1. Writers in Residence Programs

Applications are no being received for Writers in Residence Program for 2014. Writers will have the opportunity to live and write at the beautifully restored turn of the century cottage, Mattie Furphy House, located in the Bush Heritage precinct next to Allen Park, Kirkwood Street in Swanbourne WA.

Three residencies are available, on for an Established Writer and two for Emerging Writers. Guidelines and forms can be obtained by contacting the office. Applications must be received December 15, 2013.

To obtain the necessary forms please contact the office 9384 4771 or admin@fawwa.org.au

2. Masterclasses

Expressions of Interest are now being sought for two FAWWA Masterclass Series.

WILD AND URBAN HABITAT WRITING: the new ABC of nature narratives and poetry with Annamaria Weldon – Annamaria will present two workshops of three hours each, a talk including a Q & A sessions for members of U3A and Book Clubs, and provide an hour of mentoring for individual students. These workshops will take place late in 2014. Limited to six students.

WRITERS IN THE DIGITAL AGE with Natasha Lester and Annabel Smith. Two workshops of three house each with an emphasis on using Scrivener software. Limited to six students.

Expressions of Interest should include your background and writing history, and what you hope to get out of the course. Expressions of interest must be recieved by December 15, 2013.

The Tom Collins Poetry Prize is an annual competition inaugurated by FAWWA in 1975 in memory of Australian author Joseph Furphy (1843 – 1912) who wrote as Tom Collins.

First Prize is $1000, Second Prize is $400 and four Highly Commended poems receive $150 each. Poems should be no more than 60 lines. Closing date is 15 December.

TCPP2013 Entry Form and Guidelines

Good dialogue shows and expresses rather than tells. It makes the story fly. Of course, straightforward narrative can move the story forward and supply exposition (back-story) but dialogue is the high-octane fuel that propels the story and supplies much of its drama. it is sometimes difficult for writers to know when to employ dialogue instead of narrative (and vice versa) but appropriate and authentic dialogue lifts the story and gives it impetus, proving the premise, revealing character, progressing the plot and carrying exposition.

Course Structure

The five functions of dialogue

What makes good dialogue

Voice

Revealing character through dialogue

Exposition through dialogue

Colour and texture

Subtext. Don’t write every line ‘on the nose.’

Bad language. Be honest. If you do not want them to use it, do not create the characters.

Speech tags and alternatives to said

Attribution. How to handle it

A short session on writing dialogue for the screen. The difference between dialogue to be read as opposed to spoken. The through line development of the story; what the actor is looking for.

Exercises in writing dialogue.

If you are looking for a competition to enter, check out the FAWWA Competitions Calendar.

Join John Harman at Mattie Furphy House on Saturday 21st September for second workshop in the series, How to Writer and Publish a Novel. A story is a completed process of change which has the ability to move readers feelings powerfully and pleasurably (or painfully) in a definite way. But though the story may arise and progress out of causality (plot) it is our interest in… affinity with…horror at…the protagonist or antagonist that keeps us hooked. Frequently we remember characters long after we have forgotten the plot. A story may be structured like a journey with a compass – the premise… them…threads. A map – the plot. An engine – the motivation of the protagonist (and other central characters). Dialogue – the fuel of the story. Exposition – the territory through which the story travels.

This means the depth, dimensionality and authenticity of the story characters are vital. Many new writers are too soft on their characters and as the story may be a quest – a hard, dangerous journey (either physical or emotional) from point a to point b in which the protagonist has an extremely strenuous time, the writer needs to create characters who can take all the physical, emotional and mental punishment the story is about to hand out. Fictional characters must possess sufficient strength of character to handle difficult dilemmas. In other words – characters must be up to the plot.

The Mattie Furphy Creativity Festival will be Sunday October 20th.

The Annual General Meeting will be Sunday October 27th; please consider who you would like to nominate for positions on the committee.

Rattlebrook is a writing group meeting at TCH on Thursday nights, facilitated by award-winning writer Karen Dixon. Join us for an evening of freewriting inspiration and self-discovery, drawing on imagery, music, symbolism and whatever else takes our collective fancy! Open to all skill levels, we atke turns presenting exercises and read our work aloud in an environment of acceptance and encouragement. Five dollars admission covers the cost of the venue. 7.00 – 9.00pm

p.s. Karen has a standing arrangement with people who regularly attend the group that she send an sms each to week to let them know whether the group is on – just in case of illness or the unexpected. So first times, please contact the office to be put in touch with Karen.

FAWWA announces an important series of Writers’ Workshops on How to Write and Publish a Novel with published author, novelist, scriptwriter and ghost-writer, John Harman. The topics will be 1. How to Devise a Great Plot, September 14th. 2. How to Create Vivid, Believable Characters, September 21st. 3. How to Write Dramatic Dialogue, October 26th. 4. How to Show, not Tell – the Trick of Exposition, November 2nd. 5. How to Structure the Narrative: Combining the Elements, November 9th. 6. How to Find and Develop Great Story Ideas, November 23rd. 7. What Can You Do to Get Published? November 30th. The workshops will be run on Saturday afternoons from 1.30 – 4.30 at Mattie Furphy House.

The cost will be $36.00 per workshop for FAWWA (or any other writers’ group) members; $48 per workshop for non-members.

Series Discount for all seven sessions $210 for members of any writers’ group; $273 for non-members.

The courses will be interactive and participatory. Numbers are limited, so book early. Payment with booking, please.

A good plot is both the skeleton and sinews of the story, providing direction, definition and the power to move readers’ feelings to a satisfactory resolution. Yet, many writers find plotting difficult.

By understanding and experimenting with the nine-pont typical plot, workshop participants will learn the devious art of plotting, discovering that plots are driven by the wilful or unconscious desires of the protagonists and that plot character are two sides of the same coin- that the deepest desires and true personality traits of the major characters can only be unravelled through the exigences of the pot. Getting the lot and character perfectly entwined is both the storyteller’s craft and art.

The structure of a story may be viewed as the elements of a journey:

• the compass keeping you on track: the premise, themes and threads
• the map outlining you surroundings: the plot
  
• the engine making movement possible: motivation of the protagonist and central characters
• the fuel feeding the story: dialogue

The depth, dimensionality, dimensionality, and authenticity of plot are vital. As the story may be a quest, a physically or psychologically dangerous journey, in which the protagonist has a very hard time, the writer needs to create a subtly structured, yet believable, chain of events that subject the character to all the emotional, physical and mental punishment that the story is about to hand out.

Some elements John Harman will cover in his workshop

• What comes first: plot or character? Does it matter?
• The difference between story and plot
• Motive and consequences in plot
• What drives the plot? Believable motivation in characters
• The place of conflict in the story
• Making the story and its resolution come out of the conflict
• Story arc: the NINE POINT PARABOLA OF THE PLOT
• How to thicken the plot
• How all this plays out: an analysis of the movie ‘Thelma and Louise’

Cost: $36 per member $48 per non-member

Places are limited!

If you are interested, please register at admin@fawwa.org.au

You can also check out John Harman’s other workshops here.

The Fellowship of Australian Writers WA

Tel: +61 8 9384 4771 Email: admin@fawwa.org.au

Postal address: PO Box 6180 Swanbourne WA 6910

Physical Address:

Tom Collins House

Located in the Bush Heritage Precinct next to Allen Park

Kirkwood Street, Swanbourne

Office Hours: Mondays and Thursdays between 10am and 5pm

ONLINE PAYMENTS

Our banking details:

Name: FAWWA

BSB: 066104

Account No. 1016 9034