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Please note: the conference is in BUILDING 2 on the UC Bruce campus. 
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DAILY FORECAST (care of Describing Things in Canberra):  

Wednesday Canberra weather: regardless of any thing Neil Finn may have said, you don’t really have your own personal weather bubble. You can easily test this by travelling from the Woden Valley to the northside on foggy morning. Or getting on a plane in December and flying to Helsinki.

So those of you who are in Canberra today will probably experience much the same weather as each other. Warm to hot and slighty sticky. The weather equivalent of spilling cocoa on your new trousers.

Chemical interventions such as deodorant, sunscreen, mosquito repellent and anti-histamines are strongly indicated. Consider long before you commit to opaque tights, however hairy your legs are. Once the sun is over the yard arm, applications of gin and tonic may be beneficial.



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Tuesday, November 29 • 1:30pm - 2:30pm
The Author as Thief :: 2A6

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Lucy Neave: Solitary literary writers or partners-in-crime? The collaborative and individual writing practices of Canberra novelists Mark Henshaw and John Clanchy 

This paper contributes to recent scholarship on literary networks and collaborative practice by exploring the literary relationship between two Canberra authors, John Clanchy and Mark Henshaw. John Clanchy has written several works of literary fiction, for example, Vincenzo’s Garden (UQP, 2005) and Her Father’s Daughter (UQP, 2008), as has Mark Henshaw (Out of the Line of Fire, 1988; The Snow Kimono, 2014). Together, Clanchy and Henshaw have published crime fiction, writing as J.M. Calder.
     In the following, I discuss an interview I conducted with Clanchy and Henshaw in the context of recent scholarship on literary networks and ‘communities of practice’, a term borrowed from sociology and used by Anitra Nelson and Catherine Cole to describe groups of writers who support each other and provide feedback on each other’s work. As part of our discussion, Clanchy and Henshaw describe the differences between writing a novel as sole authors, and writing crime fiction together. They describe the extent to which working together on If God Sleeps (Penguin, 1997) and Hope to Die (Penguin, 2007) has inflected their writing practices. The paper pays particular attention to the cultural contexts in which Clanchy and Henshaw work, and the extent to which they revise their fiction. It compares their statements about their process with Hannah Sullivan’s contention in The Work of Revision (2013) that the current emphasis on revision in literary fiction is social and cultural, and tied to modernism and technology.

Nat Texler: Lifeline - An Extract

This paper details how three previous scripts written by a practitioner influenced the creation of anew work titled Lifeline. The aim of this paper is to show how ideas and concepts can evolve not justwithin a singular project, but through various iterations from the same creator. This is achieved bywhat Brad Haseman refers to as an Artistic Audit – the examination of previous work in order toprovide contextualisation for a practitioner within their field.
The plays chosen are Slumway (2010), Tick-Tock (2011), and Pistol (2011) – three projects that thewriter has worked on prior to beginning the development of Lifeline. This paper provides a quicksynopsis of each project, before detailing themes and concepts that are further evolved throughpractice and seen in Lifeline. Attempting to understand the constant evolution and modification ofcore issues and themes allows creative practitioners insight into the importance of new work, andwhere it fits within the context of their field, as well as creating a better sense of an artists work as awhole.

Cheryl Threadgold: Literary Larceny: Writing as Theft

PhD candidature research and writing has introduced me to literary larceny as a perpetrator. My historical creative non-fiction arts-based project titled Victorian Community Theatre: an analysis of the history and culture of Victoria’s non-professional performing arts sector, has assumed the role of ‘Mr Big’, urging my authorised theft of knowledge and recollections from over one hundred non-professional theatre companies across regional and suburban Victoria. I case victims by sending pre-interview questions, luring them to hand over their valuable goods. No need for microphone or camera accomplices, just the good old reliable tools of pen, paper and a combination of shorthand and longhand writing, to ensure safekeeping of this precious heist of historic and socio-cultural knowledge. Surprisingly, all victims sign a consent form authorising this literary larceny! Eventually all stolen goods will be returned to their owners after writing their stories, and shared with a broad readership community. So, who says ‘crime doesn’t pay’? The non-professional theatrical arts sector has an abundant treasure of knowledge and recollections hidden in Victorian communities, awaiting discovery by authorised theft.

Barrie Sherwood: Grey Area
A quasi-fictional narrative in which someone like the author makes a peripatetic journey around Norwich in search of traces of WG Sebald several years after his death, taking photographs and thinking about the boundaries between the living and the dead that Sebald's books (some of the most extraordinary ghost stories of recent times) blurred, but not finding anything of consequence -- nothing that the narrator wants to qualify as "research" in the end -- before taking his leave and finding some solace in a quote of Sebald's: “I am not seeking an answer. I just want to say, ‘This is very odd, indeed.’” 


Shady Cosgrove

Associate Professor, University of Wollongong
Shady Cosgrove is an Associate Professor in Creative Writing at the University of Wollongong. Her books include What the Ground Can’t Hold (Picador, 2013) and She Played Elvis (Allen and Unwin, 2009), which was shortlisted for the Australian Vogel Prize. Her shorter works have appeared in Southerly, Overland, Antipodes and Best Australian Stories.


Lucy Neave

Australian National University
Lucy Neave is the author of Who We Were (Melbourne: Text, 2013) and scholarship on literary networks, fiction writing process and revision. She is the recipient of an Australia Council for the Arts Grant, a second book fellowship at Varuna: The National Writers’ House, and a Fulbright Scholarship. She is a lecturer in writing at the Australian National University.  
avatar for Barrie Sherwood

Barrie Sherwood

Barrie Sherwood is Assistant Professor of English at Nanyang Technological University, Singapore. He has written short fiction for various journals, non-fiction, and two novels (The Pillow Book of Lady Kasa, DC Books, Montreal and Escape from Amsterdam, Granta Books, UK; St Martins Press, USA). He is currently at work on a third novel.

Nat Texler

University of South Australia
Currently based at the University of South Australia, Nat Texler is an emerging researcher in the field of creative writing, focussing on playwrighting and practice as research. Most recently, she has produced her short play Lifeline in the 2016 Adelaide Fringe Festival and is currently working on an accompanying exegesis for submission in 2017.
avatar for Cheryl Threadgold

Cheryl Threadgold

Swinburne University of Technology
Cheryl Threadgold is a second year PhD research candidate at Swinburne University of Technology. Her PhD research project is inspired by past active involvement in Victoria’s non-professional theatrical arts sector, and as honorary Local Theatre writer for the Melbourne Observer newspaper. Cheryl convenes the Bayside U3A Writers’ Discussion Group, encouraging mature-age writers to explore their full creative potential, and has written seven... Read More →

Tuesday November 29, 2016 1:30pm - 2:30pm
2A6 Building 2, UC

Attendees (11)