Saturday, June 1, 2013

It's National Reconciliation Week .....

.... but what with this:



which made me think of this:




and then this:



and the necessity to explain things like this: The ape insult: a short history of a racist idea

and commentary ranging from I am racist and so are you 

to On the "We're all racist" Deepity

I don't know about you, but I started to find that every time I said National Reconciliation Week to myself, somehow this old melody came to me:



So when Anita Heiss invited me to share some reflections on National Reconciliation Week on her blog initially I was struggling to come up with something to say that wouldn't be a roar of anger - which is why I decided to follow Anita's lead and come up with a few things to be grateful for - have a read.

Thursday, April 25, 2013

Bon voyage and bonne chance to Malla Nunn

This is a big year for women writers. The Australian Women Writers Challenge is building on the strength of last year, the first Stella prize has been awarded and in a pleasing turnaround, this year's Miles Franklin features a long list of women writers.

So what better time to congratulate Malla Nunn, one of Australia's leading crime writers - and my friend, who  is heading off to New York in a couple of days to attend the Edgar Awards.




This is Malla's second Edgar nomination and a glance at the 2013 shortlist indicates that it's going to be a great night in New York.

If you are not familiar with Malla's work, then you have three fabulous books to look forward to with a fourth about to go to editing stage.


Malla's books are set in 1950s South Africa, the period when apartheid was being codified into law, society divided up along racial lines by a philosophy that was intrinsically evil. In this vicious and tragic milieu Detective Emmanuel Cooper and Constable Samuel Shabalala work to achieve justice for victims of crime in a society that is fundamentally unjust.


The series delivers social history seamlessly contained within the crime fiction genre, featuring a memorable protagonist who embodies the heartbreak of a nation.

Crime fiction is a genre that contains multitudes. It is perfectly designed to take on the big themes of justice, morality, ethics and integrity and Malla's series does just this. In a piece for the Huffington Post Malla writes about overcoming her ambivalence at using the form of crime fiction to tackle these big questions:

I can no longer judge my own writing in terms of its ability to save Africa. Instead, I can invite readers into an exquisite, wild part of the world where exciting things happen. I can tell stories where despite the obstacles, people fight for each and for justice.
(Published as The Silent Valley in Australia)

I met Malla because we share an agent, the wonderful Sophie Hamley. Meeting Malla and reading her extraordinary books has been a highlight of my own publishing experience.


So, bon voyage, Malla and bonne chance at the Edgars. We'll be raising a glass to you back here.

Friday, January 25, 2013

Don’t Write a Second Book - Advice from guest blogger Walter Mason


My wonderful mate Walter Mason and I have many things in common. A love of travel, good food, good books, good conversations over good food about good books, and one more thing - we are both currently trapped in Second Book Hell. Forget your Nine Circles of Hell, Second Book Hell is a very particular hell. 
Read on and let Walter explain exactly what it is.

Don’t Write a Second Book
My major piece of advice to any writer would be: Don’t write a second book. Seriously. Why not just leave it at the one little masterpiece, a brief high point in an otherwise mundane life. No-one will think any less of you. You could easily waste the rest of your life, but at your funeral they are still going to say, “The well-known and beloved author...” Plenty of people stopped at the one with little or no repercussions for their literary reputation. Harper Lee seems to be doing ok with just the one. Margaret Mitchell decided to take a break between books and got hit by a car, but last time I checked Gone With the Wind is still the same camp classic it always was.
I’m writing like this because I am almost finished my own second book, a travel memoir about my conflicted relationship with Cambodia (yes, I have relationships with entire countries – I never promised I’d be exclusive) called Destination Cambodia. It’s due to come out this year some time, if I haven’t taken the Margaret Mitchell route or been arrested in a public place giving in to a fit of rage.  
Walter Mason in Cambodia. Research! The fun part of the Second Book.

But you see, it hasn’t been at all easy, this second book. Destination Saigon, my first book, flowed out of me. It was the product of a lifetime’s preoccupation. I had been toying with the idea of writing a “Vietnam book” for the best part of sixteen years. Each chapter came out almost perfectly formed, and I found it a breeze to sit down and write one at set times (many of them during a holiday in Hong Kong, where my partner wouldn’t allow me to eat or sightsee until I had finished another chapter).
But DestinationCambodia has been a very different beast. It has demanded its weight in blood, sweat and tears, and there comes a point every week where I stop and think, in blind despair, “I can’t do this.” When I actually concentrate and get writing, it begins to snake its way out, and stories and characters and amusing and poignant incidents emerge on paper. This is most likely to happen when I am writing properly, i.e. sitting down at 7.30 every morning, turning off Twitter and forcing myself to belt out 4,000 words or so. If I can manage to do this for a number of days, I convince myself once more that I am a literary genius. 
In the field for the Second Book.

But on those other days, those ones where nothing at all comes to mind and before I know it it’s 6pm and all I’ve done is watch Fail compilations on Youtube for nine hours, I begin to think I’ve been fooling myself and everyone else. Those are the days when I wonder if Red Rooster is still hiring.
What’s the big deal? I hear you ask. Plenty of people have more difficult jobs, real jobs where the stress and strain is earned. Brain surgeons, say, or bridge builders. But the writer is the most fragile creature in existence, always conscious of what Jonathan Fields describes as “the impact of fear of judgement on our tolerance for ambiguity, uncertainty, risk taking and creativity.” We can destroy ourselves before we’ve even written a word. It is our unique talent.
But it’s too late for me. I’ve signed the contract and someone told me they saw the book listed in my publisher’s catalogue, as though it were finished and just sitting up on a shelf ready to roll out in cartons across the nation. What’s more, I have written 100,000 words, and still there seems to be no end in sight. It’s not that I’m almost there. It’s that I went past the finish line a long time ago and have almost woven my way around to it a second time.
So stop stressing, fellow scribblers, there’s no need to do anything more. Rest on your laurels, glory in your obscure fame and think of the lifetime of free cheap wine and invitations to speak at service clubs that can be yours purely on the basis of that first, blissfully easy, book you wrote.

---------------------------------------------------------------------------------------------

Walter Mason is a travel writer and academic whose first book, “Destination Saigon,” was named by the Sydney Morning Herald one of the Ten Best Travel Books of 2010.
In 2013 Walter’s second book, “Destination Cambodia,” is due to be released by Allen & Unwin, when he eventually finishes it.
This year Walter is also hosting a series of Inspirational Conversations with some of Australia’s leading authors at Ultimo Library. Details can be found here.

Tuesday, January 22, 2013

Finding The Secret River at the end of your street.

Over the last couple of months I've had the opportunity to write a few articles on various subjects for the ABC's online opinion pages at The Drum.

Today they've published a piece I wrote after seeing the Sydney Theatre Company's production of Kate Grenville's wonderful novel, The Secret River.

I won't go into detail here about how both the book and the play affected me. You can read it at The Drum.

What I thought might be interesting is to share some photos of the place I talk about in the piece. A headland ten minutes from the heart of Sydney's CBD, still rich with the traces of the people who lived here for thousands of years, the Cameraygal.

The entrance to the Gadyan Track.


The sandy cove beneath the rock shelf and carving.

Sandstone carving. You can still see the 4 round scars left by the park bench.

Stands of red gums.

The red gums' flesh glows in the afternoon light.

The shoreline of sandstone and oysters.

The storyboard asks you to 'Imagine this scene in 1787' and sketches the headlands of Balmain, Mort Bay, White Bay.

The setting for the final scene in my novel.

Thursday, December 6, 2012

Next Big Thing

Well it's BIG, being that it's tipping the scales at over 120,000 words at the moment and it is the next thing.

This post is part of a meme of writers tagging other writers to talk about their next project. At the bottom of the post there are links to other writers' pages where you can discover what their next big things are going to be - a sort of virtuous circle


1) What is the working title of your next book?

Book 2. 

Not because I don’t secretly have a title for it (I have a list and one in particular that I love). However I know that the one I love probably won’t be the title that goes on the cover. My titles are always a little too idiosyncratic, or tangential to make it through title production meetings (Exhibit 1: the name of this blog is the name of my first book, only it wasn't - see what I mean?). So this time, I think I’ll just  offer a list of possibles, wait and see what comes out at the other end.

 
2) Where did the idea come from for the book?

I want to write a series of crime novels that chart what happened to us here in Australia during the 1990s. A lot changed during this time. Police wise, there was the Wood Royal Commission in New South Wales that started half way through the 90s and blew up the force. It was still detonating landmines into the early 2000s. 

In federal politics there was a change of government and as Paul Keating said at the time, when you change the government, you change the country. The change of government precipitated the rise of One Nation and a sanctioning of language and attitudes towards race that I think led all the way to the Cronulla riots.

So Book 2 was always going to be a book that continued on from where The Old School left off. And as my main character, Nhu “Ned” Kelly finishes that first book in pretty rough shape, I wanted this one to address a realistically slow healing process for her. And frankly, it's been a tough place to dwell.

A surprising number of people wanted to know if I was going to “send her to Vietnam” to get in touch with her “roots.” I never had any plans to do that. Instead, I’ve sent her to Cabramatta in the first months of 1993, to get in touch with the newly established Australian-Vietnamese community here.

 
3) What genre does your book fall under?

It’s crime. Police procedural with a social history twist.

 
4) What actors would you choose to play the part of your characters in a movie rendition?

Ha! In The Old School the main character of Ned Kelly is an Australian-Vietnamese woman in her early twenties. It says a bit about casting on mainstream TV that no name springs readily to mind to play her, doesn't it? 

So, I like to think that she’s a blank slate waiting to be filled by an actress that no one knows yet but who everyone will know after they’ve seen her playing Detective Ned Kelly. The same goes for Marcus Jarrett. A role for a 30 something Aboriginal actor who isn’t Aaron Pedersen or Wayne Blair (not because they aren’t any good, they are, but because I want to see the next generation of Aarons and Waynes given a big breakthrough role).

 
5) What is the one-sentence synopsis of your book?

Sometimes asking who did it, isn’t the right question.

 
6) Will your book be self-published or represented by an agency?

My agent is the ever-patient and ever-optimistic Sophie Hamley of Camerons Management and she secured a two book contract with Penguin. They are tough loving the drafts through to publication as we speak.

 
7) How long did it take you to write the first draft of the manuscript?

About a year. More if I count the thinking about it. Then another year on the second draft, which also included lots of thinking time. Quicker turnaround on the third draft. Waiting for that to come back now.


8) What other books would you compare this story to within your genre?

Oh, the chance to be delusional!
I’ve recently read Attica Locke’s The Cutting Season. It’s so very, very good - it it is what I *aspire* my book to be. A slow paced character driven crime story that unwraps crimes greater than those under investigation. Crooked Letter, Crooked Letter, by Tom Franklin, set in Mississippi in the 1980s is another character driven social history expose that I admire enormously. In writing crime that also acts as an investigation into social history I'm inspired by the work of Mala Nunn, who dissects the establishment of apartheid in 1950s South Africa and David Whish-Wilson, who is accounting for the dirty secrets of Perth and Western Australia in the 1970s.
Read them.
Also, this time I have tried to do something technically similar to The Laughing Policeman, by Sjöwall and Wahlöö in that I want to have one last big reveal as close to the final lines of the book as possible.

I invite you to check out these writers for their next big things:

(Watch this space - more to follow)
 

Saturday, November 24, 2012

Meeting people for the first time on the worst day of their lives.

That's something I often say to people when they ask me why I left the police force.

This week I wrote about that and expanded on it for The Drum in a piece that I submitted, not really sure if it worked or it didn't.

I couldn't even come up with a title. The editors at The Drum called it: Giving up the licence to kill.

I was a bit unprepared for how it spread. The following afternoon I found myself talking with Richard Glover about it on ABC702 Drive. I've been fortunate to have had the opportunity to chat on regional radio when The Old School came out, but this was different. When you talk about your book you have that distance, they're characters, it's fiction, but this was personal, it touched on real people and real tragedies and I was terribly nervous.

I walked out knowing I'd been talking for close to twenty minutes but, rather like when you walk out of a job interview you're not entirely sure of what you've been saying.

The piece was a response to the number of incidents involving the police and the use of both deadly force and alternatives to deadly force that have ended badly in recent times. Even today, as I write this, the news is full of discussion about another incident.

There's one thing which I didn't address in The Drum piece which I might add here. When police do use their firearm, people have often asked me why it is they don't just shoot to wound someone. Wing them. Shoot their arm so they can't stab. Or their hand so they drop their gun. Or their leg so they can't escape.

There's a very good reason.

An arm, or a hand, is a few inches wide. In the sort of circumstances where police use their weapons people are generally not standing stock still. Their movements are frantic. The police involved are probably shaking with adrenaline as well. The kind of sharp shooting that involves hitting a small moving target with pinpoint precision in a frantic scenario isn't even seen in Olympic sharp shooting competitions. And cops are not Olympic level shooters and they are not shooting in Olympic controlled conditions.

There's a basic brutal reason police are taught to aim and shoot at the body mass. It's because it's the biggest thing. It's to maximize the likelihood of hitting the target and the target alone, not anybody else because, as I explain in The Drum, if a police officer takes out their firearm, a really specific set of circumstances have to exist. It's not there to scare, to warn, or to wound, but to stop someone.

Today is another day I'm glad the most stressful things I had to do was give a talk at a library, write a blog entry or two, and prepare a lecture for tomorrow. And I have the good fortune to know that if I stuff up any of them no one is going to die.

Not at all stalkery ... no, really.

Last Thursday I had the great pleasure of being in the question asking chair and having Ian Rankin in the question answering chair at a great event for Shearers Bookshop. Leichhardt Council generously hosted the event at the Town Hall, for free, with added wine and nibbles and around three hundred people duly turned up.



It was a lot of fun doing the research to prepare for the event. Took me back to my MA exegesis and the conference papers I wrote one of which, Crime Fiction and The Politics of Place: The Post 9/11 Sense of Place in Sara Partesky and Ian Rankin ended up as a chapter in The Millennial Detective.

I finally found some clips of Ian Rankin's Evil Thoughts, as it's not made it to OZ. I highly recommend the scene of Mr Rankin being exorcised by a sad-eyed old priest at the Vatican.

It was a marvelous atmosphere, and Ian Rankin was an engaging and generous interviewee, particularly as I had attended his event the previous day at Stanton Library where I was directed to fill up a front seat and proceeded to slightly freak the poor man out by taking copious notes. No, not at all stalkery. 

The good people at Shearers have blogged a round up of the night - so if you missed it, you can catch up on all the news about Rebus. He's baaaaaaaaaaaack!!!!!!

And in today's Sydney Morning Herald, my review of Standing in Another Man's Grave.
"Whatever the future holds, Rebus is back and there's likely to be a bit more rage before the dying of his light."
Whatever the future holds, Rebus is back and there's likely to be a bit more rage before the dying of his light.

Read more: http://www.smh.com.au/entertainment/books/standing-in-another-mans-grave-20121123-29yik.html#ixzz2D7p6NR8g
Whatever the future holds, Rebus is back and there's likely to be a bit more rage before the dying of his light.

Read more: http://www.smh.com.au/entertainment/books/standing-in-another-mans-grave-20121123-29yik.html#ixzz2D7p6NR8g
Whatever the future holds, Rebus is back and there's likely to be a bit more rage before the dying of his light.

Read more: http://www.smh.com.au/entertainment/books/standing-in-another-mans-grave-20121123-29yik.html#ixzz2D7p6NR8g

Whatever the future holds, Rebus is back and there's likely to be a bit more rage before the dying of his light.

Read more: http://www.smh.com.au/entertainment/books/standing-in-another-mans-grave-20121123-29yik.html#ixzz2D7p6NR8g
Whatever the future holds, Rebus is back and there's likely to be a bit more rage before the dying of his light.

Read more: http://www.smh.com.au/entertainment/books/standing-in-another-mans-grave-20121123-29yik.html#ixzz2D7p6NR8g
Whatever the future holds, Rebus is back and there's likely to be a bit more rage before the dying of his light.

Read more: http://www.smh.com.au/entertainment/books/standing-in-another-mans-grave-20121123-29yik.html#ixzz2D7p6NR8g
Whatever the future holds, Rebus is back and there's likely to be a bit more rage before the dying of his light.

Read more: http://www.smh.com.au/entertainment/books/standing-in-another-mans-grave-20121123-29yik.html#ixzz2D7p6NR8g