Category Archives: Writers

Plotting With Pride: Celebrating Australian queer crime fiction

LGBTIQA++ crime authors are nothing new: we’ve been at it since well before Oscar Wilde’s gothic mystery The Picture of Dorian Gray scandalised late-Victorian society with its exploration of hedonism, corruption and same-sex attraction.

We’ve penned bestselling non-queer novels, such as The Mystery of a Hansom Cab which gripped readers around the world while its antipodean queer author Fergus Hume somehow avoided Wilde’s fate in the same era.

We’ve been queercoding ourselves for years in novels, in the hands of authors like Patricia Highsmith (the Tom Ripley series); and we’ve been coded into some of the classics of the genre, such as a raft of queer characters that cropped up in the oeuvre of Agatha Christie.

Australia’s current queer crime authors stand on pretty big shoulders. Pioneers of queer-themed crime fiction like Claire McNab, Dorothy Porter, Phillip Scott (author of The Mardi Gras Murders) and Neal Drinnan (author of Pussy’s Bow) were producing a range of gripping reads replete with LGBTIQA++ characters and themes from the 1980s to the 2010s, often set in Australia, sometimes published overseas.

But the millennium brought about a shift and now there are plenty of other shining examples of queer ‘career’ authors from down under, from Lindy Cameron to R.W.R McDonald, and beyond. Even academic and activist Dennis Altman turned to crime writing in 2023 with Death at the Sauna.

What’s new is that there are now too many of us to fit on the one panel at the country’s pre-eminent crime writing festival, BAD Sydney. Heck, it might even be time to ditch the ‘queer panel’ concept altogether.

Joining me in the line-up at the State Library of New South Wales on Friday November 20 are four LGBTIQA++ authors who are carving out writing careers in an array of crime and mystery sub-genres.

It’s time to celebrate how far we’ve come, and in a relatively short time.

Fiona Kelly McGregor

The Sydney-based author of the award-winning 2010 classic Indelible Ink, Fiona’s recent works Iris (2022) and The Trap (2026) emerged at the same time as the NSW gay-hate crime inquiry examined several historical deaths. Such analysis was necessarily sterile, but Fiona’s novels, particularly The Trap, put the mysteries of queer life before decriminalisation into visceral focus. Wartime Sydney, 1942. In the half-light of brownouts, the city’s queers are prone to a nexus of ambitious police, toothless reporters and corrupt legal eagles. The novel follows the fortunes of black, queer nightclub manager Ray Sayles, entrapped by cops in a cruel sting that runs right to the very top of the force, the media and the judiciary. The raw blend of history and sexual politics makes this startlingly familiar.

Hayley Scrivenor

Australian rural noir got a thorough and timely stirring up with the release of Hayley’s debut Dirt Town (2022). This novel examines crimes against young people through their own eyes, and topped Australia’s bestseller lists, won the British Crime Writers’ Association New Blood Dagger award, the Lambda Literary Award for LGBTQ+ Mystery and the ABIA for General Fiction Book of the Year. Hayley’s second novel, Girl Falling (2024), was the people’s choice Danger Award in 2025. Both stories are explorations of the complex tensions that underpin queerness in regional communities – particularly around coming out, grief and trauma – in a way that only someone LGBT born in the bush could. While Hayley now lives in the Illawarra, she hails from a small country town.

Georgia Harper

Across two novels, Sunshine Coast-based Georgia has posed enormous moral questions that send seismic rumblings through the communities she portrays. Her debut What I Would Do to You imagines a world in which victim-survivors get to decide the punishment for the perpetrators of heinous crimes, explored through the tensions of a rural family coming to terms with the meaning of justice. It won the 2025 Davitt Award debut and was shortlisted for the 2025 Danger Awards. This was followed by Dove (2026) which asks how women and girls might navigate safety if there were no men for a day. The rich, moral-bending seam of Georgia’s writing stems from her experience as a psychologist working with serious violent offenders, resulting in fiction that walks between retribution and understanding.

Troy Hunter

A self-confessed Agatha Christie obsessive, Troy is the Melbourne-based author of a young adult crime series that started with his 2024 debut Gus and the Missing Boy. After he sees an identikit of a missing kid who looks just like him, suburban teen Gus starts connecting the dots about family secrets. His besties Shell and Kane join him on the sleuthing trail, rarely taking themselves seriously while they unravel big questions about Gus’s origins and their own complex futures. Troy’s ‘ugly’ duckling story remodels changeling myths by blending fairytale fears with cosy Christie DNA as he queers things up into a missing-person mystery like no other. The cycle continues with Gus and the Burning Stones (2025) and the upcoming Gus and the Climate Killer (2027).

The good news is that you’re joining us, you just haven’t booked yet!

Plots With Pride: Queering the past and present in crime fiction, BAD Sydney Crime Writers Festival, November 20-21 at the State Library of NSW

Postcards From Armchair Travellers

LITERARY ADAPTATIONS FEATURING plenty of yearning, unresolved romance and resilient creatives rising above the odds rank amongst my favourite movies. No surprise that they’re usually about writers and our work, one of the most elusive practices to effectively commit to the screen.

The tropes of cinema’s wordsmiths are well-used: chewing on the ends of pencils while gazing at the ceiling, screwing up pages and tossing them into a bin (usually a wire basket surrounded by plenty of scrunched paper), long walks in wild places, angst.

Overused, perhaps, but all based on truths that wordsmiths recognise.

Common threads and themes run through these films: America and Europe, past and present, queer and straight, Hopkins and Streep, readers and writers, love and loss, success and failure.

The use of unusual type-key symbols in the titles of these works (digits, ampersands, question marks, etc.) is also resonant of the old typesetting language that literature lovers understand.

Welcome to my list of guilty screen pleasures…

84, Charing Cross Road

Adapted from Helene Hanff’s 1970 epistolary memoir, this tale by the mother of all armchair travellers rode into the literary scene on a post-WWII nostalgia wave. Headed up by Anne Bancroft as struggling New York writer Hanff and Anthony Hopkins as reserved London bookshop manager Frank Doel, there is perhaps no better example of a genteel story that is “just” a collection of real-life letters, unfolding over decades via simple acts of human kindness. Hanff and Doel are literature-loving denizens separated by the Atlantic, helping each other through austere years with the soul food of literature and ration-busting hampers. Along the way they find shared humanity and unrequited love. The divine art of humane correspondence.

Julie & Julia

A food writer (Julia Child) and a food blogger (Julie Powell) embody the creation and purpose of Child’s 1961 culinary classic Mastering the Art of French Cooking. Meanwhile, their separate relationships are tested by the impacts of WWII and 9/11 on Paris and New York. In the hands of Meryl Streep, this is a raucous Julia Child counterpointed by the more subdued Powell (Amy Adams) as she cooks her way through the weighty tome decades after all the obstacles of its publication. Like Hanff’s story, food plays a pivotal role, but as a conduit for passion and a metaphor for commitment. Through cooking, Child and Powell find purpose in this call-and-echo tale on satiation, nurture and never giving up. The life-enlarging art of describing food with words.

Can You Ever Forgive Me?

When her career as a biographer stalls in 1980s New York, writer Lee Israel (Melissa McCarthy) decides it’s easier to pay her bills from the takings of forging type-written letters by the city’s artistic icons, from Dorothy Parker to Fanny Brice. All seems harmless until the FBI picks up the trail, and Britain gets roped in with Israel’s partner-in-crime Jack (Richard E. Grant, although the real-life Jack was American). Apart from being a glimpse of how writers survive New York (not too far removed from Hanff’s experience), the beauty of this plot, taken from Israel’s 2008 confessional memoir, is that of course we forgive a struggling writer forced to pretend to be someone else in order to stay afloat in the book trade. The art of making believe.

{The} Hours

Michael Cunningham’s most beguiling premise springs off the page of his 1998 novel onto the screen in the hands of Nicole Kidman (as Virginia Woolf) pushing through demons to write her 1923 novel Mrs Dalloway; a suburban housewife (Julianne Moore) in 1949 Los Angeles, reading vicariously between the lines of Woolf’s classic; and a successful editor (Meryl Streep) in 1999 New York, embodying Mrs Dalloway’s brittle independence while throwing a party for a doomed poet. Taking viewers well beyond Hanff’s armchair, this time-travelling rumination on memory and regret weighs up the costs of liberating oneself from expectation instead of staying put. The art of making meaning.

Shadowlands

We fully cross the Atlantic in this counterpoint to the unrequited love of Charing Cross Road, to explore what happens when writerly penpals – quiet Brit C.S. Lewis (Anthony Hopkins) and boisterous Yank Joy Davidman (Debra Winger) – become the unlikeliest of star-crossed lovers. Their initial meeting of minds leads to a marriage of convenience, but when disaster strikes, it blossoms into a passionate betrothal. Several source materials went into this epic romance, none so visceral as Lewis’s own reflection on the experience in his 1961 book A Grief Observed. This screenplay wraps love, loss and literature into an icicle of fire shot straight from Narnia into your heart. The art of enduring love despite the odds.

Please tell me in the comments the examples I’ve overlooked…

The Book Tour Survival Guide

THERE ARE MANY ways to tour a book: author talks, writer’s festivals, in-store signings, literary conferences, book launches, in-conversations, library appearances, etcetera.

Authors ignore such events at our peril, although the major challenge is getting readers to even hear about our books in a saturated marketplace, where some publishers are claiming there’s too many new releases in this country.

One solution is to hire a publicist.

At a big-city writer’s festival the year that my debut novel was released, a very successful author leaned over to me at the bar. “Your book is everywhere!” they whispered. “Who is your publicist? I want to work with them.”

When I pointed to my chest, their jaw hit the floor; but I took it as an indication that my DIY approach was effective.

Publicists rightly earn good money for getting an author’s book into the path of readers (here’s some insight on salaries for all key players in the book trade). Maybe I’ll work my way up to affording a publicist down the track?

If you’re still reading, you probably can’t afford to share your hard-earned royalties either. So here’s my gift to you: how to tour a book without getting ripped off or embarrassed.

Plan ahead

At least six months before your publication date, get your marketing materials together. Don’t panic if your publisher’s Advance Information Sheet (AIS) isn’t quite ready. Rustle up your own stand-in, even if it doesn’t have a final cover image. Include a description, a couple of endorsements about you and your work, the publication date, the ISBN and start approaching bookshops and/or libraries about hosting a launch. If you have no endorsements, get one from your publisher explaining why they picked up your manuscript and that they’re excited about publishing it. If you’re self-published, approach a wordsmith in your genre and ask them for a quote about you and/or your writing.

Planting seeds in bookshops

Right now, there’s likely to be someone on staff in bookshops and libraries who manages events, very often they’re more contactable via social media messaging than email. Send them your AIS and ask about the possibility of a book event! It’s increasingly common for authors to head into bookshops and libraries well ahead of our publication date. For emerging authors particularly, this is a way to plant seeds about our upcoming books, and can assist our distributors (who are less likely to be on the road and more likely to be emailing or messaging bookshops) by making an impression about a new release.

Bookshops are busy

Particularly at lunch hour and, for big-city and suburban outlets, after 5pm. Make a time to come in (if you can), but don’t expect a lengthy audience with anyone. More than five minutes is a bonus. Be aware of any customers waiting to be served, and stand aside for them. Leave your AIS and a positive impression. Be prepared to be assertive about your right, as the creator of books, to be in a bookshop doing book business. When your distributor approaches that shop, your seedling will already be above soil level. If they already have, your visit is another chance to get attention on your new book.

Libraries bear fruit too

There’s no harm in supporting your distributor by alerting library networks about your upcoming book. Keep a few AIS sheets in your car and drop one into libraries when you travel. In Australia, we have the Lending Rights Scheme, which allocates micropayments to authors every time our books are borrowed. Libraries very often have event programs too, and many pay authors to appear.

Get a paid gig or two

While you’re in the planning phase, particularly if you’re thinking of touring to a city, look out for literary events to submit yourself and your book for. The organisers may be very grateful to be approached, since you’re going to be in their location anyway. Garnering a few appearance fees along the way is a great way to self-fund your book tour.

Recruit allies

Invite fellow wordsmiths to front up with you at your book events: the authors, journalists, academics and librarians who live in the region you’re touring through. Someone will be very happy to interview you, particularly if the bookshop you’re appearing at stocks their books, too.

Use pencil in your diary

Because the dates of your book tour are going to change, likely more than once. If you have given your plan enough lead time, these shifts will not matter. Stay agile as your itinerary comes together.

In-store signings

Think small table near the bookshop counter, a stack of your books on it, or – heaven forbid – sitting out on the street waiting for customers to give you time and attention. Only for the brave. You might sell a few books. You might sell none. In-store signings work for some, but an event at a bookshop can be more worthwhile and less anxiety-filled.

Tell everyone

When you have your book-tour itinerary planned, start the massive job of spreading the word. Tell everyone, literally. There’s nothing like a personal invitation to an event as opposed to just scrolling past something on social media; but paid social media boosts have worked for me when promoting library events. Contact radio stations in the area where you’re touring and send a press release with your AIS, and a free copy of your book as a listener giveaway!

We all have ‘that awful story‘

Last year, I dropped into a small bookshop, and once the sales desk was clear of customers I introduced myself to the one staff member as an author with two new books about to land in the supply chain. Instead of the expected welcome, she freaked out, hands waving right in my face, loudly repeating, “No, no, no!!!” It was such a shock, and I tried to explain myself but she just wasn’t interested. Maybe she was hungry? Maybe she needed to use the bathroom? Whatever … her reaction was awful, and delivered loudly enough for customers to notice.

The mental health thing

If the above incident had happened in my twenties or thirties, it could have been quite damaging. Being an author whose debut novel came out in my middle-age has made me more resilient. I quickly regathered my composure, and rang my husband. We had a good laugh and moved on. Have allies at hand when book touring, to help protect you from the unexpected challenges. Such moments are very much the exception. Most booksellers and authors realise that we need each other and that we’re working towards the same aim: reaching readers.

Sometimes, people just don’t turn up

During my last book tour, a fellow author posted a picture of an empty chair on social media, taken at their suburban book event to which nobody came. I’ve done my share of events best described as “intimate”, but I came up in the trenches of the theatre, where there’s an old rule about the show only going on if the numbers in the audience are more than the cast. When you strike a no-show or a low-show, please don’t have a shame spiral. It’s a rite of passage in every author’s life.

The skittish venue

Sometimes, the host library or bookshop will cancel your event ahead of time, even days before. There are good reasons: staff rostering is the one usually cited. Roll with it. If it leaves a hole in your itinerary, try another venue, or have a night off!

Go places you like

It’s your tour, so treat yourself along the way. A scenic walk, a swim, a picnic, or a visit with a friend. I live in the bush and don’t get to cities very often, so I combine book touring with visits to family and friends, gallery and theatre visits, ocean dips and laps at local pools. It all helps take the edge of the inevitable anxiety of putting myself out there.

Travel with friends

In recent years, authors have been going out into the wild in pairs. Usually from the same publishing stable, this tandem approach saves money and resources (particularly fuel) and offers libraries (particularly in the regions) a double-barrelled event to promote to their members and visitors.

Practice your signature

Particularly if you’re a debut author! When someone has made time in their day to come to your talk, bought your book and waited to have it signed … and you give a literary flourish instead of a smudged scrawl, you will have achieved book tour perfection!

Book tours never really end

If you don’t believe me, take a look at mine. It started in October, 2021 and probably has at least one upcoming event at any given time. I figure that when my publisher and their distributor have stumped up the money to get my book into the supply chain, the least I can do is get out there and meet readers.

I’ll be giving my book marketing workshop ‘Back Your Own Book’ at Queensland Writers Centre on Saturday August 22. Book now via the QWC site.

For more tips about promoting your book, whether you’re traditionally or independently published, check out my book Write, Regardless!

Main picture: Michael Burge and Hayley Scrivenor at Qtopia Sydney for the Eastern Sydney launch of Dirt Trap