AustLit logo
y separately published work icon Australian Author periodical issue  
Issue Details: First known date: 2018... vol. 50 no. 2 2018 of Australian Author est. 1969 Australian Author
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'In October 1962, the inaugural meeting of the proposed Society of Authors was held, to end the present feudal state of the Australian writer' and address the issues of 'poor and variable anthology fees, the need for standard contracts and the position regarding copyright' (Dal Stivens. foundation president). Broadside, the first journal of the Australian Society of Authors, began in September 1963 as a 'medium of information and opinion', and fulfilled that role until the last edition was published in July 1968 to make way for the launch of The Australian Author in 1969. This magazine was never intended as a literary puma\ and, as a result, did not meet the funding criteria of the time. Rather, its purpose was to 'concentrate attention on the defence of literary property—the writer's business (Stephany Steggall, Status and Sugar, 2013), which is exactly what it did for the next 50 years. ' (Publication summary)
 

Contents

* Contents derived from the 2018 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Authors and the ASA, Dal Stivens , single work essay

'With the publication of The Australian Author the ASA has achieved another target. I am sure members will want to join with me in congratulating the editorial committee which has given so generously of its time and talents. The Australian Author will be our forum and shop window and, I'm sure, a major force in the Society.'  (Introduction)
 

(p. 6-8)
Public Lending Right, Colin Simpson , single work column

'This important matter is not a simple one so it is understandable that many members of the ASA are still unclear on what the Public Lending Right is all about, and what it could mean to book-writers in terms of money. 

'This article will try to set out simply the answers to these and other questions, including questions that members are likely to be asked about PLR.'  (Introduction)

(p. 8-13)
The People Novels Write, Barbara Jefferis , single work

'There was a time, not very long ago, when every novel had a line in the front which said, 'All the characters in this book are and have no relationship to any living person'. Nobody believed it.'  (Introduction)

(p. 14-17)
The Novelist's Poison, Thomas Keneally , single work criticism

''What is the best way to read a book? The first answer is: twice!' So run the opening sentences of a Victorian Adult Education Board bulletin issued this year. They are blatantly characteristic of the cloud-cuckoo territory in which the novel is studied by children, undergraduates, intellectuals and discussion-groups, And, if such poisonous nonsense were restricted merely to such groups, the result would be nothing more than a startling waste of time. It is when the novelist himself becomes influenced by changes rung upon such data that the results can be most dangerous.' (Introduction)   

(p. 18-20)
Clancy's Thumbnail, Nancy Keesing , single work

'There are as many kinds of editor as there are men - good and bad, patient and impatient, honest and dishonest, discerning and adventurous or lazy-minded and hidebound. The one asset they have in common is eyesight. Most of them, understandably, intend to preserve their vision and resent what causes undue eyestrain.'  (Introduction)

(p. 21-23)
Australia's Need for Better Writers Who Are Better Off : Address to The Australian Society of Authors, 4 March 1975, E. G. Whitlam , single work criticism

'I am honoured that your Committee of Management has arranged this evening for me. The last time I spoke at the Opera House was in the election last May. I was in the company of Patrick White. So you will see that I have always had some success in getting writers on side. Now that authors are receiving public funds, now you are all on the government payroll, I expect an even bigger turnout at our next Opera House meeting, whenever that may be. In the meantime it is a pleasure to meet so many of you personally. Names familiar from innumerable dustjackets and title pages, from countless airport bookstalls and library shelves, are now fleshed out in living form. It is good to be among you.'  (Introduction)

(p. 24-28)
Women Writers in Society, Judith Wright , single work

'During IWY (International Women's Year], I was asked to lecture in Townsville and Armidale on 'Images of Women in Australian Literature'; at the Adelaide Festival I found myself on a panel discussing the female consciousness in literature. It seems worth thinking a little further on what the contribution of women to Australian writing has been and is, what its limitations and strengths consist in, and where it may be moving. '  (Introduction)

(p. 29-33)
The Historian's Problem of Telling the Story, Manning Clark , single work essay

'Every volume of a history has to be written at least three and sometimes four times, and, as each volume contains nearly 200,000 words, that means over three-quarters of a million words have to be written to get out a volume. A man has to be single-minded to keep going.' 

(p. 34-39)
Birth of The Australian Author, W. F. Larkins , single work essay

'When Joan Clarke first asked me to write a short piece concerning those heady days in 1968 when we decided to publish our own quarterly I shrank from the task. So many other people are better able to tell the story, of the magazine we couldn't afford and weren't sure our members wanted.'  (Introduction)

(p. 40-42)
Where Have All Our Brave Eds Gone, Alexander Cade , single work essay

'Many of the articles I have read in The Author over the past few years have been by struggling writers trying to get established. Not unnaturally, many of them complain bitterly at the treatment they receive at the hands of editors and publishers. I have no quarrel with these complaints for most of them are, I am sure, wholly justified. What I do quarrel with is the implied, sometimes stated assumption that those of us who have managed to become established writers find it any easier to cope with the general level of incompetence, inefficiency, ineptitude and downright lack of consideration which one encounters in one's dealings with the 'intermediaries' between one's work and its final purchaser.'  (Introduction)

(p. 42-45)
The Part-Time Writer - The Agony and the Ecstasy, Colin Thiele , single work essay

'I have had some experience of the life of a part-time writer during the past 40 years. It's obviously a life of pressure—so much so that I wonder what happens when that pressure is suddenly removed. Does the writer suffer from the literary bends, get nitrogen in the ink of his arteries or suffer paralysis of the verbal nervous system? ' (Introduction)

(p. 46-50)
The Realities of Self-Publishing, O. R. Scott , single work essay

`Any fool can make a thing, it takes a man, when things are tough, to sell it and make a profit.' Sexist Henry Ford could well have been referring to self-publishing. To be successful, over a long period, one has to be a better businessman than writer.' (Introduction)

(p. 50-53)
Moral Rights for Authors, Robert Pullan , single work essay

'The new federal parliament will consider a new legal right for artists which has already been enacted in 60 other countries.' (Introduction)

(p. 53-55)
Writing for Nothing - The Vanity Publishing Rip-Off, Edel Wignell , single work essay

'The advertisement in the newspaper simply invited 'published and unpublished ports' to send poems - 'any subject, any style' - for inclusion in an anthology of Australian poetry. There was no indication that it was vanity publishing.' (Introduction)

(p. 56-58)
Gay Writing in Australia, Gary Dunne , single work criticism

'There was a conference on literature at Monash Uni earlier this year and not one of the 70 papers presented was by an author. When this was pointed out to a prominent scholar the reply was that the Wool Board doesn't need to consult with the sheep. As a fiction writer, I found the analogy pretty apt. Being more pragmatic than academic, I'm dodging heavy duty theorising. This article is simply a practical overview of gay writing in Australia, an examination of recent history, choices and consequences. To push the analogy, it's a look at combs, both wide and narrow, which publisher uses which and what kind of fleece is currently considered to be most marketable.'  (Introduction)

(p. 59-64)
Writing in the '90s : The Writer as Reader, Kate Grenville , single work criticism

'Recently my writing's been going through a crisis. Voices are starting to whisper to me as I write, and they're not the voices of Joan of Arc's saints telling her to carry on, you're doing nicely. They're nasty sneering little voices. They tell me the book I'm wilting is about as entertaining as the instructions on a packet of frozen peas.'  (Introduction)

(p. 65-68)
A Demon Campaigner for Status and Sugar, Barbara Jefferis , single work obituary (p. 69-71)
This Way to the Spangly Gloom, Ruth Park , single work essay

'As with so many things young John Keats wrote, his description of the innermost psyche as 'an internal spangly gloom' is the finest we may get In this region you will spend one or more years if you decide to write your autobiography. By autobiography I mean what the dictionary means—the written history of the life of some person. I want to be clear about this because the word, from publishers' point of view, has become imprecise and gaseous. The string of anecdotes, the axe-grinding exercise, the regrettable whinge motivated by revenge—these will certainly sell if' written by a sufficiently famous or powerful individual. For we arc insatiably nosy about others' private lives. Horses and chimps don't appear to care in the least, so for us this striking inquisitiveness is probably a learning process, and so has evolutionary value.'   (Introduction)

(p. 72-74)
The Writer Vanishes, Anne Summers , single work essay
Anne Summers argues that, where once writers were central to culture, now the influence of the written word in Australia is waning in favour of visual images with a consequent devaluation in writers' political and social voice in society.
(p. 75-83)
Out of Apathy The Role of the Writer in John Howard's Australia, David Marr , single work criticism
In the 2003 Colin Simpson Lecture, David Marr argues that 'the role of the writer is always to surprise'. He reflects on his personal observation that 'few Australian novels ... address in worldly, adult ways the country and the time in which we live' and proposes that 'writers start focusing on what is happening in this country [Australia], looking Australia in the face, not flinching, coming to grips with the fact that we have been on a long loop through time that has brought us back almost - but not quite - to where we were [in the 1950s].' Marr cites the approach of Patrick White as an example that others writers could emulate.
(p. 84-89)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 21 Mar 2019 09:36:36
X