Karen and Irma chat about the challenges of being able to accept praise. Then Irma talks with Katherine Collette about how co-hosting The First Time podcast was life-changing, her most excruciating experience with the podcast, the excitement of overseas deals for her debut novel and the huge low that followed, how the US market differs from the ANZ market, the secrecy around book sales, the challenges in moving from writing books for adults to writing for kids, how to write humour on the page, how to navigate the emotional headspace of writing, the best and worst advice she’s received, the odd liminal space that unpublished writers can exist in for years when they are ‘not quite there yet’, the key things debut authors commonly don’t understand when they enter the publishing process, and why she doesn’t think social media promo makes much difference to sales. 

About Katherine

Katherine Collette has written two novels for adults, The Helpline and The Competition. She has also written and illustrated Out of Bounds, the first in the children’s book series The Too Tall Tales of Alma T Best, and was co-host of The First Time podcast. She is a former engineer and current writing coach.

Irma and Karen chat about the changing shape of the Australian publishing industry as small publishers are bought up by larger publishing houses. Then Karen talks to short-story maestro Cate Kennedy about how she came to be a writer and then a teacher of writing, how writing (and reading) a short story is like plunging deep into a diving pool, how her career took off after having a story published in a 9/11 commemorative edition of the New Yorker, how she wrote a novel because of an offer she couldn’t refuse, what makes a character interesting, how judging prizes has changed her writing, how to overcome procrastination and slumps in confidence, and how a mystery person served her a cup of tea in a green room.

About Cate

Cate Kennedy is an award-winning short-story writer of two collections, Dark Roots, and also Like a House on Fire, which was shortlisted for the inaugural Stella Prize. Cate has also written poetry, a travel memoir Sing and Don’t Cry, and a novel, The World Beneath, which won the People’s Choice Award in the NSW Premier’s Literary Awards. Cate is an incredible teacher of creative writing. She also works as a writing teacher and advisor on the faculty of Pacific University’s MFA in Creative Writing Program in Portland, Oregon. She lives in Castlemaine, Victoria.

Irma and Karen chat about their top books from the last 12 months. Then Karen chats with lifelong activist and former politician Bob Brown about why writing is so important to activism, why storytelling with intent is important, how he approached writing his memoir, why the practice of writing notes while out in nature is key, the ways in which writing fiction is important in getting people to think about other lives and issues, why he’s given up writing his speeches, the ways in which hope sustains him, how collaboration with other artists is fundamental to his work, and his friendship with Richard Flanagan.

About Bob:
Bob Brown is a former politician and leader of the Australian Greens party. He’s also an environmentalist and activist. Bob was a founder of the Wilderness Society and a key campaigner to save the Franklin River from being dammed. Since then, Bob has campaigned tirelessly on many social justice and environmental issues, including the establishment of protected wilderness areas, the preservation of native forests, threatened and endangered species, and action on climate change and human rights. Bob has written a number of books for different audiences, including memoir, poetry, children’s fiction, travel, and stunning photo books. 

In a special series direct from the Ubud Writers and Readers Festival (UWRF) Omar Musa chats with Irma about how growing up in an artistic family set his course, why he stopped reading and writing during a dark period and how a new form of expression saved him, the ways in which earning a living from the thing you love can be deeply problematic, why winning the Australian Poetry Slam took him to UWRF and was a gateway into the literary world, why he wants to challenge his own assumptions and biases through his work, why he found it so difficult to go from poetry to writing his first novel, what it’s like collaborating with his cellist wife, and how he deals with deep fear and self-doubt.

About Omar
Omar Musa is a Bornean-Australian author, visual artist and poet. He has released four poetry books, four hip-hop records, and a novel, Here Come the Dogs, which was long-listed for the International Dublin Literary Award and Miles Franklin Award. In 2015, he was named one of the Sydney Morning Herald’s Young Novelists of the Year. His one-man play, Since Ali Died, won Best Cabaret Show at the Sydney Theatre Awards in 2018. He has had several solo exhibitions of his woodcut prints, and his most recent book, Killernova, combines prints and poetry. His next novel Fierceland is out 2025, and here at the Ubud Writers and Readers festival he is performing The Offering with cellist Mariel Roberts.

In a special series direct from the Ubud Writers and Readers Festival Bora Chung chats with Irma about how she wrote her first short story solely for prize money but it eventually led to a short fiction collection that was shortlisted for the Booker Prize, why her publisher thought an approach from Anton Hur to translate her collection into English was a scam, what it was like to be at the Booker Prize ceremony and the strange thing every judge said to her, how the Booker has impacted her career, why she doesn’t translate her own work into English even though she is a translator herself, the future of AI in terms of both writing and translation, why she translates books just for fun without the promise of a publishing contract, and why her Indian publisher recently submitting Your Utopia for a small Indian prize has meant more to her than shortlisting for the Booker.

About Bora

Bora Chung has written four novels and six collections of short stories. In 2022, her collection Cursed Bunny was shortlisted for the Booker Prize. In 2023, it was a finalist in the U.S. National Book Award for Translated Literature. She has an MA in Russian and East European studies from Yale University, and a PhD in Slavic literature from Indiana University. She has taught Russian language and literature and science fiction studies at Yonsei University, and translates modern literary works from Russian and Polish into Korean.

In a special series direct from the Ubud Writers and Readers Festival Laura Jean McKay chats with Irma about the experience of touring her books to the UK, why she threw up in a caravan sink after finishing her novel, how the publishing landscape for short fiction has changed over the last two decades, a disastrous book event that ended up in an Oscar-winning performance, writing about big political themes, the surreal experience of recording her audiobook during the pandemic, why winning prizes can be a lonely experience, the overwhelming and unexpected support of the sci-fi community, how to develop writing muscles, the worst writing advice she received from a very famous author, why a serious illness altered the development of her novel, and the practical methods that she used to climb out of an intense period of writer’s block.

About Laura Jean Mackay

Laura Jean McKay is the author of The Animals in That Country - winner of the prestigious Arthur C Clarke Award, The Victorian Prize for Literature, the ABIA Small Publishers Adult Book of the Year and co-winner of the Aurealis Award for Best Science Fiction Novel 2021. Laura is also the author of Holiday in Cambodia and was Adjunct Lecturer in Creative Writing at Massey University. Her latest collection is Gunflower, shortlisted for the Queensland Literary Award and named one of The Guardian’s best books of 2023.

In a special series direct from the Ubud Writers and Readers Festival Aube Rey Lescure chats with Irma about how she initially followed a friend’s advice not to become a writer but then ditched law to pursue it anyway, how being multilingual impacts the way she writes, why she refused to follow the career trajectory her creative writing course advised, why she got fixated on publishing a book before she was 30 – and then was forced to let go of it, how her mum’s April Fool’s joke led to an important plot line in her debut novel, how she approached writing from different POVs, why she let go of the need for external valuation – and was then shortlisted for the Women’s Prize for Fiction, the pressure of writing the second novel, the impact of her essay on women’s safety, what she learnt from the publication day disappointment of not finding her book in stores, and the phone call that made her squeal on the streets.

ABOUT AUBE REY LESCURE
Aube Rey Lescure is a French-Chinese-American writer. She grew up between Provence, northern China, and Shanghai, and graduated from Yale in 2015. Her debut novel, River East, River West, was shortlisted for the Women’s Prize for Fiction 2024, and her fiction and creative nonfiction have appeared in Guernica, Best American Essays, The Florida Review online, and more. She has also co-authored and translated two books on Chinese politics and economics, and is the Deputy Editor at literary magazine Off Assignment. 

In a special series direct from the Ubud Writers and Readers Festival Nam Le chats with Irma about why his first unpublished novel was a spectacular failure but still worthwhile, why for a long time he was a secret writer and the renowned Iowa Writers Workshop was him ‘coming out’ to the world, how he naively thought the crazy success of The Boat was what all writers experienced, why Nam made a pact with himself that he would find the good in every publicity question, how his publisher felt about him wanting to publish a poetry collection – notoriously the smallest selling genre – and why he had to fight for the book in the US market, the ways in which he is wrestling with his cultural identity and the notion that he must represent a particular voice, why he puts so much pressure on himself as a writer, the good and the bad of the writers’ room on film and TV projects, and how self-doubt can become damaging.

ABOUT NAM LE
Nam Le burst onto the literary scene in 2008 with his collection of short fiction, The Boat, which was translated into 14 languages and won every prize imaginable, including the Dylan Thomas Prize and the Prime Minister’s Literary Award. It was also selected as a New York Times Notable Book and named book of the year by everyone from The Guardian to The Australian. Since then Nam has published a monograph, On David Malouf, as part of the Writers on Writers series, and most recently a collection of poetry, 36 Ways of Writing a Vietnamese Poem. He has also written for film and television.

Irma and Karen chat about writers festivals they’ve recently attended, as well as the joys and challenges of being a panel moderator and interviewing other authors. Then Karen talks to JP Pomare about how he didn’t know he was writing crime until it was marketed that way, why his goal is to transcend the genre, how he’s managed to publish seven books in six years, why we’re so fascinated with crime fiction, how writing an Audible original taught him valuable lessons about writing, why research can be a trap and so he fact-checks instead, how he finds expert consultants, why an announcement over the loudspeaker at a library event was the lowest point of his career, and why he tried to break into a prison as research.

About JP 
JP Pomare is the bestselling author of seven novels and several Audible Original crime thrillers. Several of J.P.'s novels have optioned for film and TV, with one already adapted as a mini series and another currently under production for Stan Australia. He’s a proud Māori man (Ngāpuhi) and grew up in Aotearoa (New Zealand). He lives with his family in Melbourne.

Irma and Karen chat about the upcoming Ubud Writers and Readers Festival. Then Karen talks to Kylie Needham about how a short story turned into her debut novel, the joys and challenges of writing for television and the screen, the collaboration of the writers’ room and the vulnerabilities of the process, what writing scripts taught her about moving the narrative forward, whether authors should get involved with screen adaptions of their work, the inequality and sexism of television in the 2000s, and a beautiful moment with a literature high school teacher decades later.

About Kylie:
Kylie Needham is an award-winning screenwriter. She has won two AWGIE (Australian Writers’ Guild) Awards for television scriptwriting, and her work has been published in several literary journals. Her first novel GIRL IN A PINK DRESS, published in 2023, won the MUD Literary Prize for the best debut literary novel by an Australian author, and also won the MARION Writers Prize for Fiction.