In this episode of the Book Deal podcast, hosts Tina Strachan and Natasha Rai share their experiences from their writing residency at Magnetic Island, Northern Queensland. Joined by other writers as part of the Roderick Centre's Writers on the Reef Residency, Tina and Natasha discuss the inspirational impact of the island on their work, the productivity from uninterrupted writing time, and the joy of being part of a supportive writers’ community. They talk about their respective projects, the benefits of the residency, and chat with Nicole Crowe, who manages the residency program. The episode also features insights on what the program looks for in applications and shares Nicole Crowe's upcoming debut book, 'The Washup.'
00:00 Welcome to the Book Deal Podcast
00:42 Magnetic Island Writing Retreat
01:46 The Residency Experience
03:10 Writing Progress and Inspirations
10:16 Event at Mary Who Books
11:52 Reflections and Future Plans
13:33 Introducing A Zaykova and Galaxy Grifter
14:24 Introduction to Galaxy Grifter
15:01 Welcome to the Book Deal Podcast
15:22 Writers on the Reef Residency
17:04 Application Process and Tips
21:43 Common Application Mistakes
24:48 Nicole Crowe's Debut Book
28:07 Publishing Journey Insights
31:19 Final Thoughts and Farewell
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Tina Strachan (00:09):
This is the Book Deal podcast where you will
discover the inspiring stories,the authors behind your favorite
books.
No matter what stage of writingyou are at, we've got you
covered.
I'm Tina Strachan.
And I'm Madeleine Cleary.
And join us as we pull back thecurtain of published authors one
deal at a time.
Madeleine Cleary (00:29):
The book Deal podcast acknowledges the
traditional owners, the land andwaters, which it's recorded on.
And pays respect to their elderspast, present, and emerging.
Natasha Rai (00:42):
Hi Tina.
Tina Strachan (00:43):
Hi Natasha.
How are you?
Natasha Rai (00:45):
I'm so, so fine, so fine.
Tina Strachan (00:49):
Why are we so fine today?
Natasha Rai (00:50):
Because we're up on Magnetic Island mm-hmm.
For a week of sun.
Mm-hmm.
And writing and cheese and wine.
Mm-hmm.
Also mainly writing and, andmainly writing, but swimming.
Tina Strachan (01:04):
Swimming in the pool.
Swimming in the beach.
I know.
Walking in the sand.
Natasha Rai (01:10):
Oh, it's idyllic.
It's idyllic.
It really is paradise.
It is.
Tina Strachan (01:15):
So Magnetic Island is in Northern
Queensland.
Yep.
Uh, which is fantastic'causeit's winter here at the moment,
yet we are sitting here inshorts and a singlet and very
much enjoying the sunshine.
Natasha Rai (01:26):
Yes.
I've been for swim almost everyday since we've been here.
Tina Strachan (01:30):
Mm-hmm.
And I'm sitting here with wethair.
Yeah.
Even so.
Now it does sound luxurious,doesn't it?
And it's very, we feel veryprivileged Yes.
To be here.
Yes.
But, um, we're not, it's notjust us.
We're here with some otherwriters as well.
That's true.
Yes.
There's five of us.
Mm-hmm.
And it's all thanks to theRoderick Centre.
Natasha Rai (01:50):
Part of the James Cook University.
Tina Strachan (01:52):
Mm-hmm.
Mm-hmm.
And it's, and it's part of theirWriters on the Reef Residency,
which we were, not only were wesuper fortunate enough just in
ourselves to be accepted ontothe program, but I can't believe
that we both got accepted in thesame year.
Natasha Rai (02:09):
No, it was such a thrill when I saw your face on
the shortlist.
'cause we hadn't even told eachother, we'd applied.
No.
So I was like, what?
And then the same day that wefound out we were shortlisted,
we got, we got the phone call.
Mm-hmm.
Mm-hmm.
And that was hilarious because Iwas like, oh my, I know.
Tina Strachan (02:28):
If only Madeleine was here.
I know.
I do miss you Madeleine.
Um, you would enjoy it very muchtoo.
Yes.
So, um.
So we both, so for this, haveyou done a residency before?
Natasha Rai (02:40):
No, it's my first one.
Yeah.
You too.
Tina Strachan (02:42):
No, this is my first as well.
And I, I think it's gonna be areally hard one to beat, I have
to say.
And you can't beat this.
I'm literally sitting here.
We're sitting here beside thepool, um, that's at the beach
house that we're in.
And I'm looking out to thebeautiful Horseshoe Bay.
I know.
(03:03):
Oh, I can't, we don't evenreally have words.
We don't just.
Just staring.
I know we're just looking out.
Um, but speaking of words, wehave been getting the words
down.
Natasha Rai (03:13):
Oh God yes.
So I had a plan to work on asection of this new manuscript
that I have, and I genuinelythought based on how productive
I'm at home, because I just hada really, really, really
realized, which is a stupidthing to say, how much time you
get when you don't have to worryabout cooking and laundry and
(03:35):
chores and working like day job,working.
Um, so I had planned to do thesetwo new chapters over the co
course the whole week and I'vedone them in three days.
Tina Strachan (03:47):
That's incredible.
Is amazing.
Yes.
Yeah.
Is it the vibe as well and justYeah.
Being relaxed and the ideas canjust flow and, you know, going
for a beautiful walk on thebeach is always helpful, yes.
To sort out any plot problems.
Natasha Rai (04:00):
Yes.
And'cause I,'cause the, my, um,setting is on an island.
Mm-hmm.
In the future.
Um, and just walking along thebeach, getting a sense of tides.
Mm.
Getting a sense of who the typeof person I might live in a, in
an island.
I don't know.
It is just done wonders.
Like, um, you'll hear fromNicole Crowe in a minute.
(04:24):
Uh, we, we had, we had a chat toher about, um, the program and
she talks about this importanceof place.
Mm-hmm.
And I've heard other writerstalk about going to somewhere
where they are working andwriting and how place influences
their work.
And I knew that theoretically,but being here has just really
brought it home.
Just the smells, the sights, thesounds, it's, it's incredible.
(04:47):
Mm mm mm-hmm.
Yeah, I feel very fortunate.
Tina Strachan (04:50):
Mm.
Yeah.
It was good having a chat toNicole'cause she could tell us
all about the, you know, sort ofins and outs of the residency
and what they're looking for.
Um, so yeah, it's a reallyimportant episode, I think.
For all, um, writers who wouldlike to apply for the residency.
'cause it's truly, it is trulyamazing.
Um, but yeah, talking aboutplace and just making, sort of
(05:11):
trying to involve that in yourstory.
Yeah.
Which is something that they do.
Um, or part of the requirements,I guess is if the manuscript
that you're working on whileyou're here or the work that
you're working on while you'rehere, does involve a sense of
place.
And mine didn't originally have.
An island involved in it at all.
The manuscript that I'm workingon while I'm here.
(05:33):
But now I've decided just toshift the whole thing to an
island.
Excellent.
Because it actually, it actuallyreally serves the manuscript
better and plus I just loveislands as well, so that's gonna
be, yeah.
And it gives it another kind oftwist, which would be great.
So yeah, so I've had lots ofgood writing time as well, and a
lot of plotting.
Mm-hmm.
Plotting, I don't know.
(05:54):
It is not really plotting, Ithink it's more just getting the
story out.
Of my mind and, and onto thepage in a very vomit draft.
Okay.
Yep.
Natasha Rai (06:04):
So you're actually writing, putting words down.
Tina Strachan (06:06):
It's words down.
Yeah.
Yeah.
But they, they need a lot of,um.
They need a lot of, yeah.
Building up and, and expansion.
Mm-hmm.
But that's fine.
It's all part of it and yeah,it's all part of the process.
Natasha Rai (06:18):
And was that your plan for the week?
Like you wanted to try and getsome words in?
Tina Strachan (06:22):
Yeah.
Yes, definitely.
Because, um, you know, we'retalking about this earlier.
I think my ideas are sort.
Quite well formed in my mindbefore I start putting them
down.
So it's literally, it's all justthere.
I just need to, to find the timeto write it all down and, well,
you know, we've got half a weekleft on this beautiful island,
so I'm excited to see how far Iget.
(06:44):
Yeah.
So why did you apply for theresidency, Natasha?
Natasha Rai (06:50):
A a couple of reasons.
Firstly, I have never been onone, like I've been away with
friends, like writer friends andpaid for retreats, and I just
really like the idea that ofgoing somewhere I've never been
before.
Mm.
Having this beautifuluninterrupted time and having
some of it funded.
(07:10):
Mm mm by somebody else.
Mm-hmm.
In a way that there's no, like,I couldn't come here to this
specific property that we're onNo.
And pay for it outta my ownpocket.
There's just.
I couldn't do it.
Mm.
For the amount of time thatwe're here.
Mm-hmm.
So those were all the reasons,and I've just heard now quite a
few friends who have been onresidencies and just hearing the
benefit of A, the writing time,B, the thinking time, and also
(07:33):
the sheer wonder and joy ofbeing with other writers.
Mm.
And you all just get it.
And you don't have to explainyourself.
You don't have to ask for timeor.
I don't know.
It's just very different to whenyou are with family or friends
or civilians.
Yes.
Who don't get it in way, whodon't quite understand that.
Tina Strachan (07:53):
Yes.
That you could, if you'resitting at the table with your
computer in front of you, youcould be deep in another world.
So it's best just to quietly.
Natasha Rai (08:02):
Exactly.
Why did you apply Tina?
Tina Strachan (08:04):
Um, I saw it coming up on social media.
It must have been from lastyear.
And I remember just thinking,wow, like that's incredible.
Look at these lucky, luckypeople that go on these.
Residencies and I thought, well,maybe that could be me, you
know?
And then it came around thisyear and I thought, you know,
because the, uh, residency thatdo, you know, we're talking
(08:28):
about place.
So they do like, um, therequirements for what you're
working on.
To be heavily involved in placeand also, um, you know, all
islands, uh, specifically'causeit is on an island or, um,
environmental themes.
And most of my books are setwith environmental themes, uh,
in them or kind of at theircore.
(08:48):
And well, I thought, well,that's perfect because I can,
I've got something that I cansubmit.
Um, I'll see how I go with theapplications.
So I was truly, yeah, reallysurprised.
But, um, really, yeah, reallyhappy to, to, um.
Yeah, to, to receive theresidency.
But yeah, I applied for it, Ithink because, um, also like,
(09:09):
just the thought of a week.
Away.
Yeah.
To write.
Exactly.
It almost gives you, it givesyou permission because you know,
you always, like you were sayingbefore, there's always stuff to
do at home.
Like you're always, you know,and I've got kids as, as well,
so there's, you know, your dayis just so full and so just have
that uninterrupted time is isliterally like a dream.
Natasha Rai (09:32):
Exactly.
Because, you know, even I assumewith your.
Kind of commitments.
Even when you have a block oftime, you still have to stop to
maybe go pick up children.
Or, yeah.
You know, drop them offsomewhere.
Yeah.
Yeah.
So it's, it's never the kind ofstretch of time that you.
That you hope for.
Mm-hmm.
Tina Strachan (09:49):
No, that's right.
Yeah.
And you're always thinking,there's always other things to
think about.
Exactly.
Yeah.
And sometimes sitting down andwriting feels a so
self-indulgent when you shouldbe doing all these other things,
feeling a little bit of guiltsometimes.
So, um, so yeah, this isdefinitely permission to, you
know, write.
Think Yes.
(10:10):
Stare at the wall and thinkabout your plot point.
Go for a walk and think aboutyour plot point.
Yes.
It's incredible.
Natasha Rai (10:15):
Yeah.
And as part of the residency,one of the commitments that we
had, uh, was to do an event.
So we did an event on Thursdaynight, so it was the second
night we were here at Mary WhoBooks in Townsville.
It's a gorgeous little bookshop.
Amazing.
So if you are in the Townsvillearea, please go and check it
out.
Mm-hmm.
(10:35):
Um, Katie.
Is the owner and manager of um,Mary Who, so we did a little
event, the five of us, and wehave such an amazingly,
wonderfully engaged audience,don't you think?
Mm-hmm.
Tina Strachan (10:47):
Yes, I agree.
Natasha Rai (10:48):
And it just felt really good for me personally to
hear Tina and the other writerstalk about their work, because
we've got three poets here aswell.
Mm.
And hearing us or just hearingthem talk about the different
forms and different genres.
I dunno.
It just enriched myunderstanding of mm-hmm.
How to approach writing.
(11:08):
And some of the things that weresaid were just downright
profound.
Oh, profound.
Tina Strachan (11:12):
So profound.
I know, I know.
So, yeah, I think you learn alot them as well.
But you know what I thoughtafterwards is, although we write
so.
Such different styles.
Um, fundamentally, everybody iscoming from a similar place
almost, and speaks about writingand how it feels to write.
(11:34):
Yeah.
Uh, very similarly Yeah.
As well.
And those feelings.
So that was really interestingtoo.
But yeah, it was a beautifulbookstore.
It's, yeah.
Um, yeah.
We chatted to Tenille, um, whofrom the bookstore as well.
Yeah.
Um, and so that was, that was,yeah.
Natasha Rai (11:50):
Who was our host.
Yeah.
Mm-hmm.
So Tina, once you go home andonce you get back into life and
every day, you know, work, etcetera, family, what ha, what
will you be doing differently orhow has this week helped you
maybe get momentum back or getback into your manuscript?
Tina Strachan (12:07):
Mm-hmm.
Yeah.
Well, this manuscript I'mworking on was, is brand new
words.
So I hadn't even started, Imean, I'd done like a.
Sort of a, a pitch in a sono, areally high level synopsis of,
um, the whole story.
So this was new words, which wassuper exciting, you know, super
exciting and a little bit scaryto get those new words down.
(12:28):
So that has this week means thatI'll be a good way into it and
feeling comfortable with where Iam.
Um, and so when I get back, Ican just keep rolling with that.
Um, it is a little bit harder.
To get started or get to thatpoint when you've only got like
an hour a day.
Right.
(12:48):
So that would've taken me solong, months and months and you
know, who knows what comes up inthat time, you know, getting
around to finishing it, so, soyeah, I've been in a good place
and I can just keep rolling withit.
Natasha Rai (12:58):
Yeah.
Nice.
I love it.
Tina Strachan (12:59):
What about you?
Natasha Rai (13:00):
I feel like I've fallen back in love with my
manuscript because I've beentaking a break from it for a
while.
Given how much work I will havedone by the time we leave, I
feel like it's reinvigorated meand renewed my enthusiasm for
it, which is great.
It is great.
It's beautiful.
Okay, so I think it's time forme to go have a swim.
Mm.
(13:21):
Yeah.
Tina Strachan (13:21):
I might go, are you gonna go beach or pool?
Natasha Rai (13:23):
Beach, yeah.
Tina Strachan (13:24):
And then it's surely gotta be cheese and
cocktail time.
Natasha Rai (13:27):
Of course.
Tina Strachan (13:28):
Yeah.
Okay.
A Zaykova (13:33):
Hi, I'm A Zaykova, author of Galaxy Grifter, a
snarky high stake space opera,published by Orbit in June this
year.
The story centers on Levi, aninterstellar con artist, old
charm, no conscience.
His only real love is hisspaceship, Kairos, his symbol of
status and freedom, which hisforced to surrender as lone
(13:54):
collateral to the most dangerousgang in his quadrant.
Desperate to get his ship backby any means necessary, Levi
swindles a valuable anti-techblueprint from an alien
diplomat, which he plans to sellfor millions of credits to the
highest bidder.
To decode the document he hiresVera, a programmer whose
inherited debt.
Keeps her trapped on an asteroidin the galactic backwaters,
(14:17):
certain that Levi is merelyusing her.
She plans to steal the blueprintfor her creditors and finally
gain her freedom.
Their alliance is plagued byfiery tension, betrayals, and an
impossible choice.
When they learn that an aliengovernment intends to use the
stolen technology to planhumanity's genocide, and that
they will stop at nothing toretrieve their plans.
Galaxy Grifter is the first bookin the blackjack Intertel
(14:40):
universe.
It's available as an ebook, apaperback, and an audiobook read
by Dan Bitner, an award-winningnarrator who does a fantastic
job.
It often gets compared to StarWars and Firefly, and readers
love to hate the protagonist.
Read to find Out Why.
Thank you.
Tina Strachan (15:01):
Hi, Nicole Crowe.
Welcome to the Book DealPodcast.
Nicole Crowe (15:05):
Thank you.
Thanks for having me.
Tina Strachan (15:07):
Oh no.
It's our absolute pleasure,isn't it, Natasha?
Natasha Rai (15:10):
It is.
It's a very special episodebecause Tina and I are here
together, um, today fromMagnetic Island.
Mm-hmm, mm-hmm.
Yes.
Tina Strachan (15:17):
Doing some, doing lots of writing.
Yes.
Doing lots of beachy stuff aswell, which is incredible.
But that's what we've got youhere to talk to us about today,
Nicole, because we are here on,at the Writers on the Reef
Residency, which is part of theRoderick Center, uh, for
Australian literature andcreative writing.
Which is part of James CookUniversity and run out of James
(15:39):
Cook University.
And so that's your job, isn'tit?
That's your main role is to runthis program?
Nicole Crowe (15:46):
Yes.
Yes.
So we've, uh, this is our secondyear in a row running this, uh,
this, this competitiveresidency.
Um, and it's just been a realprivilege and honor to be able
to.
Put this on every year so farfor, um, authors to come up
north.
'cause uh, people don't oftenmake it up north very often, so
(16:07):
it, and it's, it's fabulous uphere.
And we've got a beautiful beachhouse on Magnetic Island, so we
have five authors staying in thebeach house for a week, um,
with, uh, food and everythingprovided.
And so it's a really specialopportunity, I think for writers
to come up and experience.
You know, north and far NorthQueensland and, um, to have that
(16:29):
sacred, you know, reallyimportant time away from the
real world and the day-to-dayslog of life and work and family
commitments, et cetera.
Um, and really get away andknuckle down and focus on their
creative projects.
So yes, it's a, it's a fabulousopportunity for authors and I
really enjoy running it everyyear and meeting the authors and
(16:50):
sharing ideas and, um, it's justa really special experience.
Tina Strachan (16:55):
It sure is.
Mm-hmm.
Yes.
Yes.
It's been very special for us.
Definitely, definitely.
We've got lots of writing doneso far.
Yes.
It's been amazing.
Natasha Rai (17:03):
Yes.
Mm-hmm.
Um, so as you said, Nicole, it'sa competitive process.
Um, so can you go over howwriters can apply and what you
are looking for or theadjudicators looking for in the
applications?
Nicole Crowe (17:18):
Yeah.
So, um, the, uh, our, uh,writers' center has a sort of a,
a, a, uh, one of our focuses isvery place-based.
Um, so for anybody who isinterested in applying next
year, um, that's, uh, kind of astrong element that we look for
in applications writers who are,who are interested in, um,
conservation, uh, writing, um.
(17:41):
Uh, or islands the Great BarrierReef,'cause Magnetic Island is,
uh, situated in the GreatBarrier Reef World, heritage
area.
So projects that focus on thatsort of real, kind of strong
element of the place of, of, um,climate change and islands, et
cetera.
Um, we look for that.
Um, and we also look for, uh, areally strong idea of, um, the
(18:02):
current project that they intendto work on while they're up here
for this seven day period.
Um, so we like a, a good, solidsort of, um.
Um, yeah, idea of the project.
Like, so because, so it, it'snot, so try and be specific if
you'd like to apply for nextyear, um, because that will be
really helpful.
'cause we want, we want, um,authors to have a strong
(18:23):
direction, uh, for their, fortheir time up here so that
they're maximizing their timeand writing as much as, as they
they're capable of during thatweek.
Um, and uh, yeah, that's kind ofit.
We don't have any particulargenres in mind.
It's, um, anybody.
Writing a, a sort of asubstantial piece of work or a
collection.
(18:44):
That's all, all welcome poets,genre lit, fiction, speculative,
uh, yeah, we're not fussy on,on, um, on genre.
Um, as long as they, if you'vegot a reasonably strong
publication record, whether itbe sort of journals or novels or
traditional publication or evenself-publishing.
(19:05):
Um, we look at that too.
Tina Strachan (19:06):
Oh my god.
Sorry.
There's a hummingbird at our,literally at our door.
Oh.
Oh, oh my God.
There's so awesome.
Nicole Crowe (19:13):
Oh, are they humming?
Are they, are they not?
Are they bright?
Kind of yellow?
Yes.
Yellow and blue.
Yes.
They're sunbirds.
Ah.
They're sunbirds.
Natasha Rai (19:22):
Oh my gosh.
They're beautiful in the window.
Nicole Crowe (19:26):
They're looking for somewhere to build a nest.
Oh yeah.
Okay.
They build this funny littlefunny little hanging.
They find a, like a piece ofstring or an eave or something,
and they ha they, they connectthe top of their nest to that,
and it hangs down like ateardrop shape, and they have
this little hole that they that,so they go into this little
teardrop nest.
It's very tiny, and they,they're so cute.
(19:46):
They even have like a littlevisor.
They build a little visor.
On top of their little entryhole into their teardrop nest.
Aw.
And they make their, they maketheir nest out of, um, uh, twigs
and leaves and spiderwebs.
They glue it all together withspiderwebs.
Natasha Rai (20:03):
So clever.
Nicole Crowe (20:04):
They're very cute.
Tina Strachan (20:06):
We are just completely, I know.
Mesmerized, mesmerized by that.
Oh, they're beautiful andhanging around
Nicole Crowe (20:11):
just the taste of what you can get when you're
lucky enough to receive a, aspot at writers on the reef.
Natasha Rai (20:17):
I just had a follow up question on what you said,
Nicole.
So when you said that, um, ithelps for writers to be
specific, you mean specspecificity around how it links
to the themes that you'relooking for.
Nicole Crowe (20:30):
Yes.
And a strong idea for a project,like being able to express the,
all the, the, um, the scope ofthe project and the, the goals
of the project as well.
Yeah.
And its links to the naturalenvironment or islands, ecology,
climate change, the reef, etcetera.
Tina Strachan (20:47):
Yep.
Yeah.
Good tips, good pointers, andyes, I highly recommend
everyone, uh, apply for this,uh, for next year.
When does it open?
When, when we start advertisingfor next year.
Nicole Crowe (20:58):
Um, probably, um, early half, early part of next
year I would say.
Tina Strachan (21:04):
Yeah.
Okay.
Nicole Crowe (21:05):
Um, yeah, we'll put, we'll put the call out for
applications and we'll have theapplication window open for
probably six to eight weeks, um,for people to get their
applications in.
And, uh, yeah, then we go fromthere.
Mm-hmm.
Tina Strachan (21:19):
So the best way for everybody to, um, keep on
top of when it opens is maybe tofollow the Roderick Centre on
social media.
Nicole Crowe (21:27):
Absolutely.
Yeah.
Um, visit our website, followour Instagram and Facebook
accounts, and, um, all of thatinformation will be available
across those platforms when, um,when we, we have firm dates
locked in.
Natasha Rai (21:42):
Perfect.
So, so given that this is thesecond year running, and so next
year you'll, you know, it'll bethe third year of applications,
what are some common mistakesthat you see that kind of go
works against writers to besuccessful?
Nicole Crowe (21:55):
Oh.
Um, some of them are quiterandom.
Like there was one, um,applicant that we received, um,
amongst the group that wastalking about their project was
they described their project as,um, like sci-fi and about how it
was gonna be set on MagneticIsland.
(22:18):
Um, and I thought, oh, that'sinteresting.
Um, but then when I got intomore of the application.
There was nothing to suggestthat the applicant had ever even
been to Magnetic Island or knewanything at all about it and
what actually another applicantsaid I would.
I love the Magnetic Islands.
(22:41):
And I thought that's prettyobvious that they did not really
do any sort of research intothe, uh, residency that they're
applying for or where it waslocated.
And there was another applicantthat said that they're really
interested in the history of.
Of like copper mining onMagnetic Island, and there's
never been any copper mining onMagnetic Island.
(23:03):
So just stuff like that.
If you don't know anything aboutthe place, don't pretend that
you do because, um, it'll bereally obvious very, very
quickly that you just pulling itoutta your bum.
Mm-hmm.
So don't do that
Tina Strachan (23:16):
and do your research first.
Nicole Crowe (23:18):
Yeah.
I mean, if you wanna talk about.
Magnetic Island or where,wherever you're applying for
residency.
If, if it's got a place, um,Strachan place based element to
it, um, it's, it's fine that foryou to say that you've never
been there and you dunnoanything about it because that's
really nice.
We wanna, we wanna bring peoplehere, we want people to
experience the place.
Um, so just be really honest andauthentic in your applica, in
(23:40):
your application materials andthat'll put you in good step.
Mm.
Tina Strachan (23:44):
Very good tip.
Natasha Rai (23:45):
Yeah, that's an excellent tip because, you know,
people, I guess, do apply formultiple residencies and it, it,
you can fall into the trap ofusing an application for
something else, but with, butnot checking it properly and
making sure the details matchwhat you are looking for.
Nicole Crowe (24:00):
Yes, exactly.
Yes.
Because we do read them all.
We don't have, like AI doing itsfirst pass on applicants.
Uh, we as a, as a small teamread every single application.
So your, your application isgonna be read by a human.
So, um, you don't have to worryabout, um, getting.
Um, getting culled in the firstround by some sort of bot,
(24:23):
because that's not the way weoperate.
So that could be a double-edgedsword because we will spot
things that are like weird andinaccurate.
Um, and if you're pretendingthat you know all about the
place, we're gonna spot thatimmediately.
And, um, it's probably gonna putyou at the bottom of the list.
Mm-hmm.
But yeah, we, we, we, we, we,uh, we appre we appreciate
(24:43):
authenticity in, um, ourapplications.
Yep.
Tina Strachan (24:48):
Um, so Nicole, your job at the Roderick Centre
and the residency is all abouthelping other authors, um,
helping them to get the, thewriting done.
Um, and you know, if you knowpublication is on their, you
know, their list of, you know,their wishlist, then, you know,
it's certainly helping them getthere.
Um, but you yourself are a verysoon to be published author with
(25:12):
your debut book coming out injust under two weeks.
Nicole Crowe (25:16):
Yes.
Yes.
I think it's the 26th of August,so it is coming up really,
really fast.
Um, so that's all very exciting.
Can you tell us a little bitabout your book?
Yeah, so it's called The Washup,and it's coming out through
Pantera Publishing.
Um, it will hit the bookshops onthe 26th, I believe.
Um, it's also available inaudiobook and ebook form.
(25:38):
Um.
So it's, it's set on MagneticIsland and in Townsville, which
is the closest mainland, um,city to Magnetic Island.
And, uh.
The, the tag, the tagline for itis, um, a tragic accident in
Paradise or a calculated crimecalled
Natasha Rai (25:57):
Love It.
Nicole Crowe (25:57):
So it's about, it's about a, um, it's about a
young woman.
She's 30, her name is Eve, andshe's just recovering from,
still recovering from the deathof her parents in a car crash
two years earlier.
And then I, um, so she's justticking along, leaving her life,
drinking too much.
Having real trouble getting outof our own way.
All that fun stuff, um, that wedo when we're 30 and kind of at
(26:21):
a bit of a loose end.
Uh, and then there's a, a, aterrible, um, soon after the
novel begins, it's a terribleskydiving crash.
And so Eve is, um, convincedthat it's not an accident.
And so this is kind of the, therest, the, the rest of the book
is her trying to figure out whathappened.
(26:42):
Um, in this awful crash and whowas to blame or was it an
accident?
And she kind of loses the plotquite a few times through the
novel, makes some really badpersonal decisions.
Um, yeah.
And so it's about her trying tofigure out that sort of central
mystery while trying to alsomaintain her own sanity, which
is tough.
Tina Strachan (27:03):
Mm-hmm.
Mm-hmm.
Sounds exciting.
I can't wait to read it.
Congratulations.
Nicole Crowe (27:08):
Yeah, thank you.
Yeah, it is exciting.
I hope, I hope readers love it.
It's all, it's very terrifyinghaving something that you've
spent such a long time on andput a lot of blood, sweat, and
tears into, see it go out in theworld and just hope that it does
well.
So, um, I hope that everybody, Ihope that everybody gets a real
kick outta reading it.
Yeah.
Natasha Rai (27:26):
And, um, how long did you work on your manuscript
before you started submittingit?
Nicole Crowe (27:31):
Probably about 18 months, I think, sort of.
Part-time.
I was a couple of days a weekworking on it when I, I was kind
of on maternity leave too, so Istarted doing that on my
maternity leave.
Um, yeah, so it took a while andthen it took about 18 months
after that to find a home inpublishing.
So yeah, it's a, it's a longprocess as you guys know, so,
(27:54):
but it's all very, um, it's allvery worth it at the end of the
line and all of those edits anddrafts, oh my god, they go on
and on and on.
But then eventually you havesomething.
Worthwhile in your hand, whichis, um, a really great feeling.
Natasha Rai (28:07):
Has there been any elements or aspects of this
publishing journey that you'vegone through so far that's
really surprised you?
Nicole Crowe (28:14):
Everything.
Yeah, everything.
And I guess the biggestsurprise, um, as somebody who is
new to publishing, I think whenyou're, when you're writing, um,
when you're in the middle ofwriting your book, you think
that.
You don't know what you're doingand that the people in
publishing know what they'redoing.
(28:37):
And then you get your footthrough the door, and then you
have this team around you, andthen you quickly realize that
they, I mean, they know whatthey're doing, but it's really
hard.
It's impossible for anybody,even publishing veterans to
predict the next big thing or tocreate the next big thing,
right?
(28:58):
I was, I mean, before I hadanything to do with formal
publishing, I just assumed thateverybody was smarter than me
and better than me.
And, and that's not the case.
Everybody's just doing the bestthat they can.
And some things take off and gogangbusters and other things
that a publisher or people inpublishing will think it'll do
really well, does it.
And nobody can really explainwhy.
(29:19):
'cause that's just culture.
Natasha Rai (29:21):
Mm-hmm.
Nicole Crowe (29:21):
Culture and zeitgeist is a total mystery to
even people at the centre of it.
So.
That was quite illuminating, andeverybody's doing their
damnedest to get you the, thebest sort of, um, awareness and
profile that they can, but it'sso unpredictable.
So I, I kind of didn't realizethat level of unpredictability
until really just very recently.
(29:43):
So that's, um, that was alearning curve.
Yeah.
Natasha Rai (29:48):
Yeah.
And it feels like the way you'vedescribed that, that it would
both take the pressure off andon at the same time, like,'cause
then you can focus on thingsthat you can control, like
making it the best version ofthe work and collaborating with
the publisher and the publicistand you know, doing everything
you can to get the book outthere.
Nicole Crowe (30:04):
Or making it, as I said, as good as it can.
And then the other stuff likethe culture, the zeitgeist,
what's hot, what's not like,yeah.
Yeah.
I think there was a, I think itwas Andy Warhol who said, like,
somebody asked him a similarquestion, like something about,
you know, how is he so popular?
Or whatever.
And his answer to that was, oh,you know, I just make stuff.
(30:26):
Other people decide if it's art,and while they're deciding
whether or not it's art, I justkeep making stuff.
So that's, I think, the bestthat we can all do.
We just keep doing what we, whatwe can do.
We, you know, write what youknow, all of those old adages.
Just keep pushing with them,keep running with them.
Try not to listen too much tothe noise because you can't
(30:46):
control any of that.
All you can control is your ownsort of work and your own ideas
and your own output.
And then just all you can do isfit cross your fingers.
So, yeah, just keep going.
Keep going.
Tina Strachan (30:59):
That's such good advice, and I love that quote
that Andy Warhol said.
Natasha Rai (31:04):
Yeah, I, haven't heard that before, so I I really
like it too.
Nicole Crowe (31:06):
Yeah, it's good.
Yeah, it's great.
I always remember it when I'msort of stuck.
I'm like, oh, well I'm justgonna do what I can.
And then it's up to theuniverse, culture, zeitgeist,
all the rest of it.
Tina Strachan (31:17):
That's perfect.
I like it.
Thank you Nicole.
Thanks for looking after us, um,this week and
Nicole Crowe (31:22):
Oh my pleasure.
Tina Strachan (31:24):
Very welcome and, um, catering to our chocolate
and cheese requests.
Natasha Rai (31:29):
A special, special thanks with the chocolate and
cheese.
Tina Strachan (31:34):
It's what fuels writers, I think.
Yes.
It's the secret formula.
Nicole Crowe (31:38):
Absolutely.
Chocolate, cheese, and a bit ofsneaky wine.
And that's kind of, that's thesecret ingredient to the, to the
good work in the absolutelyperfect weather.
Natasha Rai (31:47):
Oh gosh, yes.
It is like paradise.
Nicole Crowe (31:51):
Yes, it's the perfect time of year to have,
um, to have residencies up here.
'cause it is lovely.
The bugs aren't too bad.
The, the, the, the animals aregoing a little bit mental though
because it's, um, breedingseason.
But, um, that's always veryentertaining.
I love it.
And the sunbirds come to yourwindow and try and build a nest
in your front doorway.
Yeah.
Tina Strachan (32:13):
Oh well, it's a very special residency and I
think we feel very grateful to,um, have be part of it on this
second year that it's been like,oh, been here for.
So thank you.
Thank you so much.
And to the Roderick Centre.
Nicole Crowe (32:24):
My pleasure.
Thank you.
Thanks guys.
Go forth.
Do fabulous work.
Eat the cheese.
Tina Strachan (32:34):
Thank you for listening to the Book Deal
podcast.
If you enjoyed this episode,please subscribe to the pod so
you can receive updates as soonas our new S drop and to keep up
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You can also find us onInstagram.
This is the Book Deal podcast where you will
discover the inspiring stories,the authors behind your favorite
books.
No matter what stage of writingyou are at, we've got you
covered.
I'm Tina Strachan.
And I'm Madeleine Cleary.
And join us as we pull back thecurtain of published authors one
deal at a time.
Madeleine Cleary (00:29):
The book Deal podcast acknowledges the
traditional owners, the land andwaters, which it's recorded on.
And pays respect to their elderspast, present, and emerging.
Natasha Rai (00:42):
Hi Tina.
Tina Strachan (00:43):
Hi Natasha.
How are you?
Natasha Rai (00:45):
I'm so, so fine, so fine.
Tina Strachan (00:49):
Why are we so fine today?
Natasha Rai (00:50):
Because we're up on Magnetic Island mm-hmm.
For a week of sun.
Mm-hmm.
And writing and cheese and wine.
Mm-hmm.
Also mainly writing and, andmainly writing, but swimming.
Tina Strachan (01:04):
Swimming in the pool.
Swimming in the beach.
I know.
Walking in the sand.
Natasha Rai (01:10):
Oh, it's idyllic.
It's idyllic.
It really is paradise.
It is.
Tina Strachan (01:15):
So Magnetic Island is in Northern
Queensland.
Yep.
Uh, which is fantastic'causeit's winter here at the moment,
yet we are sitting here inshorts and a singlet and very
much enjoying the sunshine.
Natasha Rai (01:26):
Yes.
I've been for swim almost everyday since we've been here.
Tina Strachan (01:30):
Mm-hmm.
And I'm sitting here with wethair.
Yeah.
Even so.
Now it does sound luxurious,doesn't it?
And it's very, we feel veryprivileged Yes.
To be here.
Yes.
But, um, we're not, it's notjust us.
We're here with some otherwriters as well.
That's true.
Yes.
There's five of us.
Mm-hmm.
And it's all thanks to theRoderick Centre.
Natasha Rai (01:50):
Part of the James Cook University.
Tina Strachan (01:52):
Mm-hmm.
Mm-hmm.
And it's, and it's part of theirWriters on the Reef Residency,
which we were, not only were wesuper fortunate enough just in
ourselves to be accepted ontothe program, but I can't believe
that we both got accepted in thesame year.
Natasha Rai (02:09):
No, it was such a thrill when I saw your face on
the shortlist.
'cause we hadn't even told eachother, we'd applied.
No.
So I was like, what?
And then the same day that wefound out we were shortlisted,
we got, we got the phone call.
Mm-hmm.
Mm-hmm.
And that was hilarious because Iwas like, oh my, I know.
Tina Strachan (02:28):
If only Madeleine was here.
I know.
I do miss you Madeleine.
Um, you would enjoy it very muchtoo.
Yes.
So, um.
So we both, so for this, haveyou done a residency before?
Natasha Rai (02:40):
No, it's my first one.
Yeah.
You too.
Tina Strachan (02:42):
No, this is my first as well.
And I, I think it's gonna be areally hard one to beat, I have
to say.
And you can't beat this.
I'm literally sitting here.
We're sitting here beside thepool, um, that's at the beach
house that we're in.
And I'm looking out to thebeautiful Horseshoe Bay.
I know.
(03:03):
Oh, I can't, we don't evenreally have words.
We don't just.
Just staring.
I know we're just looking out.
Um, but speaking of words, wehave been getting the words
down.
Natasha Rai (03:13):
Oh God yes.
So I had a plan to work on asection of this new manuscript
that I have, and I genuinelythought based on how productive
I'm at home, because I just hada really, really, really
realized, which is a stupidthing to say, how much time you
get when you don't have to worryabout cooking and laundry and
(03:35):
chores and working like day job,working.
Um, so I had planned to do thesetwo new chapters over the co
course the whole week and I'vedone them in three days.
Tina Strachan (03:47):
That's incredible.
Is amazing.
Yes.
Yeah.
Is it the vibe as well and justYeah.
Being relaxed and the ideas canjust flow and, you know, going
for a beautiful walk on thebeach is always helpful, yes.
To sort out any plot problems.
Natasha Rai (04:00):
Yes.
And'cause I,'cause the, my, um,setting is on an island.
Mm-hmm.
In the future.
Um, and just walking along thebeach, getting a sense of tides.
Mm.
Getting a sense of who the typeof person I might live in a, in
an island.
I don't know.
It is just done wonders.
Like, um, you'll hear fromNicole Crowe in a minute.
(04:24):
Uh, we, we had, we had a chat toher about, um, the program and
she talks about this importanceof place.
Mm-hmm.
And I've heard other writerstalk about going to somewhere
where they are working andwriting and how place influences
their work.
And I knew that theoretically,but being here has just really
brought it home.
Just the smells, the sights, thesounds, it's, it's incredible.
(04:47):
Mm mm mm-hmm.
Yeah, I feel very fortunate.
Tina Strachan (04:50):
Mm.
Yeah.
It was good having a chat toNicole'cause she could tell us
all about the, you know, sort ofins and outs of the residency
and what they're looking for.
Um, so yeah, it's a reallyimportant episode, I think.
For all, um, writers who wouldlike to apply for the residency.
'cause it's truly, it is trulyamazing.
Um, but yeah, talking aboutplace and just making, sort of
(05:11):
trying to involve that in yourstory.
Yeah.
Which is something that they do.
Um, or part of the requirements,I guess is if the manuscript
that you're working on whileyou're here or the work that
you're working on while you'rehere, does involve a sense of
place.
And mine didn't originally have.
An island involved in it at all.
The manuscript that I'm workingon while I'm here.
(05:33):
But now I've decided just toshift the whole thing to an
island.
Excellent.
Because it actually, it actuallyreally serves the manuscript
better and plus I just loveislands as well, so that's gonna
be, yeah.
And it gives it another kind oftwist, which would be great.
So yeah, so I've had lots ofgood writing time as well, and a
lot of plotting.
Mm-hmm.
Plotting, I don't know.
(05:54):
It is not really plotting, Ithink it's more just getting the
story out.
Of my mind and, and onto thepage in a very vomit draft.
Okay.
Yep.
Natasha Rai (06:04):
So you're actually writing, putting words down.
Tina Strachan (06:06):
It's words down.
Yeah.
Yeah.
But they, they need a lot of,um.
They need a lot of, yeah.
Building up and, and expansion.
Mm-hmm.
But that's fine.
It's all part of it and yeah,it's all part of the process.
Natasha Rai (06:18):
And was that your plan for the week?
Like you wanted to try and getsome words in?
Tina Strachan (06:22):
Yeah.
Yes, definitely.
Because, um, you know, we'retalking about this earlier.
I think my ideas are sort.
Quite well formed in my mindbefore I start putting them
down.
So it's literally, it's all justthere.
I just need to, to find the timeto write it all down and, well,
you know, we've got half a weekleft on this beautiful island,
so I'm excited to see how far Iget.
(06:44):
Yeah.
So why did you apply for theresidency, Natasha?
Natasha Rai (06:50):
A a couple of reasons.
Firstly, I have never been onone, like I've been away with
friends, like writer friends andpaid for retreats, and I just
really like the idea that ofgoing somewhere I've never been
before.
Mm.
Having this beautifuluninterrupted time and having
some of it funded.
(07:10):
Mm mm by somebody else.
Mm-hmm.
In a way that there's no, like,I couldn't come here to this
specific property that we're onNo.
And pay for it outta my ownpocket.
There's just.
I couldn't do it.
Mm.
For the amount of time thatwe're here.
Mm-hmm.
So those were all the reasons,and I've just heard now quite a
few friends who have been onresidencies and just hearing the
benefit of A, the writing time,B, the thinking time, and also
(07:33):
the sheer wonder and joy ofbeing with other writers.
Mm.
And you all just get it.
And you don't have to explainyourself.
You don't have to ask for timeor.
I don't know.
It's just very different to whenyou are with family or friends
or civilians.
Yes.
Who don't get it in way, whodon't quite understand that.
Tina Strachan (07:53):
Yes.
That you could, if you'resitting at the table with your
computer in front of you, youcould be deep in another world.
So it's best just to quietly.
Natasha Rai (08:02):
Exactly.
Why did you apply Tina?
Tina Strachan (08:04):
Um, I saw it coming up on social media.
It must have been from lastyear.
And I remember just thinking,wow, like that's incredible.
Look at these lucky, luckypeople that go on these.
Residencies and I thought, well,maybe that could be me, you
know?
And then it came around thisyear and I thought, you know,
because the, uh, residency thatdo, you know, we're talking
(08:28):
about place.
So they do like, um, therequirements for what you're
working on.
To be heavily involved in placeand also, um, you know, all
islands, uh, specifically'causeit is on an island or, um,
environmental themes.
And most of my books are setwith environmental themes, uh,
in them or kind of at theircore.
(08:48):
And well, I thought, well,that's perfect because I can,
I've got something that I cansubmit.
Um, I'll see how I go with theapplications.
So I was truly, yeah, reallysurprised.
But, um, really, yeah, reallyhappy to, to, um.
Yeah, to, to receive theresidency.
But yeah, I applied for it, Ithink because, um, also like,
(09:09):
just the thought of a week.
Away.
Yeah.
To write.
Exactly.
It almost gives you, it givesyou permission because you know,
you always, like you were sayingbefore, there's always stuff to
do at home.
Like you're always, you know,and I've got kids as, as well,
so there's, you know, your dayis just so full and so just have
that uninterrupted time is isliterally like a dream.
Natasha Rai (09:32):
Exactly.
Because, you know, even I assumewith your.
Kind of commitments.
Even when you have a block oftime, you still have to stop to
maybe go pick up children.
Or, yeah.
You know, drop them offsomewhere.
Yeah.
Yeah.
So it's, it's never the kind ofstretch of time that you.
That you hope for.
Mm-hmm.
Tina Strachan (09:49):
No, that's right.
Yeah.
And you're always thinking,there's always other things to
think about.
Exactly.
Yeah.
And sometimes sitting down andwriting feels a so
self-indulgent when you shouldbe doing all these other things,
feeling a little bit of guiltsometimes.
So, um, so yeah, this isdefinitely permission to, you
know, write.
Think Yes.
(10:10):
Stare at the wall and thinkabout your plot point.
Go for a walk and think aboutyour plot point.
Yes.
It's incredible.
Natasha Rai (10:15):
Yeah.
And as part of the residency,one of the commitments that we
had, uh, was to do an event.
So we did an event on Thursdaynight, so it was the second
night we were here at Mary WhoBooks in Townsville.
It's a gorgeous little bookshop.
Amazing.
So if you are in the Townsvillearea, please go and check it
out.
Mm-hmm.
(10:35):
Um, Katie.
Is the owner and manager of um,Mary Who, so we did a little
event, the five of us, and wehave such an amazingly,
wonderfully engaged audience,don't you think?
Mm-hmm.
Tina Strachan (10:47):
Yes, I agree.
Natasha Rai (10:48):
And it just felt really good for me personally to
hear Tina and the other writerstalk about their work, because
we've got three poets here aswell.
Mm.
And hearing us or just hearingthem talk about the different
forms and different genres.
I dunno.
It just enriched myunderstanding of mm-hmm.
How to approach writing.
(11:08):
And some of the things that weresaid were just downright
profound.
Oh, profound.
Tina Strachan (11:12):
So profound.
I know, I know.
So, yeah, I think you learn alot them as well.
But you know what I thoughtafterwards is, although we write
so.
Such different styles.
Um, fundamentally, everybody iscoming from a similar place
almost, and speaks about writingand how it feels to write.
(11:34):
Yeah.
Uh, very similarly Yeah.
As well.
And those feelings.
So that was really interestingtoo.
But yeah, it was a beautifulbookstore.
It's, yeah.
Um, yeah.
We chatted to Tenille, um, whofrom the bookstore as well.
Yeah.
Um, and so that was, that was,yeah.
Natasha Rai (11:50):
Who was our host.
Yeah.
Mm-hmm.
So Tina, once you go home andonce you get back into life and
every day, you know, work, etcetera, family, what ha, what
will you be doing differently orhow has this week helped you
maybe get momentum back or getback into your manuscript?
Tina Strachan (12:07):
Mm-hmm.
Yeah.
Well, this manuscript I'mworking on was, is brand new
words.
So I hadn't even started, Imean, I'd done like a.
Sort of a, a pitch in a sono, areally high level synopsis of,
um, the whole story.
So this was new words, which wassuper exciting, you know, super
exciting and a little bit scaryto get those new words down.
(12:28):
So that has this week means thatI'll be a good way into it and
feeling comfortable with where Iam.
Um, and so when I get back, Ican just keep rolling with that.
Um, it is a little bit harder.
To get started or get to thatpoint when you've only got like
an hour a day.
Right.
(12:48):
So that would've taken me solong, months and months and you
know, who knows what comes up inthat time, you know, getting
around to finishing it, so, soyeah, I've been in a good place
and I can just keep rolling withit.
Natasha Rai (12:58):
Yeah.
Nice.
I love it.
Tina Strachan (12:59):
What about you?
Natasha Rai (13:00):
I feel like I've fallen back in love with my
manuscript because I've beentaking a break from it for a
while.
Given how much work I will havedone by the time we leave, I
feel like it's reinvigorated meand renewed my enthusiasm for
it, which is great.
It is great.
It's beautiful.
Okay, so I think it's time forme to go have a swim.
Mm.
(13:21):
Yeah.
Tina Strachan (13:21):
I might go, are you gonna go beach or pool?
Natasha Rai (13:23):
Beach, yeah.
Tina Strachan (13:24):
And then it's surely gotta be cheese and
cocktail time.
Natasha Rai (13:27):
Of course.
Tina Strachan (13:28):
Yeah.
Okay.
A Zaykova (13:33):
Hi, I'm A Zaykova, author of Galaxy Grifter, a
snarky high stake space opera,published by Orbit in June this
year.
The story centers on Levi, aninterstellar con artist, old
charm, no conscience.
His only real love is hisspaceship, Kairos, his symbol of
status and freedom, which hisforced to surrender as lone
(13:54):
collateral to the most dangerousgang in his quadrant.
Desperate to get his ship backby any means necessary, Levi
swindles a valuable anti-techblueprint from an alien
diplomat, which he plans to sellfor millions of credits to the
highest bidder.
To decode the document he hiresVera, a programmer whose
inherited debt.
Keeps her trapped on an asteroidin the galactic backwaters,
(14:17):
certain that Levi is merelyusing her.
She plans to steal the blueprintfor her creditors and finally
gain her freedom.
Their alliance is plagued byfiery tension, betrayals, and an
impossible choice.
When they learn that an aliengovernment intends to use the
stolen technology to planhumanity's genocide, and that
they will stop at nothing toretrieve their plans.
Galaxy Grifter is the first bookin the blackjack Intertel
(14:40):
universe.
It's available as an ebook, apaperback, and an audiobook read
by Dan Bitner, an award-winningnarrator who does a fantastic
job.
It often gets compared to StarWars and Firefly, and readers
love to hate the protagonist.
Read to find Out Why.
Thank you.
Tina Strachan (15:01):
Hi, Nicole Crowe.
Welcome to the Book DealPodcast.
Nicole Crowe (15:05):
Thank you.
Thanks for having me.
Tina Strachan (15:07):
Oh no.
It's our absolute pleasure,isn't it, Natasha?
Natasha Rai (15:10):
It is.
It's a very special episodebecause Tina and I are here
together, um, today fromMagnetic Island.
Mm-hmm, mm-hmm.
Yes.
Tina Strachan (15:17):
Doing some, doing lots of writing.
Yes.
Doing lots of beachy stuff aswell, which is incredible.
But that's what we've got youhere to talk to us about today,
Nicole, because we are here on,at the Writers on the Reef
Residency, which is part of theRoderick Center, uh, for
Australian literature andcreative writing.
Which is part of James CookUniversity and run out of James
(15:39):
Cook University.
And so that's your job, isn'tit?
That's your main role is to runthis program?
Nicole Crowe (15:46):
Yes.
Yes.
So we've, uh, this is our secondyear in a row running this, uh,
this, this competitiveresidency.
Um, and it's just been a realprivilege and honor to be able
to.
Put this on every year so farfor, um, authors to come up
north.
'cause uh, people don't oftenmake it up north very often, so
(16:07):
it, and it's, it's fabulous uphere.
And we've got a beautiful beachhouse on Magnetic Island, so we
have five authors staying in thebeach house for a week, um,
with, uh, food and everythingprovided.
And so it's a really specialopportunity, I think for writers
to come up and experience.
You know, north and far NorthQueensland and, um, to have that
(16:29):
sacred, you know, reallyimportant time away from the
real world and the day-to-dayslog of life and work and family
commitments, et cetera.
Um, and really get away andknuckle down and focus on their
creative projects.
So yes, it's a, it's a fabulousopportunity for authors and I
really enjoy running it everyyear and meeting the authors and
(16:50):
sharing ideas and, um, it's justa really special experience.
Tina Strachan (16:55):
It sure is.
Mm-hmm.
Yes.
Yes.
It's been very special for us.
Definitely, definitely.
We've got lots of writing doneso far.
Yes.
It's been amazing.
Natasha Rai (17:03):
Yes.
Mm-hmm.
Um, so as you said, Nicole, it'sa competitive process.
Um, so can you go over howwriters can apply and what you
are looking for or theadjudicators looking for in the
applications?
Nicole Crowe (17:18):
Yeah.
So, um, the, uh, our, uh,writers' center has a sort of a,
a, a, uh, one of our focuses isvery place-based.
Um, so for anybody who isinterested in applying next
year, um, that's, uh, kind of astrong element that we look for
in applications writers who are,who are interested in, um,
conservation, uh, writing, um.
(17:41):
Uh, or islands the Great BarrierReef,'cause Magnetic Island is,
uh, situated in the GreatBarrier Reef World, heritage
area.
So projects that focus on thatsort of real, kind of strong
element of the place of, of, um,climate change and islands, et
cetera.
Um, we look for that.
Um, and we also look for, uh, areally strong idea of, um, the
(18:02):
current project that they intendto work on while they're up here
for this seven day period.
Um, so we like a, a good, solidsort of, um.
Um, yeah, idea of the project.
Like, so because, so it, it'snot, so try and be specific if
you'd like to apply for nextyear, um, because that will be
really helpful.
'cause we want, we want, um,authors to have a strong
(18:23):
direction, uh, for their, fortheir time up here so that
they're maximizing their timeand writing as much as, as they
they're capable of during thatweek.
Um, and uh, yeah, that's kind ofit.
We don't have any particulargenres in mind.
It's, um, anybody.
Writing a, a sort of asubstantial piece of work or a
collection.
(18:44):
That's all, all welcome poets,genre lit, fiction, speculative,
uh, yeah, we're not fussy on,on, um, on genre.
Um, as long as they, if you'vegot a reasonably strong
publication record, whether itbe sort of journals or novels or
traditional publication or evenself-publishing.
(19:05):
Um, we look at that too.
Tina Strachan (19:06):
Oh my god.
Sorry.
There's a hummingbird at our,literally at our door.
Oh.
Oh, oh my God.
There's so awesome.
Nicole Crowe (19:13):
Oh, are they humming?
Are they, are they not?
Are they bright?
Kind of yellow?
Yes.
Yellow and blue.
Yes.
They're sunbirds.
Ah.
They're sunbirds.
Natasha Rai (19:22):
Oh my gosh.
They're beautiful in the window.
Nicole Crowe (19:26):
They're looking for somewhere to build a nest.
Oh yeah.
Okay.
They build this funny littlefunny little hanging.
They find a, like a piece ofstring or an eave or something,
and they ha they, they connectthe top of their nest to that,
and it hangs down like ateardrop shape, and they have
this little hole that they that,so they go into this little
teardrop nest.
It's very tiny, and they,they're so cute.
(19:46):
They even have like a littlevisor.
They build a little visor.
On top of their little entryhole into their teardrop nest.
Aw.
And they make their, they maketheir nest out of, um, uh, twigs
and leaves and spiderwebs.
They glue it all together withspiderwebs.
Natasha Rai (20:03):
So clever.
Nicole Crowe (20:04):
They're very cute.
Tina Strachan (20:06):
We are just completely, I know.
Mesmerized, mesmerized by that.
Oh, they're beautiful andhanging around
Nicole Crowe (20:11):
just the taste of what you can get when you're
lucky enough to receive a, aspot at writers on the reef.
Natasha Rai (20:17):
I just had a follow up question on what you said,
Nicole.
So when you said that, um, ithelps for writers to be
specific, you mean specspecificity around how it links
to the themes that you'relooking for.
Nicole Crowe (20:30):
Yes.
And a strong idea for a project,like being able to express the,
all the, the, um, the scope ofthe project and the, the goals
of the project as well.
Yeah.
And its links to the naturalenvironment or islands, ecology,
climate change, the reef, etcetera.
Tina Strachan (20:47):
Yep.
Yeah.
Good tips, good pointers, andyes, I highly recommend
everyone, uh, apply for this,uh, for next year.
When does it open?
When, when we start advertisingfor next year.
Nicole Crowe (20:58):
Um, probably, um, early half, early part of next
year I would say.
Tina Strachan (21:04):
Yeah.
Okay.
Nicole Crowe (21:05):
Um, yeah, we'll put, we'll put the call out for
applications and we'll have theapplication window open for
probably six to eight weeks, um,for people to get their
applications in.
And, uh, yeah, then we go fromthere.
Mm-hmm.
Tina Strachan (21:19):
So the best way for everybody to, um, keep on
top of when it opens is maybe tofollow the Roderick Centre on
social media.
Nicole Crowe (21:27):
Absolutely.
Yeah.
Um, visit our website, followour Instagram and Facebook
accounts, and, um, all of thatinformation will be available
across those platforms when, um,when we, we have firm dates
locked in.
Natasha Rai (21:42):
Perfect.
So, so given that this is thesecond year running, and so next
year you'll, you know, it'll bethe third year of applications,
what are some common mistakesthat you see that kind of go
works against writers to besuccessful?
Nicole Crowe (21:55):
Oh.
Um, some of them are quiterandom.
Like there was one, um,applicant that we received, um,
amongst the group that wastalking about their project was
they described their project as,um, like sci-fi and about how it
was gonna be set on MagneticIsland.
(22:18):
Um, and I thought, oh, that'sinteresting.
Um, but then when I got intomore of the application.
There was nothing to suggestthat the applicant had ever even
been to Magnetic Island or knewanything at all about it and
what actually another applicantsaid I would.
I love the Magnetic Islands.
(22:41):
And I thought that's prettyobvious that they did not really
do any sort of research intothe, uh, residency that they're
applying for or where it waslocated.
And there was another applicantthat said that they're really
interested in the history of.
Of like copper mining onMagnetic Island, and there's
never been any copper mining onMagnetic Island.
(23:03):
So just stuff like that.
If you don't know anything aboutthe place, don't pretend that
you do because, um, it'll bereally obvious very, very
quickly that you just pulling itoutta your bum.
Mm-hmm.
So don't do that
Tina Strachan (23:16):
and do your research first.
Nicole Crowe (23:18):
Yeah.
I mean, if you wanna talk about.
Magnetic Island or where,wherever you're applying for
residency.
If, if it's got a place, um,Strachan place based element to
it, um, it's, it's fine that foryou to say that you've never
been there and you dunnoanything about it because that's
really nice.
We wanna, we wanna bring peoplehere, we want people to
experience the place.
Um, so just be really honest andauthentic in your applica, in
(23:40):
your application materials andthat'll put you in good step.
Mm.
Tina Strachan (23:44):
Very good tip.
Natasha Rai (23:45):
Yeah, that's an excellent tip because, you know,
people, I guess, do apply formultiple residencies and it, it,
you can fall into the trap ofusing an application for
something else, but with, butnot checking it properly and
making sure the details matchwhat you are looking for.
Nicole Crowe (24:00):
Yes, exactly.
Yes.
Because we do read them all.
We don't have, like AI doing itsfirst pass on applicants.
Uh, we as a, as a small teamread every single application.
So your, your application isgonna be read by a human.
So, um, you don't have to worryabout, um, getting.
Um, getting culled in the firstround by some sort of bot,
(24:23):
because that's not the way weoperate.
So that could be a double-edgedsword because we will spot
things that are like weird andinaccurate.
Um, and if you're pretendingthat you know all about the
place, we're gonna spot thatimmediately.
And, um, it's probably gonna putyou at the bottom of the list.
Mm-hmm.
But yeah, we, we, we, we, we,uh, we appre we appreciate
(24:43):
authenticity in, um, ourapplications.
Yep.
Tina Strachan (24:48):
Um, so Nicole, your job at the Roderick Centre
and the residency is all abouthelping other authors, um,
helping them to get the, thewriting done.
Um, and you know, if you knowpublication is on their, you
know, their list of, you know,their wishlist, then, you know,
it's certainly helping them getthere.
Um, but you yourself are a verysoon to be published author with
(25:12):
your debut book coming out injust under two weeks.
Nicole Crowe (25:16):
Yes.
Yes.
I think it's the 26th of August,so it is coming up really,
really fast.
Um, so that's all very exciting.
Can you tell us a little bitabout your book?
Yeah, so it's called The Washup,and it's coming out through
Pantera Publishing.
Um, it will hit the bookshops onthe 26th, I believe.
Um, it's also available inaudiobook and ebook form.
(25:38):
Um.
So it's, it's set on MagneticIsland and in Townsville, which
is the closest mainland, um,city to Magnetic Island.
And, uh.
The, the tag, the tagline for itis, um, a tragic accident in
Paradise or a calculated crimecalled
Natasha Rai (25:57):
Love It.
Nicole Crowe (25:57):
So it's about, it's about a, um, it's about a
young woman.
She's 30, her name is Eve, andshe's just recovering from,
still recovering from the deathof her parents in a car crash
two years earlier.
And then I, um, so she's justticking along, leaving her life,
drinking too much.
Having real trouble getting outof our own way.
All that fun stuff, um, that wedo when we're 30 and kind of at
(26:21):
a bit of a loose end.
Uh, and then there's a, a, aterrible, um, soon after the
novel begins, it's a terribleskydiving crash.
And so Eve is, um, convincedthat it's not an accident.
And so this is kind of the, therest, the, the rest of the book
is her trying to figure out whathappened.
(26:42):
Um, in this awful crash and whowas to blame or was it an
accident?
And she kind of loses the plotquite a few times through the
novel, makes some really badpersonal decisions.
Um, yeah.
And so it's about her trying tofigure out that sort of central
mystery while trying to alsomaintain her own sanity, which
is tough.
Tina Strachan (27:03):
Mm-hmm.
Mm-hmm.
Sounds exciting.
I can't wait to read it.
Congratulations.
Nicole Crowe (27:08):
Yeah, thank you.
Yeah, it is exciting.
I hope, I hope readers love it.
It's all, it's very terrifyinghaving something that you've
spent such a long time on andput a lot of blood, sweat, and
tears into, see it go out in theworld and just hope that it does
well.
So, um, I hope that everybody, Ihope that everybody gets a real
kick outta reading it.
Yeah.
Natasha Rai (27:26):
And, um, how long did you work on your manuscript
before you started submittingit?
Nicole Crowe (27:31):
Probably about 18 months, I think, sort of.
Part-time.
I was a couple of days a weekworking on it when I, I was kind
of on maternity leave too, so Istarted doing that on my
maternity leave.
Um, yeah, so it took a while andthen it took about 18 months
after that to find a home inpublishing.
So yeah, it's a, it's a longprocess as you guys know, so,
(27:54):
but it's all very, um, it's allvery worth it at the end of the
line and all of those edits anddrafts, oh my god, they go on
and on and on.
But then eventually you havesomething.
Worthwhile in your hand, whichis, um, a really great feeling.
Natasha Rai (28:07):
Has there been any elements or aspects of this
publishing journey that you'vegone through so far that's
really surprised you?
Nicole Crowe (28:14):
Everything.
Yeah, everything.
And I guess the biggestsurprise, um, as somebody who is
new to publishing, I think whenyou're, when you're writing, um,
when you're in the middle ofwriting your book, you think
that.
You don't know what you're doingand that the people in
publishing know what they'redoing.
(28:37):
And then you get your footthrough the door, and then you
have this team around you, andthen you quickly realize that
they, I mean, they know whatthey're doing, but it's really
hard.
It's impossible for anybody,even publishing veterans to
predict the next big thing or tocreate the next big thing,
right?
(28:58):
I was, I mean, before I hadanything to do with formal
publishing, I just assumed thateverybody was smarter than me
and better than me.
And, and that's not the case.
Everybody's just doing the bestthat they can.
And some things take off and gogangbusters and other things
that a publisher or people inpublishing will think it'll do
really well, does it.
And nobody can really explainwhy.
(29:19):
'cause that's just culture.
Natasha Rai (29:21):
Mm-hmm.
Nicole Crowe (29:21):
Culture and zeitgeist is a total mystery to
even people at the centre of it.
So.
That was quite illuminating, andeverybody's doing their
damnedest to get you the, thebest sort of, um, awareness and
profile that they can, but it'sso unpredictable.
So I, I kind of didn't realizethat level of unpredictability
until really just very recently.
(29:43):
So that's, um, that was alearning curve.
Yeah.
Natasha Rai (29:48):
Yeah.
And it feels like the way you'vedescribed that, that it would
both take the pressure off andon at the same time, like,'cause
then you can focus on thingsthat you can control, like
making it the best version ofthe work and collaborating with
the publisher and the publicistand you know, doing everything
you can to get the book outthere.
Nicole Crowe (30:04):
Or making it, as I said, as good as it can.
And then the other stuff likethe culture, the zeitgeist,
what's hot, what's not like,yeah.
Yeah.
I think there was a, I think itwas Andy Warhol who said, like,
somebody asked him a similarquestion, like something about,
you know, how is he so popular?
Or whatever.
And his answer to that was, oh,you know, I just make stuff.
(30:26):
Other people decide if it's art,and while they're deciding
whether or not it's art, I justkeep making stuff.
So that's, I think, the bestthat we can all do.
We just keep doing what we, whatwe can do.
We, you know, write what youknow, all of those old adages.
Just keep pushing with them,keep running with them.
Try not to listen too much tothe noise because you can't
(30:46):
control any of that.
All you can control is your ownsort of work and your own ideas
and your own output.
And then just all you can do isfit cross your fingers.
So, yeah, just keep going.
Keep going.
Tina Strachan (30:59):
That's such good advice, and I love that quote
that Andy Warhol said.
Natasha Rai (31:04):
Yeah, I, haven't heard that before, so I I really
like it too.
Nicole Crowe (31:06):
Yeah, it's good.
Yeah, it's great.
I always remember it when I'msort of stuck.
I'm like, oh, well I'm justgonna do what I can.
And then it's up to theuniverse, culture, zeitgeist,
all the rest of it.
Tina Strachan (31:17):
That's perfect.
I like it.
Thank you Nicole.
Thanks for looking after us, um,this week and
Nicole Crowe (31:22):
Oh my pleasure.
Tina Strachan (31:24):
Very welcome and, um, catering to our chocolate
and cheese requests.
Natasha Rai (31:29):
A special, special thanks with the chocolate and
cheese.
Tina Strachan (31:34):
It's what fuels writers, I think.
Yes.
It's the secret formula.
Nicole Crowe (31:38):
Absolutely.
Chocolate, cheese, and a bit ofsneaky wine.
And that's kind of, that's thesecret ingredient to the, to the
good work in the absolutelyperfect weather.
Natasha Rai (31:47):
Oh gosh, yes.
It is like paradise.
Nicole Crowe (31:51):
Yes, it's the perfect time of year to have,
um, to have residencies up here.
'cause it is lovely.
The bugs aren't too bad.
The, the, the, the animals aregoing a little bit mental though
because it's, um, breedingseason.
But, um, that's always veryentertaining.
I love it.
And the sunbirds come to yourwindow and try and build a nest
in your front doorway.
Yeah.
Tina Strachan (32:13):
Oh well, it's a very special residency and I
think we feel very grateful to,um, have be part of it on this
second year that it's been like,oh, been here for.
So thank you.
Thank you so much.
And to the Roderick Centre.
Nicole Crowe (32:24):
My pleasure.
Thank you.
Thanks guys.
Go forth.
Do fabulous work.
Eat the cheese.
Tina Strachan (32:34):
Thank you for listening to the Book Deal
podcast.
If you enjoyed this episode,please subscribe to the pod so
you can receive updates as soonas our new S drop and to keep up
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