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In a special series direct from the Ubud Writers and Readers Festival Nam Le chats with Irma about why his first unpublished novel was a spectacular failure but still worthwhile, why for a long time he was a secret writer and the renowned Iowa Writers Workshop was him ‘coming out’ to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 JP'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.

Irma and Karen chat about audio books.

Then Karen speaks with Finegan Kruckemeyer about how he got his first break as a playwright, the difference between writing for young people and adult audiences, how much freedom there is in the parameters of commissioned works, why he acts out his scripts, why a school production of one of his plays blew him away far more than the professional production, how he goes about writing both comedy and big issues, why he doesn’t enter the rehearsal space, advice on how to get started as a playwright, and how his wife’s illness and a new puppy led to writing his first novel.

About Finegan
Finegan Kruckemeyer is one of Australia’s most prolific playwrights and has written more than 100 commissioned plays for children and adults that have been performed all over the world. He’s received many awards for his work as a playwright, including the 2017 Mickey Miners Lifetime Achievement Award for services to international theatre for young audiences, and the 2015 David Williamson Award for Excellence in Australian Playwrighting. He’s recently had his first novel published: The End and Everything Before It.

Irma chats to agent Jacinta di Mase about what agents do to earn their 15%, the intricacies of contracts – including rights reversion, world rights, backlists and rising royalties, how an agent can fight for an author over cover design and choosing a title, the dos and don’ts of submitting to agents, the extent of editorial feedback to expect from agents, how the submission process to publishers works, the ins and outs of foreign rights, what a co-agent is and why they’re important, how film/TV deals are negotiated, how Covid transformed the industry for the better, and why a meeting at Allen & Unwin with Clementine Ford turned out to be one of the highlights of Jacinta’s career.

About Jacinta
Jacinta di Mase has a background in bookselling and publishing, and worked for ten years in two of Australia’s premier literary agencies, before setting up her own agency, Jacinta di Mase Management, in 2004. The agency represents a diverse range of writers and illustrators across all areas of the publishing market, including fiction, non-fiction, and books for children and young adults.

Karen and Irma chat about the ins and outs of contracts.

Then Irma talks to Hilde Hinton about the way her work polarises people, how an argument with her brother (actor Samuel Johnson) led to her first novel, why Lego is an important part of her writing process, how novels can make space for important conversations about big topics like mental illness and suicide through joy rather than the sadness, how AI has revolutionised the way she researches, the ways in which writing her debut changed her feelings about her mother, why she formulated a three-book plan (and pulled it off), not being timid during the editing process, and how eating milk bottle lollies with Tony Birch in a green room led to a watershed moment.

About Hilde
Hilde Hinton’s critically acclaimed debut novel, The Loudness of Unsaid Things, made a number of bestseller lists, when it hit the shelves. Her next book was Heroes Next Door, written with her brother Samuel Johnson. Hilde’s second novel, A Solitary Walk on the Moon, was published in May 2022. She is currently head down bum up, working on her third novel, currently untitled, to be published in May 2025. 

Irma and Karen reveal exciting new partnerships with Ubud Writers and Readers Festival and Writers Victoria.

Then Karen chats with Beejay Silcox about literary criticism in Australia – what good critics endeavour to do, the blowback from a tough review, what is lacking in Australian criticism, the impact of shrinking page space, the inability to make a sustainable career out of criticism, and her deep regret over one particular review. And then on judging the Stella Prize – how the process works, the role of chair and how the panel is selected, how a shortlist and then a winner is decided, and the alchemy of a strong process.

About Beejay
Beejay Silcox is an Australian writer and literary critic. She is the Artistic Director of Canberra Writers Festival, and was chair of the 2024 Stella Prize judging panel. Her literary criticism regularly appears in national and international arts publications, and her award-winning short fiction has been published in several literary magazines. She also teaches creative writing. 

Irma tries to convert Karen to writing program Scrivener.

Then Irma chats to children’s creators Anna Walker and Andrea Rowe about how authors and illustrators work together (or don’t!), why illustrator notes are a no-no, the profound impact of picture books on both adults and children, the biggest mistakes that new writers and illustrators make, what to expect from the editing and publishing process, how to network and build connections in the industry, the effects of crippling self-doubt, why we should all be library lurkers, the failures of literary festivals in relation to children’s authors, the devastating impact of a public complaint on Andrea’s debut book, and why Anna jetted off to New York for a publishing lunch.

About Anna and Andrea
Anna Walker is an illustrator and author of picture books. Using traditional mediums, she creates stories inspired by the quiet and sometimes joyful details of life. Her books include Florette, (New York Times/New York Public Library Best Illustrated Book), Mr Huff, (shortlisted for the Prime Minister’s Literary Awards and winner of a CBCA Award), and, most recently, A Life Song with Jane Godwin, which has been shortlisted for the Australian Book Industry Awards.

Andrea Rowe is an award-winning children’s author, ghost-writer and copywriter. She has published three children’s books – Jetty Jumping, Sunday Skating and In the Rockpool – and has won or been shortlisted for several major awards, including the CBCAs. She has another six picture books currently in production and has been awarded the prestigious May Gibbs Fellowship for 2024. Andrea is also Founding President of the Peninsula Writers’ Club.

Irma and Karen discuss author websites.

Then Karen chats with Kris Kneen about writing into deeply uncomfortable spaces and confronting issues like fatness and identity, how to write sex well, why they’re always switching up genres, how to deal with disappointment over missing out on awards, why they almost gave up writing entirely, and the moment that changed their life.

About Kris
Kris Kneen has written erotica, fiction, short-stories, poetry, memoir, non-fiction and scripts for film and documentaries. They have previously been published under the name Krissy Kneen, and their most recent book, Fat Girl Dancing, was shortlisted for the Victorian Premier’s Award in the non-fiction section. Their collection of poems, Eating My Grandmother, won the Thomas Shapcott Poetry Prize in 2015, and their other works have been shortlisted for many prizes.