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Congratulations to Kyle Perry on the exciting news that his best-selling debut crime novel, The Bluffs, has been optioned to become a TV series by First Option Pictures. Kyle is a Tasmanian author who was a 'full house' drawcard at our Word of Mouth pop-up festival last September and features on the TVWF podcast series, you can watch the shortened or full interview below. Watch the full interview here Kyle Perry is a man of many talents. He is a drug and alcohol counsellor in Hobart, Tasmania. Kyle grew up around the Tasmanian bush and seas and his love for the Tasmanian landscape has played an important role in influencing his writing and spare time. The Bluffs takes us deep into the Tasmanian wilderness and follows the story of a group of teenage school girls who go missing in the fictitious town of Limestone Creek - drawn in Kyle’s imagination from his visits to Mole Creek and the Greater Western Tiers. With several prime suspects under investigation, this mystery thriller is a page turner!

The Tamar Valley Writers Festival and the National Book Council Tasmania invite you to join Tasmanian author and cook Sally Wise and veteran radio presenter Chris Wisbey in celebrating the release of Sally's new book, The Comfort Bake (Murdoch Books). Food & Words to Warm the Heart offers a convivial afternoon of lovely conversation — ranging from recipes and pantry secrets to reminiscing aplenty with her good friend and former ABC Radio presenter Chris Wisbey. These days Chris, with his partner Sally Dakis,  operates a 3500-tree cherry farm in the State’s south. What would a Sally Wise event be without delicious food, and the ticket price includes a traditional afternoon tea. Alcoholic beverages will be available at bar prices. Tickets are $35 each. Be sure to book your place quickly as seating capacity at the Rowella Community Hall venue is limited, due to Covid-19 restrictions. This event is supported by Petrarch's Bookshop, and copies of Sally’s book will be available for purchase signings. FOOD & WORDS TO WARM THE HEARTSally Wise in conversation with Chris WisbeyPresented by the TVWF and the National Book Council TasmaniaSunday February 27, 2-4pmRowella Community Hall, Rowella Rd.Tickets $35 Bookings through Eventbrite Sally Wise Sally Wise OAM is a living legend of home cooking. She was the 2019 Tasmanian Senior Australian of the Year, and is known as 'Tasmania's favourite nan' for her popular cooking school set in the picturesque Derwent Valley, bestselling cookbooks and decades-long regular spot on ABC Radio. When she is not running cooking demonstrations at food festivals or community events, or furnishing the local work-from-home group, 'The Custard Club', with innovative cakes, she can be found teaching locals, tourists, prisoners, young adults, children - anyone! - how to turn simple ingredients into comforting meals. Chris Wisbey Chris Wisbey is best known in Tasmania as presenter of ABC Radio’s ‘Weekend’ programmes. Especially the Saturday Morning talkbacks where he was Peter Cundall’s hearing aid for two decades and the ‘Jams and Preserves’ segment with the legendary Sally Wise, who he would like to think, in a small way, helped take her from ‘passionate but unassuming’ to her status as ‘Australia’s bestselling cooking writer’! Chris grew up in Southern Tasmania, took a ‘Gentleman’s degree’ at UTAS (extended…), worked in the West Coast mines and found himself studying Performing Arts and working for the ABC in Townsville. Starting of as weather-boy in the 7o’clock news and eventually presenting the bulletin and that forgotten classic of North Queensland Current Affairs; 'Points North'.  When Evening Radio started in Queensland, Chris took over and remained in radio for 38 years, working in at least 12 locations including presenting the national daily ‘Morning Extra’ and the long running ‘Australia All Over’ from Sydney. Chris and his wife, Sally Dakis, both retired from the ABC over two years ago now. They have two daughters studying at tertiary level, and are trying to stop running a large commercial cherry orchard and Peony farm just outside of Richmond.

Ian Kennedy Williams is the author of three novels and four collections of short stories. He has also written for the stage and worked on film and TV initiatives for Screen Australia and Screen Queensland. His work has garnered numerous awards and he is a recipient of an Australian Film Institute nomination for screenwriting. Born in the UK, he has lived most of his adult life in Australia. In 2009 he and his wife Liz left steamy Brisbane for the more salubrious climate of Tasmania. 1. What are you working on? I’m currently revisiting a longish story I included in my last collection Leaving the Comfort Zone. It’s about a rookie police detective’s obsession with a young woman’s suicide, the woman’s relationship to the household where she was employed and the property’s connection to a double suicide that occurred there in the 1930s. The story, even at around 11,000 words, always seemed ripe for development, so I’m seeing if it has the scope to work as a short novel. I’ve introduced a backstory for the detective, which will play into the main narrative, and a subplot that at the moment could go anywhere. Or nowhere. The narrative crosses genres, drawing on gothic and supernatural tropes as well as from the detective story. There are narrative and time shifts and differing points of view, though the focus is primarily on the detective — the more deeply she delves into the story the more she becomes a part of it. Whether it all comes together is another matter. It’s early days. 2. How does the Tamar Valley influence your writing? For the migrant, the question of home can be a point of contention. Is ‘home’ forever rooted in the place of birth and childhood, or is it the adopted place, the place of settlement? For the rootless, I guess, it’s a perennial search for a sense of belonging. I’ve lived, at various times, in five different Australian states, which implies a degree of rootlessness. Even a long sojourn in the one place can seem, in retrospect, as if it were simply a stopping off point on the journey to somewhere else. All the places I’ve lived have had some influence on my writing, though mostly from a geographical perspective. Which is to say I set my stories locally and draw on a particular sense of place to shape the narrative. This, I note, often involves characters wrangling a sense of restlessness. After thirty years living in the subtropics, moving to the Tamar Valley felt a bit like coming home. The landscape resembles my native West Country and Launceston (named after the Cornish town) has much in common with Bristol, another old seaport. My recent writing has diverse settings, but it occurs to me that there has been a subtle shift from stories about leaving to ones of arrival. 3. What themes are you exploring? I’m not an ideas or issues writer though, as noted above, the social setting or a particular environment can influence the stories I write. My novel Regret was about the fallout from a pig shoot, a character drama set against racial tensions in a declining mill town on the NSW north coast. My writing process is to start with a character or situation and work outwards from there. Patricia Highsmith is said to have resented being referred to as a crime writer; she was, she said, interested in guilt and how people dealt with it. Transgression is something that has always interested me, the way otherwise good people are drawn to or manipulated into doing bad things. I’m also interested in the outsider’s perspective, the role of the disinterested bystander, the recorder rather than the participator. Sometimes this means playing the unreliable narrator, which opens up all sorts of narrative possibilities. Generally, though, I’m mostly interested in exploring character pathology, what makes people tick. Someone once described my stories as miniaturist (approvingly, I think, though you can’t always tell). Some writers like to record the big picture. I like to focus on the moment. 4. Describe for us where you write. A three bedroom house inhabited by two adults and a cat means I have a room in which to write. It’s a small room with a long desk to one side supporting two aging computers, a printer, paper trays, and, tucked in the corner, my father’s war service medals. Bookshelves hold mostly reference works, which sadly, if inevitably, the internet has made largely redundant. The shelves also hold various knickknacks collected over the years, family pics, postcards and a ship in a bottle (actually a bulbous clear glass cider flagon, the sailing clipper set into the bottom of the bottle not the side as is usual). Across from the desk are two small filing cabinets, a shredder and a cd player sitting on a sewing cabinet that still contains thread, chalk, scissors etc from my late father-in-law’s tailoring days. On the wall are five framed certificates for writing awards, my wife’s Sao Award (Senior Admin Officer), two of my grandfather’s paintings, a pair of antiquarian prints depicting the Americas and two prints of Weston-super-Mare (where I grew up) circa 1851. The solitary window overlooks a hedge-rimmed garden and a main arterial road, generally quiet except for twice a day when kids are being ferried to and from school. Across the road, a little to the left and behind a stand of towering pine trees is Carr Villa cemetery, home to the dead, dog-walkers and the occasional hoon on a trail bike. 5. Finish this sentence, "I want my writing to..." Engage. Writing that doesn’t engage doesn’t go anywhere. Subvert expectations. Which is not to suggest implausible resolutions, rather that stories exploring the lives of complex characters should never be predictable. Be authentic. The stories and characters depicted should ring true, which means engaging different literary forms as the narrative demands. And finally, dare I say, appear easy. Yeats, in his poem Adam’s Curse put it best. ‘A line will take us hours maybe;/Yet if it does not seem a moment’s thought,/Our stitching and unstitching has been naught.’ 6. What's your favourite read so far this year? I read recently that men generally don’t read fiction written by women. That was something of a revelation to me as probably 90% of the novels I’ve read over the last few years are by female authors. I did revisit William Trevor, an early favourite, catching up with his later novels that had passed me by, but for me the standout authors of recently reading are Elizabeth Strout and Anne Enright. Both are very good at families, particularly the fractious relationships between siblings. Strout particularly has the gift of drawing you into the story as if she were telling it to you personally. I’ve just finished Enright’s The Green Road, which is probably my most enjoyable read this year. Both writers have a light, wry touch, but Enright has the comic edge with the sort of lines that make you think, ‘I wish I’d written that…’ I also read Before You Knew My Name by Jacqueline Bublitz, an interesting take on the traditional murder mystery, one that gives the victim agency over her life and demise. Not so much a crime story as a meditation on death, loss and healing, it is, for the most part, a rewarding read. Currently I am reading Broken Spear: the untold story of Black Tom Birch, the man who sparked Australia’s bloodiest war by Hobart writer Robert Cox. Meticulously researched and written with the novelist’s flair for narrative, it’s a thoroughly absorbing biography of one of the most significant Indigenous Australians in Tasmania’s colonial history.

Julian Burgess is the author of nine non-fiction books including Holyman's Of Bass Strait: Shipping and Aviation Pioneers of Australia; Home of Peace, The Eskleigh Story; The Tamar Yacht Club, a history of sailing in Launceston from 1837; A Woman Of Charity, the biography of Launceston philanthropist Mrs W. D. Booth; Duck Reach And Launceston’s Electric Light; William Gow’s Anzac Diary; The Outcome Of Enterprise, Launceston’s Waverley Woollen Mills; and Cruel Wind (with Robert Matthews) on the 1998 Sydney To Hobart Yacht Race Disaster. Julian is a former Associate Editor of the Launceston Examiner newspaper where he edited and wrote many of The Examiner’s annual historical supplements between 2006 and 2014. He has written hundreds of articles on Tasmanian history and contributed to a number of local historical publications. You can find out more at www.julianburgess.com.au. 1. What are you working on? I’m currently editing and preparing for publishing a history of a Launceston business which will celebrate its 130th anniversary next year. The survival of this business has been closely tied to the fluctuating economic fortunes of industry in Launceston. The manuscript combines photos and recollections from several generations of the family involved in the business and tells the story of important industrial developments in the Tamar Valley and further afield. I also like to write articles on topical subjects for the Launceston Historical Society’s OUR HISTORY series that runs in the Sunday Examiner. 2. How does the Tamar Valley influence your writing? My family had a small orchard on the edge of the Tamar River at Kayena in the 1950s and that’s where I lived as a young child. My earliest memories are of ships passing our house, our neighbour Cliff Brown’s cod boat moored off our jetty and apples and pears being picked and packed for shipment to interstate and overseas markets. I’ve lived most of my life in Launceston and the Tamar Valley and love telling the stories of the people and activities that have shaped our region. 3. What themes are you exploring? Local history is what interests me. As one of the earliest European settlements in Australia our region was highly influential in national affairs in the 19th century and into the 20th century. I like telling the stories from this period of our history. 4. Describe for us where you write. The advent of the laptop computer has meant I can work anywhere but my favourite places are the kitchen table and the family room couch. I do get into trouble when the kitchen table and couch become crowded with reference books and papers! I do have a study with all my books arranged in bookcases and a big desktop Apple computer with printers etc where I can scan documents and photos and work on graphics but I prefer working on a laptop. 5. Finish this sentence, "I want my writing to..." I want my writing to tell stories that recognise significant local events and people. My favourite saying comes from Richard Flanagan’s novel Gould’s Book of Fish and is attributed to William Bulow Gould:  "You don't know who you are if you don't know where you come from." I think that the more we know about our past the more we understand our present. 6. What's your favourite read so far this year? Well, apart from my current addiction to Jack Reacher I think Tongerlongeter: First Nations Leader and Tasmanian War Hero by Henry Reynolds and Nicholas Clements would be my favourite closely followed by The Little Skipper: Sir John Evans by Nigel Burch.

The Tamar Valley Writers Festival is excited to share news that it is one of 14 events and organisers to receive a total of $1.5 million through the State Government's Regional Event Recovery funding scheme. The Fund supports organisers to undertake activities that contribute to the sustainability of events in regional areas, and encourage interstate and intrastate visitation. This is a welcome boost and will support all that we strive to achieve and present as a not-for-profit, volunteer committee.

Johanna has always worked with words — professionally as a media officer and journalist, and writing creatively and blogging for fun at johannabd.com. Published works include the crowd-funded book Business & Baby on Board, fiction published online by Transportation Press and Forty South Magazine and memoir pieces in Love Alters: A Love for All Seasons and Unfinished Chapters. Johanna recently completed a PhD at University of Tasmania, investigating how journalists use social media texts when reporting on crises and exploring themes of speed, ethics and veracity in news reporting. 1. What are you working on? I'm in the final stages of editing a short story, written slowly over the course of 2021 as part of a self-paced short story writing course through the Australian Writers' Centre. As someone who is more familiar with writing news and feature articles or speeches, fiction is new to me so I'm taking my time to get it right. Now I've finished my PhD I'm giving myself some space to decide which big writing project to tackle next. I've got a few ideas for novels and some creative non-fiction works swimming around in my head. 2. How does the Tamar Valley influence your writing? I frequently find the Tamar Valley and its surrounds cropping up in my fiction writing as a character, because I often come up with ideas for stories while walking my dog Bastille. There is nothing quite like watching the sun rise over the river or that gorgeous light reflecting off an autumnal vineyard in the afternoon golden hour for setting my creativity in motion. However, when I worked as a journalist I covered stories with this beautiful valley at their heart. The Tamar Valley was the inspiration for, or location of, businesses and events I wrote about and presented the backdrop to important issues impacting the region and its residents. 3. What themes are you exploring? The short story I'm working on now deals with love, betrayal and independence. The other ideas I mentioned span themes of resilience, fear, crime, love and death. 4. Describe for us where you write. Most of my writing happens in two places: at the messy dining room table or while sitting on the lounge with a view of the garden while life goes on around me. But I do have plans for a writing studio/granny flat in my backyard someday... 5. Finish this sentence, "I want my writing to..." I want my writing to stay with my reader long after they've finished the story. 6. What's your favourite read so far this year? My friend Jodi Gibson recently launched her rom com The Five Year Plan, which was delightfully fun to read but also made me think of how much I miss travelling and exploring other cultures. Jodi's characters felt like people I knew well, struggling with issues I found familiar. Plus it had the added appeal of being set in Italian cafes and restaurants! Another favourite was Phosphorescence by Julia Baird, which I found both inspiring and instructive to read in the early stages of my recovery from a horrific ankle injury. Like Julia, I find a calmness and healing quality around water, so I appreciated how she used it while undergoing and recovering from cancer treatment.

Tasmanian-based singer-songwriter Medhanit Barratt was born in the African country of Ethiopia and adopted at the age of six months. At the age of 21, Medhanit’s writing now explores provocative themes such as cultural and racial matters, drawing inspiration from her own and others’ social experiences. But, most of all, Medhanit is fascinated with the human condition. Feelings of both broken and divine love, crippling jealousy, conflict and peace; how we emotionally evolve. Growing up performing and writing acoustically, Medhanit decided to move into the world of production so her songs could exist in a bigger sonic space and has now released two singles, 'Her' and 'Same Things'. 1. What are you working on? Currently I am working on my next release and developing the best way to present my music project live. We’re making our way through the recording and production process for a new single too, which always forces you to refine your artistic intentions I find. 2. How does the Tamar Valley influence your writing? The Tamar Valley to me represents an escape; the valley lines the road to our family shack, where I’ve written many a story. Our family car has hugged those asphalt bends on the way to most Easters and Christmases. Five of us whoosh past the winery vines and teeter over the Tamar’s water. My dad knows that road inside out. Nestled in the valley is our family hideout; a writer's nook disguised as a seaside home. I think I write differently there, it doesn’t feel like it’s for anyone else. 3. What themes are you exploring? Most of my acoustic work revolves around the human condition; how we love and what it means to be human in its messy entirety. I am also delving into themes of racial microaggressions, profiling and stereotypes. 4. Describe for us where you write. The notes app in my phone sees a lot more of my feelings than I’d care to admit. I write from my bed covers, sitting in an empty house cross legged on the family piano stool, tipsily in the bathroom on a night out and then of course everywhere in between. Perhaps not always fleshed out lyrics that make it to the next morning, but leftover sentiments that are salvageable at the very least. 5. Finish this sentence, "I want my songwriting to..." I want my songwriting to create the perfect track you can dance with your friends to but with lyrics that could make you cry. 6. What's your favourite read so far this year? Perhaps I could share my favourite song of this year: Angie McMahon’s cover of Tea Milk & Honey by Oh Pep! The lyrics on Angie’s voice are cruelly beautiful.

In a speech to the Tasmanian House of Representatives on Monday, Bass MP Bridget Archer turned a spotlight on the work of the Tamar Valley Writers Festival in ensuring the literature scene in Tasmania remains vibrant, despite the challenges and restrictions of Covid-19. She acknowledged that the pandemic has interrupted many literary festivals around Australia, including here in the Tamar Valley, but that the TVWF had sought to raise morale and encourage engagement through its recent Word of Mouth pop-up festival. "Committee member Johanna Baker-Dowdell told me it was designed to be like a tasting plate of storytelling, conversation and performances, but we also hoped it would keep everyone's spirits up when we had so much being cancelled or changed due to Covid," Ms Archer said. "I would encourage anyone interested to check out the festival's own podcast where Lyndon Riggall and Annie Warburton talk to Tasmanian authors, playwrights, comedians, poets and editors about their works, how they draw inspiration from Tasmania and what's in store for them." Watch Bass MP Bridget Archer's speech here

Formerly known as the Premier's Literary Prizes, the biennial Tasmanian Literary Awards were recently announced as a fleet of awards that will better recognise excellence in the literary sector. The next Tasmanian Literary Awards will be held in 2022, with entries open later this year. The Tamar Valley Writers Festival is thrilled with the announcement, and wholeheartedly supports the investment in literature. Tasmania's unique and vibrant culture is one that has birthed many nationally recognised and award winning writers, including Miles Franklin Award winning Amanda Lohrey, Vogel Prize winning Kate Kruimink and Margaret Scott prize winning Robbie Arnott, to name a few. The Tasmanian Government has increased its biennial prize money investment from $25 000 to $100 000 to support awards in six new categories: a prize for fiction ($25 000) a prize for non-fiction ($25 000) a prize for young readers and children ($25 000) a prize for Indigenous writing ($10 000) a prize for poetry and short stories ($10 000) a young writers fellowship ($5 000) The University of Tasmania will also continue to support prizes as part of the new Tasmanian Literary Awards. To support and foster literary talent in Tasmania, the new Tasmanian Literary Awards will now only be open to writers living in Tasmania. More information and eligibility guidelines for each prize category will be announced soon.

The Australian bushranger myth is the topic of the National Book Council Tasmania's October event. Jeanette M. Thompson, author of Bone and Beauty: The Ribbon Boys Rebellion (UQP: 2020) will illuminate the research that led to her writing the story of a forgotten convict rebellion. During her residency* at Patterdale, she discovered a familiar story of punishment and rebellion among the government servants. Using case studies of early Tasmanian and mainland bushrangers, Jeanette draws back the veil of the Australian Bushranger myth. Come along to the National Book Council event to hear Jeanette share on Wednesday October 20 at 1:15pm, at the Launceston Library. RSVP is essential due to Covid-19 regulations. Email nationalbookcounciltasmania@gmail.com Jeanette M. Thompson Jeanette graduated as Doctor of Creative Arts from the University of Technology, Sydney. Bone and Beauty grew out of Jeanette’s research into Australian colonial history and creative nonfiction writing. She has been a lecturer in Children’s Literature, Charles Sturt University, and a tutor for the Family History Unit, University of Tasmania. Her research and community writing have explored ways of making history accessible and engaging for a wide variety of audiences. Bone and Beauty: The Ribbon Boys Rebellion 1830. Rebelling from years of maltreatment and starvation, a band of Ribbon Boys liberate eighty convicts from Bathurst farms and lead them inland towards freedom. Governor Darling, fearing that others will also rise up, sends the 39th Regiment in pursuit. Three bloody battles follow, but to whom will justice be served? Rich with detail, Bone and Beauty fuses archival evidence and narrative technique to tell the gripping story of the Ribbon Boys and their reputed leader Ralph Entwistle. For the first time, the influence of Irish secret societies, the scale of oppression and corruption, and the complex web of criminal and family relationships behind these events are revealed. "The convict uprising at Bathurst in 1830 has been almost completely forgotten. Jeanette M. Thompson has brought the story back from obscurity in a most lively and readable way. She has combined serious research with imaginative fair."HENRY REYNOLDS

Karen Mace is an author, novelist, book coach, editor and proofreader. Karen has published two non-fiction books on grief, titled Healing Begins in the Heart (2014) and A Grief Revealed (2021). She has just completed her first novel, The Zumba Class. In another life, Karen was a psychotherapist, counsellor, nurse and educator — and all the skills from those roles have informed her writing. Karen was born in Melbourne, Australia, but considers herself a native of Tasmania where she has lived for most of her life, except for the years she and her family lived in Costa Rica and Ecuador, South America.  You can find out more about Karen on Instagram (@karenmacewriter), Facebook (@karenmacewriter) or on her website. 1. What are you working on? I’m working on a few things. The main one is a revision of a memoir I wrote in 2014. The book, Healing Begins in the Heart, wasn’t something I planned to publish. I wrote it because writing is how I process things and I needed to process the loss of two of our daughters. They died in 1993 and their deaths threw me into a spiritual wilderness that lasted for 13 years. It was after I turned back to God that I began to write about what happened. Once I started it became a journey into my own childhood as well. I did publish the book, but when I did, I hadn’t dealt with the grief associated with the loss of Ileana and Sarah. Last year in November, the month in which they died, I realised I had more grieving to do and out of that came a book of stories about grief, A Grief Revealed. Then earlier this year, as I was writing A Grief Revealed, I felt that I wanted to revise the memoir, to add to it a little of what I have learned about grief in the years since it was published. The revised book is called Looking Back Moving Forward. There’s also a companion workbook to go with it. I’m also working on a novel. It’s women’s fiction, and the working title is The Zumba Class, about a young woman who can’t face her grief when her best friend is killed in a car crash. She runs from where it happened, leaving her job as a nurse, back to her hometown where she teaches Zumba. She finds home is not the haven she hoped for. Devastating revelations about her family compound her grief and she must decide if she will finally face it, or if she will keep running. As well as writing I am a book coach, editor and proofreader, so I always have one or two things on the go in that area too. 2. How does the Tamar Valley influence your writing? The Tamar Valley has always drawn me. When we first came back from overseas, we used to come out to Grindelwald to stay with friends, and we often said how much we would love to live in this part of the valley. A few years later we bought our home and have been here now for nearly 20 years. We love it. While the valley itself doesn’t feature in my writing, there’s a special calming influence that you feel as you leave Riverside that wraps itself around the West Tamar. That’s what influences my writing. As I walk, the clear, open skies, the fresh, crisp air all contribute to my thinking about what comes next in whatever piece of work that’s uppermost in my mind. A novel I have yet to get back to does feature parts of the Tamar Valley, and other parts of Tasmania too, but for the most part, I don’t intentionally write the valley into my work. 3. What themes are you exploring? Themes that I find continuing to pop up in my work are: How does grief show up in people’s lives? What do they do with it when it does? How do people work with grief? Is it possible to journey with it, without fearing it? Forgiveness is another. Why is it so hard to forgive? What happens when we refuse to forgive? What do relationships look like when forgiveness is freely given and is mutual? Can there be restoration? Other themes that surprised me when they began to appear in my work are those of domestic violence and coercive control and how they interact with the themes mentioned above. Floating through my fiction I also see the theme of childhood trauma and the influences of this on adult relationships – again, these are bundled up in the themes of grief, loss and forgiveness. 4. Where do you write? I write in two places. When I need the internet, I write in a big room that also serves as the room for my work as a counsellor. There are large, floor to ceiling windows all along the wall. I look out onto tall, old, gum trees and black wattles that tower over smaller shrubs and vines and hide me from the many houses on a hill not far away. I feel cocooned and safe. It’s a great creative space. But even better is my writing shack, built for me by my husband. It’s a 2x2 metre lined and carpeted haven. I have a desk, a bookcase, a kettle and tea, and a bean bag. It’s where I write when I want to be completely focused and undisturbed. There’s no internet, and I leave my phone behind when I slip over to the shack. 5. Finish this sentence: "The thing I love most about being a storyteller is..." The thing I love most about being a storyteller is that story opens up possibilities and causes people to dream dreams they might never have thought possible. I’ve seen how story can change a person’s life and to have them tell me that I, as a storyteller, have done that is amazing. I love being a part of it all. 6. What's your favourite read so far this year? My favourite read so far this year is Left to Tell by Immaculee Ilibigiza. It’s an incredibly hard book to read because it is Immaculee’s story of surviving the Rwandan holocaust. However, despite her story being a reminder of how evil man can be, the book is at the same time hope-filled and powerful in its message of forgiveness as essential to healing. Another I really love is The Beekeeper of Aleppo. It’s a beautiful story of unspeakable pain and loss, of bravery and compassion and, like Left to Tell, it leaves you shaking your head at the amazing resilience of those who suffer unspeakable hardships.

Georgie is our creative director, here at the TVWF, but you might not be aware that she is a writer in her own right. Georgie completed a Bachelor of Contemporary Arts with a major in theatre and creative writing at UTAS and has had a long-standing relationship with creative arts. During a stint in Victoria, she worked with StoryShare in script development consultancy and presented workshops and papers with Drama Victoria/Australia. Other theatrical high points include directing Something Natural but very Childish (Centrstage), Dusty - the Original Pop Diva (Launceston Musical Society), assistant directing We Will Rock You (Encore) and her production of Killer Joe for Three River, received the Best Production Award (Community) at the Tasmanian Theatre Awards in 2018. Georgie is a Drama teacher at Brooks High, is on the Three River Theatre and Friends of Theatre North committees, recently started a lively bookclub and initiated a writing retreat for fellow writers. She loves to read and write poetry in her spare time. 1. What are you working on? I recently directed Branden Jacobs-Jenkins' play Gloria for Three River Theatre and currently in my role as Creative Director of the Tamar Valley Writers Festival, we are busily getting ready for our exciting Word of Mouth festival in September. I am also in rehearsal with IO Performance for Mr Burns, A Post Electric Play for Junction Arts. I am excited to be treading the boards again but in this case the 'boards' will be hidden in the Elizabeth Street Car Park! Amongst that glorious chaos I am always writing: writing poetry in the wee hours, writing scripts for my students...writing school reports for my delightful Brooks High students. 2. How does the Tamar Valley influence your writing? I was born in Beaconsfield, and the Tamar Valley has always been home. Whether that was fishing on the jetty at Beauty Point at the mouth of kanamaluka/River Tamar, or standing on the banks at Deviot to get married. More broadly the Tasmanian people and landscape has always influenced my writing. A musical I co-wrote and toured Tassie with, Happy Me, centred around four distinctly Tasmanian voices, with my character inspired by the late pioneering Tasmanian politician Sue Napier, my dear neighbour growing up in the West Tamar. I have also co-written a youth theatre play called One, Two, Three, Home with the title born out of the joy of playing outdoor games with my siblings. 3. What themes are you exploring? Themes and ideas I find myself scribbling around are: What does it mean to be Tasmanian? A female? What does it feel like to grow up, to be in love, to raise a young person? My writing is generally centred in reality, which baffles me, as my favourite genre is fantasy. Recently I performed one of my own poems at a female focused 'Grand Poetry Evening' with Theatre North. I had written a piece about the experience of a women in post war England called Atomic Lady Bomb, inspired by a story my mother tells of gatling guns hitting the cobblestone of Brighton (where my family is from) and barely missing my uncle's pram. 4. Describe for us where you write. I write in bed at 2am when I'm not asleep. Or I write sitting in the library, awkwardly, so as to give myself a glorious neck ache. I don't like desks. I like my body parts to fall asleep with the effort. 5. Finish this sentence, "The thing I love the most about being a storyteller is..." Hopefully growing empathy in my audience. Showing them a slice of reality they may not have considered. 6. What's your favourite read so far this year? I was very impressed by Adam Thompson's Born into This with 'Kite' and 'Morpork' and 'Honey' my favourites of his short stories. I had the pleasure of recently reading Kate Gordon's delightful fantasy Ballad of Melodie Rose. In the past few months I have also smashed some classics in George RR Martin's Fevre Dream and Possession by A.S Byatt and currently I'm reading Magician by Feist. I started a bookclub a few years back and the theme this year was 'Books released the year you were born' and it's been a pleasure going back over some epic titles. But my absolute favourite read of 2021 and possibly all time has been The Invisible Life of Addie Larue by VE Schwab.