ‘critic’ whispering in my ear throughout the writing of Wildlight.) When it came to publishing Wildlight, I approached the editing with trepidation. Could I meet the demands? Would I want to? As fortune had it, the editing of Wildlight turned out to be a gentle and joyful experience. Picador’s editor JULIA STILES introduced herself with a cover letter detailing her thoughts on the story—praise, questions and suggestions, along with this reassurance: I just want to stress that any suggestions I have made are exactly that – suggestions; use those that resonate with you and disregard the rest. Julia’s cover letter, along with the annotated manuscript, assured me of how closely and astutely the editor had engaged with the text. Just as importantly, she seemed to genuinely like and believe in the story, inviting a relationship where I remained ultimate arbiter. I was in!
Here, I invite Julia Stiles to speak about the role of book editor. Her conversation is packed with valuable information for writers and readers. For those like me who welcome practical writing advice, be sure to read Julia’s thoughts on the revision process.
Over to Julia, who begins by sharing something about herself:
JS: When I was in my early twenties I had my palm read. I was about to leave my life in Sydney and sail aIMG_5809 Julia Stilesway on a yacht; naturally I was wondering what the heck I was doing and what awaited me on the high seas. Somewhat unexpectedly, the palm reader told me I would live surrounded by cows. Naturally I dismissed him as a phony but in fact he turned out to be right. Ever since I have been surrounded by cows — up in the Whitsundays for ten years and now down here in Bega on the far south coast of New South Wales. When I look up from my
desk I see rolling green hills and well-fed Friesians. Actually, I try not to look up from my desk too often because a) such loveliness is distracting, and b) I might notice my teenagers running riot through the rest of the house.

How did you get into book editing?

IMG_5647 Bega rolling hillsJS: Oddly enough, when I was about twenty I woke up one morning with the thought in my head that I was going to be an editor, even though I didn’t have the first clue what an editor did. I was at uni in England at the time and the careers adviser laughed at me and told me I should become an accountant. Thankfully I came to Australia instead because I have the sneaky suspicion I would have ended up in jail for embezzlement. In Sydney I sent out my cv to every publisher in town, still completely ignorant of what an editor did. Thankfully James Fraser, then the publishing director at Pan Macmillan, offered me a job as his secretary. Whilst I was proving myself incompetent at that I was given the opportunity to read through the slush pile and then eventually to learn from two very skilled editors – Jane Palfreyman and Fiona Giles – who gradually trained me up into an editing role.

What do you regard as key qualities of an effective editor?

JS: For me the most important quality is to be able to listen very carefully to a writer’s intentions. This means being able to silence your own inner voice in order to inhabit someone else’s words. When I am editing I am not trying to fix anything or to impose my meaning on the text. I’m trying to help the writer to clarify their intentions, to find those areas of the manuscript they themselves are uncertain about, and to explore and trust in their own capacity to find the necessary solutions.

It’s important, too, to be a sensitive and perceptive reader. When I first started editing I had never studied the mechanics of writing but instinctively, having read so much, I understood how stories were put together. I don’t think you can be an effective editor, or writer for that matter, if you’re not an experienced reader.

How important is the relationship between author and editor?

JS: It’s the quality of the relationship that is most important – a writer needs to trust their editor and to know that they are valued and respected. It very much depends on the individual author how significant their relationship is with an editor. I’ve worked with some very successful writers who don’t place a great deal of importance on the relationship — as long as the quality of the relationship is high, they will work with any editor; they don’t need that continuity of care and insight to produce terrific work. On the other hand I’ve worked with writers for whom a personal ongoing relationship with their editor is paramount. One author I worked with for many years said that editing was like taking her clothes off in front of someone and she was only prepared to do that in front of me! The relationship can be extremely dynamic and creative and productive, but I don’t kid myself that an author isn’t able produce great work without me.

I felt that the editing empowered and contributed to the creative strengths of Wildlight. What result do you strive for? Do you have a memorable moment?

Wildlight front coverJS: I love your description of the editing of Wildlight and that was exactly what I hoped for. More than anything I want a writer to learn to trust themselves – as you say, to feel empowered to trust in their own creative capacity. It’s very satisfying when an author says, yes, I knew that wasn’t quite right but I didn’t know how to fix it, and then, simply through the process of having their manuscript reflected back to them, they find exactly the right solution. This is a very enlivening process, for them and for me.

Funnily enough, it’s not the moments I remember that are most significant. Often I will say something quite unremarkable and it will trigger in the writer a cascade of productive ideas. It’s not me doing the work; it’s the writer.

Does it ever happen that an author outright rejects editorial suggestions? How do you overcome differences?

JS: Actually, I’m delighted if an author thinks carefully about my suggestions and then rejects them. (If they reject my ideas without careful thought, well that’s their prerogative too.) I’m not the authority on their manuscript, they are, and if they think something isn’t going to work they need to trust their own judgement not mine. My sense is that differences tend to be minimised and are more easily overcome if you have communicated to the author the ways in which you appreciate their work. It’s easier for them to trust your response if they know you have read their manuscript with care, empathy and respect.

What might surprise the everyday person about the editing role?

JS: Perhaps that the role exists at all. People often seem to think that the writer sits down and produces the work pretty much word for word as it appears in the finished book. They’re not aware that sometimes quite a considerable amount of developmental work has been done, or that in some circumstances the editor has in effect rewritten the book.

How would you define a great book?

JS: For me there’s a distinction to be made between great literature and great books. Great literature, well, that’s endlessly debated and very much depends on your cultural, historical and personal context. A great book, for me anyway, can be defined by its impact on the reader (and it may or may not be considered great literature by other people). A great book shifts something in your internal world; it creates ‘slight inner adjustments of which we are barely conscious’ (to borrow from WG Sebald). A great book makes you experience the world in a different, more expansive way. It opens you up to life, even if occasionally that opening is savage.

Before ever submitting a manuscript to a publisher, many writers spend a lot of time rewriting. Speaking for myself, it’s never easy to switch hats from writer to self critic. Do you have advice on ways an author can approach the revision process?

JS: Give yourself time. Put the manuscript aside for as long as you possibly can, so that when you return to it, it seems unfamiliar to you. Basically this is what an editor is bringing to your manuscript – perspective. Pay attention to the small voice that tells you something isn’t quite working; invariably it’s right and what is holding you back from listening to it is weariness or boredom. When you get stuck, set the manuscript aside and daydream; walk, swim, garden, dream – do anything but try to find a solution. It’ll come eventually, often in an unexpected way.

Of course saying ‘give yourself time’ is all very well, but time is often in short supply in publishing, not to mention in our daily lives. If you have a deadline I would recommend having a clear plan for your revision process. The following process reflects the way I work; it may not suit you, so find your own way with it.

Firstly, read the manuscript from start to finish without changing a word (this is surprisingly difficult to do). Then try to think about the story as a whole. You’re looking for a general impression, as though glancing at the story out of the corner of your eye. When you come to look at it head on (that is, when you look at it scene by scene, line by line) those initial impressions will fade (or you’ll try to ignore them), but in fact they’re an extremely valuable guide. Think about which parts were satisfying, which weren’t; what didn’t make sense; where the pace slowed; which characters were vivid, which flat.

Once you’ve identified the patchy areas, go in scene by scene and try to understand how each one contributes to the storytelling, or how it holds it back. I like the technique Ford Maddox Ford and Joseph Conrad called progression d’effet: ‘we agreed that every word…must carry the story forward and, that as the story progressed, the story must be carried forward faster and faster and with more and more intensity’. Think about how those scenes might change, and what effect this will have on the rest of the novel.

When you’ve made those broad changes to individual scenes, then start looking line by line at the whole manuscript. (Yes, it’s a long process, but many writers I have worked with say they enjoy the revision process.) Read aloud to someone if you’re not sure whether something sounds right or makes sense.

It’s helpful to show your work to readers whose judgement you trust, but make sure they are prepared to be honest with you, and you are prepared to hear what they say without holding it against them.

Are you able to switch hats, to go from editor to everyday reader? Do you have a favourite book?

JS: Yes, thank goodness, otherwise one of the greatest pleasures and consolations of my life would become confused with work. I read as an everyday reader all the time but I’m very choosy about what I read and I don’t persevere with a book just for the sake of it. I have so many favourite books it’s impossible to choose only one.

Huge thanks to Julia Stiles for this wonderful interview.

Publishing: getting the word out

The Publicist

When a new book is launched into the world, the attention it receives—being seen, being talked about—may seem par for the course to many. But is such exposure entirely natural, without planning and effort? When my new novel Wildlight was wending its way to the printer, I was introduced to Pan Macmillan’s publicist, powerhouse LARA WALLACE. Whew! It didn’t take me long to appreciate the energy, enthusiasm and professionalism Lara commits to her role, and to see how an effective publicist makes a significant impact on a book being noticed. Lara kindly agreed to shed some light on her highly proactive but largely behind-the-scenes role.

Firstly, will you share a little about yourself, at work and beyond?

Lara and Puddles the Clown

Lara Wallace poses with Puddles the Clown during the 2016 Adelaide for Writers Week.

LW: I have worked as a book publicist for the past eight years and within the Australian publishing industry I have been employed by HarperCollins, Allen & Unwin and Pan Macmillan. I did a one year stint overseas in 2010 where I worked for an independent publishing company based in London called Kogan Page. Outside of work I enjoy travelling, seeing live music and art exhibitions, binge-watching TV series (House of Cards and Nashville are my favourites at the moment) and it must be said, reading.

Let’s get to the nitty gritty. How do you get a book ‘out there’ in the public eye?
LW: It very much depends on the kind of book being publicised and the author’s availability, but the things that remain the same for all books are:
— Review copies are sent out to journalists, bloggers and other influencers who we feel the book is likely to be of interest to. They are also sent to journalists and bloggers who request the book, provided the request is legitimate, and to media contacts the authors has provided.
— Publicists then follow up with media contacts who have received review copies and source interest in interviews, extracts, reviews, cover placements and giveaways.

Media Schedule combined— Once media coverage starts to be confirmed, the author is provided with an outline of the media due to take place for the book, and receives regular updates on media coverage and any interview requests.

How important is publicity to a new book?
LW: Of course being a publicist, I would argue that it’s incredibly important. But in all seriousness, if you consider the books that have been successful over the past decade, they have almost always been supported by strategically planned, carefully executed media campaigns. For a book to sell well, it needs the strong backing of the sales, marketing and publicity teams. For this reason sales, marketing and publicity departments tend to work very closely together within publishing houses.

 Wildlight front cover angled copyWhen I think about the cover of Wildlight, I love its gothic undertones, and how the design stands out on the book shelves. From your point of view, can a cover make a difference?
LW: Yes, it’s without question that a book’s cover makes a huge difference. A book with a striking or beautiful cover is almost always commented on and the more it’s talked about, the more attention it receives. That being said, a brilliant book with what might be considered as a rather plain cover can still do well, but having a cover that is of wide appeal to book buyers is certainly beneficial.

Picador logoPan Macmillan is an international publishing house with several imprints producing an impressive range of material. How many titles do you manage at any one time?
LW: 
A publicist’s workload tends to vary over the course of a year, but on an average month most publicists work on between three and four titles. If there is a particularly large media campaign taking place in a certain month, it may be that the publicist only works on one book that month. By the same turn, if the media campaign for a book is less extensive (perhaps because the author isn’t available for media or the book is aimed at a more specific audience), the publicist may work on three or four titles. Personally I like to keep busy and work across a variety of titles, and most publicists I know feel much the same.

In your role you would have encountered the full gamut of book reviews. How are you affected when a professional review is less than favourable?
LW: 
It’s true that we see all different kinds of reviews as publicists, and some authors like to see all reviews for their book while other authors may wish to see none. The most important thing is not to take any one review personally. My feeling is that the author, publisher, editor, sales and marketing teams and publicist are doing everything they can to ensure the book will be a success, and there is really no point in wasting time or energy on a negative review. If a book is good, no one negative review will ever be able to significantly affect its potential. In the interests of being honest, it does really annoy me if I read a review that is badly written or includes incorrect information.

I agree. To me it is apparent and impressive when a reviewer has engaged closely with a book—it can’t always be easy—but there are a few occasions when I scratch my head and wonder if we’ve read the same thing!

What do you enjoy most about your job?
LW:
The thing I enjoy most about my job is the opportunity I have to meet interesting and different people all the time. This includes authors, journalists, Writer’s Festival employees and other people who work in publishing. I also really enjoy having the chance to read lots of wonderful books that I may not have been able to read if I didn’t work in publishing. I think most if not all publicists are faced with curly challenges at some (or many) points, but these challenges also give us an opportunity to develop new skills and to continue to get better at our jobs, so it’s not all bad.

What are the key qualities of an effective publicist?
LW: 
To be a good publicist you need to be organised, efficient and a strong communicator. These days most journalists have a very short amount of time to listen to or read a pitch for a new book, and you need to know how to make the most of that time.

What are the key qualities of an effective author when it comes to publicising their new book?
LW: 
From my point of view, the most effective authors treat their publicists in much the same way as they treat their publishers. They are hardworking, make sure they are available for interviews they have committed to or submit a piece of writing at the agreed time, are courteous and are mindful that like publishers, publicists are often busy and there is much work that is done behind the scenes to achieve results.

If someone reading this post were interested in a career as a publicist, what advice would you offer them?
LW: The best advice I received on this was from one of my university tutors, the talented author Peter Doyle. Peter told us that if we wanted to work as journalists or publicists, we should make sure we were doing it for the right reasons. Not for the opportunity to meet celebrities, go to parties, travel and maybe even become famous ourselves, but because we were interested in what other people had to contribute, in how and why the world keeps changing, and to share stories that may have a positive effect on someone’s life.

That strikes me as sage and gracious advice, for any career. Let’s finish with this scenario: Lara is on vacation, kicking back. What is she likely to be reading?
LW: 
Anything by Liane Moriarty (I can’t wait for her new book, Truly Madly Guilty, publishing in August), or Elena Ferrante’s ‘Neapolitan’ novels. I read My Brilliant Friend over the Christmas break and I was happy to discover that it lived up to the hype.

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A huge thank you to the wonderful Lara Wallace, publicist at Pan Macmillan, for making time to contribute to this post. 

Radio National’s Top Shelf

ABC Radio National Books & Arts airs an occasional 5-minute segment entitled , in which a writer, artist or performer is invited to speak about several artworks, of any form, that have touched or inspired their life and work. RN recently invited me to participate. If you didn’t catch it and have 5 minutes to spare, please Previous guests include writers Chigozie Obioma, Louis Nowra, Linda Jaivan, Tristan Bancks and Colum McCann.

With thoughts of inspirational places that have touched my life, these images below.

Chimayo pilgrimage church, New Mexico

 

Pelican Point, Bunbury, in Western Australia’s South West

 

 

 

Image of the week

I am thrilled to introduce up-and-coming photographic artist Sean Lee, a young action and adventure sports photographer based in Perth, Western Australia. With a focus on mountain biking, Sean’s images can be found on the covers of national and international publications. This high-octane photo was shot during his 2015 trip to New Zealand, and is in the running for the Pinkbike.com Photo of the Year Award.

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Queenstown local Joel Tunbridge flies down a trail on the slopes of Coronet Peak, overlooking New Zealand’s Southern Alps. ©Sean Lee, 2015.

Sean’s amazing image sits beside a worthy competitor. Check out the two finalists . Voting is in its last hours and requires a Pinkbike account, which takes 30 seconds to create without any of those pesky follow-on emails.

with Sean Lee and Lee Trumpore, on the nitty gritty of mountain bike photography. Regardless of which image takes out the trophy, in my eye both boys are champions!

Top shelf

Amanda Curtin

Author Amanda Curtin

Recently, Western Australian writer extraordinaire, book editor and long-time friend  was nice enough to chat with me about my new novel Wildlight in her post:

Amanda Curtin is author of three remarkable works of fiction. Her most recent, , was published to acclaim in Australia, shortlisted for the 2014 Western Australian Premier’s Book Awards and, at any tick of the clock, will debut in the United Kingdom. ‘How glamorous things seem from afar when you’ve never felt the everyday of them,’ says Meggie Duthie Tulloch, once ‘Fish Meggie’ during the height of Scotland’s herring trade with its troupes of gutting girls. Elemental spans Meggie’s life from her birthplace in north-east Scotland at the start of the twentieth century, to the close of her life in 1970s Western Australia. The voice of Meggie, and the beauty and restraint of Amanda’s language, empowers this narrative with a consciousness that gives the work a unique vision and a deep-felt humanness that connects us all.

Amanda’s , a collection of short literary fiction about the gifts and burdens we inherit from the world…and those we leave behind, is a MUST READ. The story ‘Rush’ still gives me shivers.

Amanda’s debut novel , centres on Willa Samson, a grief-stricken mother who searches for answers to a very private loss, while unpicking clues to the actual 1882 murder and controversy over the remains of Western Australian convict Little Jock. The Sinkings is a haunting story of present and past.

I have all three on my top shelf and I encourage you to add them to yours!

Writing the Wild

Welcome to Writing the Wild, a blog for and about writers and writing, readers and reading, creators and their images. Having just travelled back from the Antarctic Peninsula, still caught in that strange long-haul lag between then and now, it seems fitting to share a recent image of ice, taken at Point Wild off Elephant Island. Antarctica has been a big part of my life for some years but it’s impossible to ever tire of the beauty and art of ice.

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Striped iceberg at Point Wild

But to the here and now…

On returning home I was thrilled to receive advance copies of my new novel Wildlight, being published by Picador on 1 March, and in book stores on 23 February. Check out the Wildlight book trailer kindly produced by Matt and Heather at