Tag Archives: interviews

Not-A-Snapshot Interview: Aimée Lindorff


Aimée is a cultural producer, writer, and editor based in Brisbane.  She has a long history of supporting and promoting community arts, working with industrial organisations, community orchestras, and state and national cultural producers – most recently as Public Programs Manager of Queensland Writers Centre (2013-2016), Festival Coordinator of National Young Writers’ Festival (2012-2013) and as part of the Program Advisory Committee of Emerging Writers Festival (2014-2015). Aimée has worked in various capacities with the QWC since 2009, mentoring in creative writing and cultural production. She is passionate about representation, access, innovation, and development of Australian stories.

 In 2014, Aimée was appointed Chair of the Australian National Science Fiction Convention 2016 Organising Committee for the development and delivery of Contact2016.

She is creator of Whispers salon – a quarterly reading event showcasing emerging Queensland writers – and Queensland Script House – a craft and business development program for screenwriters.

She currently reviews fiction for Aurealis Magazine and has appeared at Gold Coast Film Festival, Emerging Writers Festival, Bundaberg WriteFest, Brisbane Writers Festival and Digital Writers’ Festival talking books, publishing, digital futures and Queensland writing.

You ran the Natcon, Contact, in Brisbane earlier this year – what can you tell us about that experience?

So many feels! It was one of the most challenging and rewarding experiences I’ve had in cultural and event development, particularly as we were effectively starting from scratch having not hosted a NatCon in Queensland for 10 years. We were fortunate to have so many talented people generously donate their time and expertise to shaping the event, and I found the NatCon audience to be really supportive of our team. It wasn’t all smooth sailing, but the team did a hell of a job and I am so proud of our group of volunteers. What it did articulate for me was how much the fan community has changed since my first Con in 2009, particularly in Queensland. Each region’s community is vastly different to another, and no two fandoms are the same. There’s a lot going on in pop culture and fandom in Queensland, and it’s a privilege to be able to contribute to that community.

I understand you are finishing up in your role at the Queensland Writers Centre soon. What are some of your biggest takeaways from working there?

I learnt so much working at QWC. Writers Centres operates at the apex of arts, not-for-profit and community sectors, so the work is inherently different every day, the people you meet are so diverse, and you have to be passionate about what you’re doing because it is also one of the most thankless industries. I was fortunate in working with a truly exceptional team of producers, and participated in some incredible projects while I was there.

Some of the biggest takeaways were the relationships and friendships forged as a result, but what I learnt about being an arts practitioner was endlessly valuable.

  • Never stop learning: the best and most successful artists I know are those that continue to challenge their craft and what they know about their artform. This industry is continuously changing and adapting, both in terms of how readers engage, what publishers want, and stylistically, so as an artist you are continually learning, and should be actively seeking new forms, mediums and modes to challenge yourself.
    • The worst thing I’ve seen is writers who believe they have nothing to learn. Whether it’s editing, business models, marketing, public speaking, actively learn new skills. It can only ever help.
  • Every writer’s definition of success is different: I’ve engaged with many writers at different stages of their process and at different levels of understanding. It doesn’t make anyone’s goal less valuable, but talking about writing is really managing artist expectations and translating desired outcomes into a process of actionable steps.
  • Don’t be a dick: if nothing else, this is what I learnt. Everyone engages with their craft differently. Everyone needs different things, but no-one owes you anything. If you cannot be gracious or kind in your interactions with readers, publishers, other writers, hell, the woman who just answered the phone, then none of it matters, because no-one will want to engage with you or help you if you are a dick. So don’t be.
    • Further to don’t be a dick: support yourself. The reality of this industry is it makes unlimited demands of your time, your intellectual property, and of your emotional and creative energy, so pick your battles wisely, be prepared to say no to opportunities or to people if it doesn’t feel right, and don’t be afraid to ask for help.

Can you tell us what are you working on at the moment that we might see in the next year or so?

That’s an interesting prospect! I’m currently working on some smaller projects for production studios, and I’ll be working on some screen projects in the immediate future. Nothing I can talk about publically just yet, but stay tuned!!

I’ve been working with creative collaborator Sophie Overett to redevelop our Lady Parts Podcast and expand into written criticism and events. It’s an exciting time to be discussing representation and access in screen, and we’ll be rolling out some new projects under that banner over the next few months.

I’ve also had a chance to do some of my own writing (shock, horror!) and reengage with my own creative process. It’s been awhile and I have to confess the tools are a bit rusty, but I’m excited to have the time to write!

What Australian work have you loved recently?

Working with so many writers and artists makes this such a hard choice!!

I really enjoyed Daughters of the Storm by Kim Wilkins and am looking forward to reading the second in the series. I’m a big fan of the Kill You Dead Female Character, and Kim writes them so very well. I’m currently reading Orphancorp by Marlee Ward and have heart-eyes everywhere. She writes beautiful prose and such an interesting story. Will keep you posted!

On the art side, I’m ridiculously obsessed with the artwork of Belinda Morris and wish I could wallpaper my house in her current work.

(Due to life circumstances, Aimée couldn’t get her answers back in time for the 2016 Snapshot, but since she gave such interesting ones, I thought I’d share them as a blog interview instead 🙂 )

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Belatedly, my 2016 Snapshot interviews!

Things have been a bit bonkers lately, with a heck of a lot going on at work and home. One of those things earlier in August was the Aust SF Snapshot, a (basically) biannual interview blitz where a bunch of us try to interview as many people in and around the Australian spec fic writing scene as we possibly can in a (basically) two week period. It’s been going for 11 years now, and from its humble beginnings with Ben Peek it now takes a big stack of us to take on a huge number of folk (almost 200 this year!). Loads of fun, but loads of work, too, especially when you’re the silly person who says “yanno, a website would be good…” and queues up all the posts! While still doing interviews too 🙂 Anyway, it was a good few weeks and kind of zapped my brain for any other blogging, but I thought I’d better do my round up before it became completely irrelevant – oh hello September, I see you around that corner there…

So, I undertook the following interviews, and was in return also interviewed by the excellent Alex Pierce (see my ramblings here):

  1. Alex Adsett
  2. Lee Battersby
  3. Lindy Cameron (Clan Destine Press)
  4. Stephen Dedman
  5. Thoraiya Dyer
  6. Richard Harland
  7. Narrelle M Harris
  8. Edwina Harvey
  9. Erica Hayes / Viola Carr
  10. Lian Hearn / Gillian Rubenstein
  11. Andrea K Host
  12. Amie Kaufman
  13. Bren MacDibble
  14. David McDonald
  15. Claire McKenna
  16. Meg McKinlay
  17. Foz Meadows
  18. Garth Nix
  19. Stephen Ormsby (Satalyte Publishing)
  20. Angela Slatter
  21. Cat Sparks
  22. Jo Spurrier
  23. Suzanne J Willis

Also on the new website we have archived every single one of the previous five Snapshot projects, from Ben Peek’s first in 2005 right through to the present day, making one handy dandy repository of Australian SF history all in one spot. And it’s been catalogued at Pandora for posterity, which is awesome!

So there’s lots of other stuff going on, including a pending move interstate and job seeking and all that jazz, but right now I’m focussing on getting a book to print in time for Conflux and looking forward to a few social events with friends in the next month or so, including another quick trip to WA in early October for the WA Premier’s Book Awards ceremony – can’t wait!

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A bit exciting really

This afternoon I received a call from the school I had the phone interview with yesterday, inviting me to fly to Launceston (at their expense) for a face-to-face meeting and look around the school. Wowsers! How very grown up, I must say! 🙂 This naturally led to a bit of stress as I had to first get husband to come HOME from Tasmania, which meant first trying to actually get him on the PHONE (no mobile service on site or at home, only on the road, and they’re working such long days) but all sorted (he’s now booked for Sunday), and I’ve booked flights. Means a full day travelling on Tuesday, as flights to Tassie are ridiculously timed, but is much quicker on the way home Thursday, which is good. Sadly means I can’t go to the WASLA dinner on Tuesday night, which I was really looking forward to (my library assistant Lee is the recipient of the WA Library Officer of the Year, and the dinner is partly to celebrate this, and the WA TL of the Year, my friend Brenda Clover) as well as the AISWA Libraries AGM on Wednesday, and probably the last WASLA meeting before THAT AGM (on Thursday). So suddenly my busiest week of the month turns into a travelling week instead! How quickly life changes…

Interestingly, I’m also out of school on Monday as I’m going to the Fremantle Children’s Literature Centre with a lovely group of kids for a full day workshop. My 15 official work days is down to just 12 (the last day is the staff break up/Christmas party). TWELVE DAYS OF WORK LEFT! Eep!

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2010 Snapshot: Matthew Chrulew

Kolbe Catholic College


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Matthew Chrulew has had stories in Aurealis, ASIM, The Workers’ Paradise, Canterbury 2100, and Midnight Echo, which esteemed quintumvirate would qualify him for the exclusive Australian SF cabal, except he has also had the bad judgement to slum it in Dog vs Sandwich. The first of his Androphagi stories, “Between the Memories” (Aurealis 38/9), was shortlisted for the Australian Shadows award and reprinted in Australian Dark Fantasy & Horror.


1. So, what have you been up to lately? And what’s coming up next – what will we see from you in the next year or two?


Six months ago (i.e. basically yesterday) we moved to Sydney, so I could take up a postdoc at Macquarie Uni. What with the settling (again), the family, the life-enveloping (dream) job, and the rest, the writing’s been rather slow of late. Last year I really only published “The Beast-Machine Fableaux” in the art journal Antennae, which has also just been podcast at TISF, read by me, disappointingly, as I was hoping to hear how it sounded in a Scottish drawl. (An earlier podcast may or may not have seen me lay down the whitest raps since tramlines made it big among 1990’s most hairstylish.) Appearing soonish are “Head 2” in the recently randomly maligned Ben Payne’s latest potato-themed project (the public, comprising three, if not four fans of “Head”, having begged for more, as I interpret their gestures); “The Nullarbor Wave” in a book you might have heard of called Worlds Next Door; and “Schubert by Candlelight” in Macabre. I do have some other projects nearing completion – a UFO apocalypse novella, a novel about touch – but most of my creative time is likely to be spent on academic work. I’m writing Mammoth for Reaktion Books, a cultural and natural history of, well, the mammoth. (It’s actually quite a small book – you have no idea how frustrating all those Mammoth Book of X volumes are. Why hasn’t somebody invented a search engine capable of factoring out metaphor?) I dream of simultaneously writing a novel, The Lay of Mamont, which expands on my story “The Gnomogist’s Tale” from Dirk Flinthart’s underappreciated Canterbury 2100, although some were of the opinion that story was already 100% (or is that infinity percent?) too long, so perhaps I should rethink that idea.


I also note, purely as an interesting fact, that other SF writers to have written a nonfiction book on the mammoth include Robert Silverberg. Just sayin’, as they say.


2. Your story in The Workers’ Paradise, “Rapturama,” was co-written with Roland Boer. How did you find that experience? Do you have any further collaborations planned?


Roland, apart from being my PhD supervisor, is an annoyingly prolific arsehole who publishes salacious essays of Marxist biblical criticism in reputed academic journals, when not posting rude pictures on his blog. We’re both pretty laid back, so the collaboration process was seamless really, though it probably resulted in a more sprawling piece than might have been the case, where we each thought the other was watching the child. We haven’t discussed anything further – the story was written in response to Russell and Nick’s call, as is often the case. If the right market or idea comes up, over the right beer, I’m sure it will happen again.


3. Looking further to the future, what are your long-term writing goals? Where would you like to see your writing in the next five years or so?


If you had asked me this question at Clarion in ’04, I’m sure I would have provided a naively ambitious answer. Reality having organised numerous interventions since, I’m happy to just keep my hand in the game for now. I certainly have a heap of long-term projects, but am increasingly unable to think in terms of goals or stages when it comes to fiction. The other stuff I get paid for, in a roundabout way, so it gets done.


4. Which Australian writers or work would you like to see on the Hugo shortlists this year?


All I can say is, if that overrated hack Paul Haines makes it in, it will be testament only to the bankrupt hive-mind of the local scene. I mean, has anyone actually bothered to read this stuff before squeeing ejaculate all over the internet? Clearly the guy is an unhinged lunatic, a self-obsessed perpetrator of sins and felonies. In the interests of the public good, there ought to be a moral clause that demands such work be removed from consideration. And don’t get me started on that cheap trick of self-tuckerisation, causing uncareful readers to confuse the protagonist with the author. It’s hardly even a trick, really, just the unreflexive expression of a monstrous ego, fictional autofellatio that gives a whole new meaning to the term “self-insertion.” It’s even infected his own life, which he now spends profiteering off illness and the hardship of his family. Talk about bad taste. It makes me sick.


5. Will you be at Aussiecon 4 in September?  What are you most looking forward to about it? What do you think Aussiecon might do for the Australian publishing industry as a whole?


We’ll be there, sans our children who we love very much, and I don’t think I’ll be condemned to too nasty a level of hell if I quietly say, that answers both the first two questions. As for the last, and this probably reflects on me, but all I can think of is a record mass hangover.


This interview was conducted as part of the 2010 Snapshot of Australian Speculative Fiction. Interviews were blogged from Monday 15 February to Sunday 22 February and will be archived at ASif!: Australian SpecFic in Focus. You can read interviews at:


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2010 Snapshot: Edwina Harvey

Edwina Harvey is an author, editor, ceramic and silk artist. Her short stories and articles have been published in such diverse publications as Aurealis and Grass Roots magazines. Her first YA SF novel, The Whale’s Tale, was published late last year. She regularly edits, sub-edits and reads slush for Andromeda Spaceways Inflight Magazine, and edits the Australian Science Fiction Bullsheet each month. She has the time to do these things because of a chronic allergy to housework. : – )

1.      In 2009 you released your first YA Novel, A Whale’s Tale. Would you tell us about your publishing experience?

 It was great finally getting a novel published, but I never realised the hard work only starts *after* your book comes out!


2.      You’ve been publishing the SF Bullsheet for a number of years now. Why do you think fanzines such as the multi-award winning Bullsheet are important, and where do you get the energy to keep doing it?!

I think news zines like the Bullsheet are important because they’re the fannish equivilent of The Bush Telegraph, supporting the greater fannish community.

Producing the newsletter each month is a draining experience. It often interrupts my flow of work.  I feel I only have 3 weeks in every 4 to contribute to my other interests


3.      You are one of the founding members of the Andromeda Spaceways Publishing Co-operative, and one of the few remaining founding members of the ongoing publishing group – what can you tell us about your time with ASIM, and why do you think the magazine is important to the Australian and international publishing scene?

ASIM has introduced me to the most amazing group of individuals. No matter who is in the co-op mix, it always seems to work. I think of ASIM  as “The Little Magazine That Could.” The odds have always been against us, but we always just kept our heads down and kept going. We’ve supplied a market for lighter SF and fantasy to many Australian and international authors over the last 8 years of fairly regular magazine production,(with more on the way!) I think we’ve earned  respect from the international SF community


4.      Which Australian writers or work would you like to see on the Hugo shortlists this year?

Sean Williams, Marianne de Pierres, Dave Luckett and Adrian Bedford in the professional writers section. I had a great novella, “Over The Edge” by NZ writer Ripley Patton in Andromeda Spaceways Inflight magazine #42 , and there was a great short story, "Cockroach Love" by Damian Broderick and Paul di Filipo in ASIM 41. In the fanzine section Ted Scribner and I would be delighted if the Bullsheet got a nomination.


5. Will you be at Aussiecon 4 in September?  If so, what are you most looking forward to about it? What do you think Aussiecon might do for the Australian publishing industry as a whole?

I’ll be at Aussiecon 4 with bells on! It’ll be my third Aussiecon. I’m looking forward to all of it, but particularly the social aspects, the chance to meet up with friends and acquaintances, and make new friends. I’m also looking forward to the artshow and the dealers’ room; I’ve been saving up for those all year! In the short term.


 I think having a Worldcon in Australia allows a lot of Australian publishers exposure to a much wider audience. From what I’ve seen there’s also a “creative aftershock” that stimulates the local community in the years after a local Worldcon. I think ASIM emerged during one such aftershock, and I’m looking forward to seeing what will emerge from Aussiecon 4  




This interview was conducted as part of the 2010 Snapshot of Australian Speculative Fiction. Interviews were blogged from Monday 15 February to Sunday 22 February and will be archived at ASif!: Australian SpecFic in Focus. You can read interviews at:


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