3 Things You Should Consider When Planning Your Content Strategy Blog Cover

By Melinda Rogers, content specialist

Enhancing reputation, driving engagement and building success are crucial in every organisation. One way to achieve this is by developing a solid content strategy to underpin your business objectives. So what exactly is a content strategy, and why does your business need one?

To put it simply, a content strategy is about getting the right content, to the right user, at the right time. Content comes in many forms and utilises many platforms, ranging from video, blogs, brochures, articles and social media posts to something as simple as the wording on your business card. Standing out as a brand relies on producing meaningful and memorable content.

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Queensland Writers Centre (QWC) has opened submissions for this year’s Manuscript Development Program, delivered in partnership with Hachette Australia, and for the first time is accepting Young Adult (YA) and general nonfiction entries. 

Celebrating its 10th anniversary this year, the QWC/Hachette Australia Manuscript Development Program is a unique creative and professional development opportunity designed to support emerging writers from across the Australia to refine an existing manuscript over a four-day intensive retreat. 

The program, which saw nearly 200 entries last year, has led to publication outcomes for scores of authors including Favel Parrett, Inga Simpson, Victoria Carless, Rajith Savanadasa, Charlotte Nash, Christopher Currie, Phillipa Fioretti, Darryl R Dymock, Pamela Cook, Kali Napier, Cathy McLennan, Sarah Ridout, Laura Elvery and many more. 

“We are so proud to be celebrating ten years of our partnership with Hachette,” QWC CEO Lori-Jay Ellis said. “We look forward to once again shining a light on the very best emerging writers in Australia and helping them to develop their craft and career opportunities.” 

“All at Hachette are incredibly proud of this program, ” Hachette Australia Group Publishing Director Fiona Hazard, said. “This is the tenth year, and we are delighted to have helped develop some stellar Australian literary talent over this time.” 

“Our support of this program reflects Hachette Australia’s dedication to the Australian writing community. I am sure the next ten years will uncover more outstanding storytellers and look forward to the entries this tenth birthday year will bring.” 

Up to 10 writers will be shortlisted to take part in the development program, a four-day retreat to be held in Brisbane, early in 2019. During that time, the successful applicants will work with Hachette Australia publishers, editors and authors to develop and refine their manuscripts.  

The selected writers will also have the opportunity to take part in networking events with industry leaders, learning about the business of writing and establishing a writing career. 


Applications Close: Friday 17th August at 5pm AEST 

The short-list will be announced in November 2018 




For more information and to arrange interviews: 

Chris CurrieQueensland Writers Centre  

07 3842 9952 




The QWC/Hachette Australia Manuscript Development Program is a creative and professional development program for emerging writers from across Australia. The program does not guarantee publication, but is designed to support emerging writers to refine a manuscript. 

Delivered as a retreat over three days, the program provides successful applicants with feedback on their manuscript from Hachette Australia publishers, editors and authors; training to support their writing career and access to industry professionals through networking events. 

The Manuscript Development Program has supported more than 60 authors since the program began in 2008. The program continues to be an important pathway to publication for Australian emerging writers. 

For the first time in the program’s 10-year history, general nonfiction and Young Adult (YA) manuscripts will be considered. The program is open to emerging writers who, for the purpose of this program, are defined as writers who are unpublished or with no more than one commercially or independently published work. 


2018 Program Submissions Open: Monday 2 July 

2018 Program Submission Close: 5pm (AEST), Friday 17 August 


Entry Fee 

$55 (plus GST)– Public 

$50 (plus GST) – QWC members and members of any of the following Australian State Writers Centres: 


Here are Frequently Asked Questions and Application Guidelines for information on eligibility, entry and assessment process, formatting of your manuscript.  

To Apply: Post the Application Form with the first 50 pages of your manuscript and a one-page synopsis to QWC at the address below: 


QWC/Hachette Australia Manuscript Development Program 

c/o Queensland Writers Centre 

PO Box 3488 

South Brisbane QLD 4101 


The Queensland Writers Centre (QWC) is a not-for-profit membership organisation that supports, celebrates and showcases Queensland writers and writing in all its forms. We work with our members and partners to promote a vibrant and diverse writing community across Queensland. 

We are the leading support and resource centre for writers in Queensland, offering a comprehensive online and in-person range of services as well as information and advice for anyone interested in writing, whatever your level of experience of writing ambition. 

QWC member Deborah Lee Terranova has been awarded a Q ANZAC Fellowship at the announcement of the recently announced State Library of Queensland fellowships.

It was one of nine fellowships and awards, collectively worth more than $100,000, announced at the Queensland Memory Awards ceremony in Brisbane.

Dr Jennifer Moffatt, the winner of the $20,000 John Oxley Library Fellowship, will explore a little-known ballot that helped shape the development of Queensland for more than a century.

In the 1950s more than half the land distributed in Queensland involved this lottery-style system, and Dr Moffatt’s research will bring new understanding to the state’s early pioneers and squatters.

The Queensland Memory Awards are celebrated annually and acknowledge excellence in research and the creation of new knowledge about Queensland’s history.

A major outcome of the fellowship program is to bring State Library’s vast collections to life and make their content and stories accessible to all.


  • John Oxley Library Fellowship ($20,000) — Dr Jennifer Moffatt
    (The story of Queensland’s selectors: how those who won land in a ballot contributed to Queensland’s social, economic and political development)
  • John Oxley Library Award (posthumous) — Ian Poole
    The professional photographer donated, arranged and described around 100,000 negatives, colour transparencies, photographic prints and scrapbooks for State Library
  • John Oxley Library Community History Award — Yugambeh Museum, Language and Heritage Research Centre
    Yugambeh Museum has developed its own language app to encourage young people and the wider public to engage with Aboriginal languages and heritage
  • Queensland Business Leaders Hall of Fame Fellowship ($15,000) — Hilary Davies
    (History of the Canada Cycle and Motor Agency Ltd – one of Queensland’s major motor businesses)
  • Letty Katts Award ($5,000) — Professor Peter Roennfeldt
    (Brisbane’s Albert Hall 1901–1968: celebrating memory and heritage of a major performance venue)
  • Q ANZAC 100: Memories for a New Generation Fellowships (4 x $15,000)
  • Dr Martin Kerby (A war imagined: Queensland and the Great War)
  • Dr Anastasia Dukova (Queensland Police and the Great War Effort)
  • Deborah Lee Terranova (Queensland women and war: a multicultural perspective of the experiences of female civilians during World War II)
  • Elaine Acworth (Put out into the deep — digital fellowship)


Specfulative Fiction Workshop Kylie Chan Science Fiction Writing How to Write Fantasy

Join Kylie Chan for an unmissable workshop on Saturday August 11 as she guides you through the vast continuum of imagined worlds in speculative fiction, teaching you not only how to build your own world, but the tools to craft your story within it, populated with engaging characters and a narrative that will be irresistible to your readers. Find out more here.


READERS tend to be extremely forgiving when a good story grabs them, and we fantasy writers rely on this suspension of disbelief to pull our readers down the rabbit hole of our twisted imaginations. It doesn’t take much though for the reader to pop back up out of the hole with an expression of disappointment when we betray their trust and push their credulity too far. And what sort of thing can do that? Let’s see what will drag a reader out of the adventure of following your Merry Band through your Fantasy Landscape.


If your Merry Band is all young, white, male, and straight – you’ve already lost me as a reader. If the only women they encounter are hot femme fatales or warrior chicks in chainmail bikinis or rotund grandmotherly bakers – you’ve lost me even more. More than half the world’s population is female and their roles are as diverse as their male counterparts, so don’t you dare use ‘medieval accuracy’ in a fantasy setting as a way to have men doing all the important stuff, because even in real history women have always been doing stuff outside their traditional role.

Children exist. Old people exist. The disabled exist (even more so in a time with less scientific medical care), LGBT people have always existed. The chances of a random selection of the population being straight white young hot and male – unless it’s in the Straightland of the White Men – are vanishingly small. So if your Merry Band is a limited demographic, 1. Half your readers just noticed and put you on notice (one more gaffe and they’re throwing your magnum opus against the wall) and 2. There’s a much smaller chance of really interesting interactions happening between them.

Everybody Poops

Everybody eats, sleeps, urinates, and poops. Clothes that have been lived in for a few days – and your Merry Band won’t have cute dinosaur jammies when they’re trekking to the Mountain of Doom – get stiff, scratchy, and stinky. Everybody smells when they haven’t washed much. Animals do too. If you’re going to take a cat on your broomstick, you’d better be thinking litter boxes.

Your Merry Band will probably be digging latrines before they sing merry songs around their merry campfire on the way to the Mountains Of Doom to face the Big Bad. And they won’t be eating stew, because stew takes hours to prepare. They’ll be eating dry, tasteless trail rations or the tough, gamey, greasy carcases of anything they manage to kill (and skin, gut and bleed with no soap to wash themselves after) on the way.

The food probably won’t be enough for the energy they’re burning, so they’ll all lose weight and muscle tone and have vitamin deficiencies. And then they’ll be pooping – the ones that aren’t constipated from lack of fibre, that is. And of course the ones suffering from scurvy through lack of organic Fair Trade fresh vegetables. Fungal infections, blisters, sunburn, and dysentery are all a hazard. If your Merry Band isn’t pooping, and pissing, and smelling and hairy, then you’ve probably lost your reader. Throwing in a bit of wild projectile vomiting is always fun for the whole family.

You Can’t Climb a Wall With a Broken Arm

If your Merry Band just had a big battle – and any fight longer than about a minute is a big one – then they’re exhausted. PTSD is an issue here. They won’t be picking themselves up to trek another hundred kilometres. Injuries happen, and if there’s a broken arm that person won’t be using their arm at all for a long time – in fact they’ll be screaming every time they have to move (believe me, I’ve been there. Trips to the toilet involve a lot of screaming).

It’s fine to identify your Merry Band members as superpowered, but then again don’t break your own rules to let them climb walls with broken arms, and don’t make them completely invincible. Invincible people are incredibly boring.

Don’t Break Your Own Rules

Did I mention don’t break your own rules? Don’t have a deus ex machina where someone suddenly has the power to overcome whatever the Big Bad is throwing at them. And don’t you dare start at me with the ‘Power of Courage’ or the ‘Power of Love’ or even worse, the ‘Power of A Single Perfect Tear’. If she leans over him and a single perfect tear falls on his face that heals all his … well just don’t go there, okay? That particular trope is older than me, and I’m older than time, just ask my kids. Give your Merry Band a smart, courageous and believable way of beating the Big Bad. Or have the Big Bad win – that’s an option too.

Good People Can Be Ugly

This is a time-honoured trope – Good is Beautiful, Evil is Ugly. This can be carried through to Black is Evil, or Gay is Evil. Are your Merry Band all straight white hot and male, and your Big Bad ugly, dark and occasionally threateningly effeminate? Lose it, or you’ve lost your reader. What if your protagonist is ugly, or disfigured? People are going to react differently to her, aren’t they? And your readers will love her even more, because she’s having a whole lot more shit thrown at her (particularly if members of the Merry Band ate something dodgy on the way to the Mountains of Doom and are suffering from explosive diarrhoea).

Everybody Makes Mistakes, But Smart People Rarely Make Really Stupid Ones

So your character needs to go from A to B (for example, hole in the ground to Mountain of Doom). Picking them up and carrying them there by having them do something incredibly stupid – like ‘accidentally’ walking off a cliff, sliding down a slide, and trekking through a long cave that miraculously turns out to be the Lost Dwarven Mines – doesn’t work. Particularly if they’re supposed to be the Merry Leader of the Merry Band, and cleverer than the rest of them.

Being straight white hot and male with really good hair doesn’t automatically make a leader; organisational ability, motivational skills, and decision-making aptitude does.

Being straight white hot and male with really good hair doesn’t automatically make a leader; organisational ability, motivational skills, and decision-making aptitude does. If that just sounded like the Position Description for the last job you applied for  – bingo! There we are, leadership potential. Mutiny is always fun, too, if your well-designed and diverse Merry Band decides that choosing a leader based on straightness, whiteness, maleness and hair gel maybe wasn’t the best idea after all.

Know Your Shit

Horses are big-ass animals that eat a mountain of food and run at the sight of their own shadows. If you ride a horse all day then give it a ‘bag of oats’ at the end of that day, it will get colic then be dead of starvation by the end of two weeks (and oats are a ‘heating’ food that makes horses go stupid, as well). You can’t go without water for more than about three days maximum. Swords aren’t heavy. Revolvers don’t have safeties. Do Your Research – check on the internet. And then don’t parrot the research you’ve done in a long and technical description of why revolvers don’t have safeties – just don’t mention them. Ninety percent of your readers won’t notice and the other ten percent will nod approvingly. And none of your readers will throw your book against the wall.

Head Injuries Can Be Lethal

It’s very convenient to knock someone out to carry them somewhere, or to disable them without killing them because the Merry Band are the Good Guys. Unfortunately if Big Bad’s henchmen are unconscious then they’re already past the point of serious injury. A good solid whack on the head can lead to bleeding inside the skull that can squeeze out the brain and kill it dead. Anyone unconscious for any length of time isn’t going to get up and walk around like nothing happened. They should be in hospital, and if they are in a medically-starved mediaeval land, they can end up blind, brain damaged, lose their speech centres, or at the very least have a crippling headache, nausea and dizziness for a couple of days afterwards.

So Be a Clever Writer

These are the biggest things that draw me out of a fantasy novel – the demographics, the use of clichés, and shortcuts on plotting that don’t stand up. If this makes it sound like creating a believable fantasy novel that won’t throw the reader out is hard – well done. That’s exactly right. It takes a great deal of clever plotting and some shrewd decisions about characterisation and conflict to draw the reader in and give them the ride of their life. So take the hard path, and the reward will be readers who can’t wait to read everything you write.

Kylie Chan is the best-selling author of the Dark Heavens Chinese mythology-based fantasy series published by Voyager-HarperCollins worldwide. Her books have been translated into multiple languages and have consistently appeared in the top ten of Australia’s bestseller lists. 

Queensland Writers Centre has announced its July-December 2018 Program of Events, and it’s safe to say it has something for everyone! From major award-winners to critically-acclaimed essayists, from bestselling genre writers to internationally experienced publishers and editors, writers of all levels and interests are bound to find inspiration and education. Highlights include an essay writing workshop with The Monthly’s music critic Anwen Crawford, a complete guide to the publishing industry with legendary editor and agent Mary Cunnane, an interactive seminar on novellas with Nick Earls and a workshop on writing fight scenes for women (featuring a live weapon demonstration!). See the full program here.

Queensland Poetry Festival have announced their two 2018 poets in residence! The two poets will play key roles in the festival program, including spending time getting to know local poets and audiences in Brisbane and regional Queensland. They will each host workshops, deliver readings and contribute to panel discussions as well as taking some time to write and enjoy all the festival has to offer.

The 2018 Arts Queensland Poet-in-Residence is Yona Harvey, an award-winning African American poet, literary artist and contributing writer to Marvel Comics’ best-selling Black Panther series, making her one of the first black women ever to have written for Marvel. Recipient of a Kate Tufts Discovery Award (for her debut collection Hemming the Water) and a Barbara Deming Award for feminists in the arts, Harvey lives in Pennsylvania, where she teaches poetry at the University of Pittsburgh and facilitates nonfiction workshops for adolescents writing about mental illness.

The 2018 Indigenous Poet-in-Residence is Alison Whittaker, a Gomeroi poet and law scholar. She was a 2017—2018 Fulbright scholar at Harvard Law School, where she was named the Dean’s Scholar in Race, Gender and Criminal Law. In 2017, Alison received the Judith Wright Poetry Prize for MANY GIRLS WHITE LINEN, and in 2015 her first collection Lemons in the Chicken Wire was developed under a black&write! fellowship from the State Library of Queensland. Alison’s latest collection of essays, short fiction and poetry, blakwork, is out in September 2018 with Magabala.

We’re so thrilled to announce that QWC member and tutor (and award-winning journalist, author and editor) Dr Ashley Hay has been announced as the new editor of Griffith Review. Ashley takes over from previous editor Professor Julianne Schultz, who will take up the position of Publisher. Read more here.

The winners of the 2017 Australian Romance Readers Awards, presented by the Australian Romance Readers Association (ARRA), have been announced, with Anne Gracie named Favourite Australian Romance Author for the third year in a row. Our heartiest congratulations to QWC member Kylie Scott for taking out Favourite Contemporary Romance for her book Twist!

Gracie also won in the category of Favourite Historical Romance for Marry in Haste (Berkley), and the member’s choice award for favourite couple for the novel’s central pairing, Emmaline Westwood and Calbourne Rutherford

Read all the winners here.

The Wheeler Centre has announced it will launch a new $150,000 initiative for developing writers called The Next Chapter. Established by the Wheeler Centre in conjunction with the Aesop Foundation, the nationwide scheme aims to support ‘a new generation of writers, from all sorts of backgrounds’ by offering 10 Australian writers a grant of $15,000 each to help them develop their work. The recipients will also be matched with a mentor who will work with them over 12 months to help connect them with publishers and readers.

The Next Chapter will focus on offering opportunities to writers from marginalised communities and will ‘celebrate writers who reflect the diversity of Australian identities and experiences’. It will also aim to give writers ‘time and space to craft a voice and a career—offering them support from mentors and peers, and the opportunity to experiment and develop their writing’. The judges for the 2018 program are Benjamin Law, Maxine Beneba Clarke and Ellen van Neerven. Mentors will be matched with the successful candidates ‘on the basis of individual fit’. Find out more here.

Jennifer Down, Marija Peričić, Shaun Prescott and Pip Smith have been named the Sydney Morning Herald (SMH) Best Young Australian Novelists for 2018. The awards, which recognise emerging writing talent, are open to writers aged 35 years or younger when their books are first published. This year’s awards were judged by Age/SMH literary editor Jason Steger, essayist and poet Fiona Wright, and writer and critic Gretchen Shirm. Find out more here.

Emily Maguire has been awarded the 2018 Charles Perkins Centre Writer in Residence Fellowship, receiving $100,000 and other benefits to support her work on a novel addressing the complex relationship between social identity and health. Find out more here.

The shortlist for the 2018 International Dylan Thomas Prize has been announced.

The shortlisted titles are:

  • Kumukanda (Kayo Chingonyi, Chatto & Windus)
  • Her Body & Other Parties (Carmen Maria Machado, Bloomsbury)
  • First Love (Gwendoline Riley, Granta)
  • Conversations with Friends (Sally Rooney, Faber)
  • Idaho (Emily Ruskovich, Vintage)
  • My Absolute Darling (Gabriel Tallent, Fourth Estate)

Four debut authors make up the female dominant shortlist, which was chosen from a longlist of 12 announced in February. The winner will be announced on 10 May.

Established in 2006, the £30,000 (A$55,310) International Dylan Thomas Prize is awarded to the best literary work in the English language written by an author under 40 and is administered by Swansea University. Find out more here.

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