Episode 39: Sarah Elks

Sarah Elks is Queensland political reporter at The Australian.

Penmanship podcast episode 39: Sarah Elks, interviewed by Andrew McMillen. Published in July 2017.During her decade of writing for the national newspaper, Sarah has reported on many of the biggest news stories that have taken place in Queensland. It takes tenacity and passion to be a daily news reporter, and Sarah clearly has an abundance of both of these qualities. After extensively covering the fall-out from the closure of the Queensland Nickel refinery in late 2015, Sarah was named Journalist of the Year at the Queensland Clarion Awards for her stories that uncovered Clive Palmer’s use of the alias ‘Terry Smith’ to manage his business while also holding office as a Member of Parliament. The judges for that award in 2016 noted that Sarah’s work is “a tremendous how-to for journalists young and old, and deserves recognition”.

I met with Sarah at her home in Brisbane’s inner-north in early July to record a conversation which touches on how she manages an unpredictable workload that can vary drastically from week to week; how she handled the paranoia of ‘correspondent syndrome’ while working as The Australian‘s sole reporter based in Far North Queensland; how her two years in that role took her to a remote island in the Torres Strait, where few people will ever have the privilege of setting foot; why she has a deep and abiding passion for court reporting, which is not shared by many other journalists, and how she increases her likelihood of getting Clive Palmer to respond to her text messages during the course of reporting on the man himself.

Sarah Elks is the Queensland political reporter for The Australian. She began her career working for the newspaper at its Sydney headquarters in 2007, before moving back to her home state of Queensland. After a two-year stint in Cairns as the paper’s north Queensland correspondent, Sarah returned to Brisbane to cover general news and legal affairs, including some of the state’s highest profile criminal trials. Now, as well as state politics, Sarah reports on the continuing fallout from the $300m corporate collapse of Clive Palmer’s Queensland Nickel. In what is surely a sign of love and respect for her ongoing work, Mr Palmer recently tweeted: “Is it true or did you read it in the Australian“. Sarah’s only useful skills are catching beach worms with her bare hands and arranging cheese platters.

Sarah Elks on Twitter: @SarahElks

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Episode 38: Marcus Teague

Marcus Teague is an editor, freelance writer, songwriter and musician.

Penmanship podcast episode 38: Marcus Teague, interviewed by Andrew McMillen. Published in June 2017.His contribution to Australian music journalism during the last decade has been significant. After co-founding a magazine and website devoted to independent music named Mess+Noise, Marcus went on to work as music editor at The Vine for six years from 2008. Under his editorial guidance, this pop culture-centric website became one of the most popular and respected outlets for music writing in the country. It also provided a regular home for thoughtful, longform journalism and criticism for many freelance writers, myself included. Writing for Marcus at The Vine was an incredibly important aspect of my development as a journalist and music critic, and I have many fond memories of my time writing for the site for four years from 2010.

Since he left The Vine in 2014, Marcus has freelanced for the likes of Rolling Stone and Guardian Australia, while copywriting and working on artist bios on the side, in addition to his day job as commercial editor at Broadsheet. One evening in April, I met Marcus at a studio in Fitzroy, and our conversation touches on why he thinks suspicion is an essential character trait for music journalists; how he developed resilience as a fledgling musician who dreamed of making it in Melbourne; how he started writing songs in tandem with publishing a magazine that was a precursor to Mess+Noise; why he now finds it harder to write songs as he becomes more invested in journalism, and what happened when the drummer of Metallica read a concert review on The Vine and decided to give Marcus a call.

Marcus Teague is an editor, freelance writer, songwriter and musician based in Melbourne. He formed the band Deloris in the late 1990s, and wrote and recorded four albums until the band split in 2008. While in Deloris, he began writing about Australian music, first in the self-made, small-run zine Poolside with friend and bandmate Leigh Lambert, then as co-founder of magazine and website Mess+Noise. In 2008, Marcus was hired as full-time Music Editor for new website The Vine, a pop-culture offshoot of Fairfax Digital. Writing daily about music, it was there many of his formative experiences as a music journalist occurred: covering CMJ in New York, becoming a panelist and guest on the likes of Bigsound, triple j, and Face the Music, filing reviews for The Age and The Sydney Morning Herald, and being asked to tour with Metallica after the band read Marcus’s review of their live show. After leaving The Vine in 2014 Marcus freelanced, becoming a regular contributor to Rolling Stone and Guardian Australia, among others. He also began a sideline in writing copy for music industry clients and artist bios. Marcus is currently the Commercial Editor for Broadsheet, and continues to freelance as a music writer. He also writes and releases music under the solo moniker of Single Twin, as well as in the band Near Myth, whose debut album, Idiot Mystic, was released in late 2016.

Marcus Teague on Twitter: @MarcusTeague

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Episode 37: Richard Guilliatt

Richard Guilliatt is an author and staff writer at The Weekend Australian Magazine.

Penmanship podcast episode 37: Richard Guilliatt, interviewed by Andrew McMillen. Published in May 2017.When it comes to the art of writing magazine feature stories, Richard is among Australia’s masters of the form. He has been writing magazine-length articles for more than two decades, and has won a couple of Walkley Awards along the way. His subject matter and profiles are diverse, which he admits is part of the job description when writing for a general interest publication like The Weekend Australian Magazine, where he has been a staff writer since 2006. He has also written two books about vastly different topics, which we explore in some detail in this episode.

I have a close relationship with Richard. Soon after we met for the first time at an investigative journalism conference in 2011, I asked if he would be my mentor. During those six years, his advice has been enormously helpful as I learned how to pitch, structure and write magazine features under his guidance. For the first few years, I would send him drafts of my work before filing to my editors, and his feedback always improved my writing. Richard has been one of the most significant influences in my career as a freelance journalist, and I feel incredibly lucky to have had such a generous and wise ally in my corner. We don’t discuss his mentorship during this episode, but I think it’s important to note here at the beginning.

In March, I visited Richard at his home in Sydney, and our conversation touches on how he comes up with ideas for magazine stories while juggling his own interests and his editor’s suggestions; how an editor at The Age pushed Richard out of his comfort zone as a young journalist, in order to improve his reporting and writing; how he worked as a freelance writer based in New York City for seven years; how he co-wrote a book about a German warship whose mission was to create panic among the Australian public during World War I; and how he became interested in writing about controversial subjects such as repressed memory, and more recently, the deception of public figures such as cancer hoaxer Belle Gibson.

Richard Guilliatt started his journalistic career in 1978 as a cadet reporter on The Truth newspaper, where he excelled at stories about disgraced pop stars and misbehaving headmasters. From 1980-86 he worked at The Australian and The Age newspapers, initially as a news reporter and then as a feature writer and section-editor. In 1986, he moved to New York and freelanced for seven years, writing features for newspapers and magazines including The Sunday Times Magazine, The Independent, New York Times, Washington Post and Los Angeles Times. In 1993, he returned to Australia and joined The Sydney Morning Herald as a feature writer, primarily at Good Weekend magazine. Since 2006, he has been a staff writer at The Weekend Australian Magazine. In 2000, he won the Walkley Award for Best Magazine Feature, for a story in Good Weekend about the Stolen Generations debate. In 2004, his profile of David Gulpilil was included in The Best Australian Profiles (Black Inc). In 2012, his feature on concussion in sports won the Walkley Award for Sports Journalism, and he was shortlisted for Scoop Of The Year in the 2015 Walkley Awards for a series of stories in The Australian which exposed the cancer hoaxer Belle Gibson. Richard is the author of Talk Of The Devil (Text, 1996), a book about the ‘repressed memory’ phenomenon. He is co-author (with Peter Hohnen) of The Wolf (Heinemann, 2009), a work of historical non-fiction which won the Mountbatten Maritime Award in Britain and was shortlisted in the NSW Premier’s Literary Awards.

Richard Guilliatt on Twitter: @RMGuilliatt

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Episode 36: John Clarke

John Clarke was a freelance writer, performer and author.

Penmanship podcast episode 36: John Clarke, interviewed by Andrew McMillen, 2014. Published in 2017.John died suddenly on Sunday, 9 April 2017, aged 68. I had spoken to him a few days beforehand, and we had made plans to record a conversation for this podcast while I was visiting Melbourne that weekend. Since that cannot happen, I am bringing you a special episode based on a day that I spent with John in November 2014, when I was reporting a story for The Weekend Australian Review about the creative process behind Clarke & Dawe, the weekly political satire program that John wrote and performed alongside longtime collaborator Bryan Dawe. As I wrote in my article, Clarke & Dawe was more often than not among the week’s sharpest commentary on up-to-the-minute matters relating to Australian politics and public life. Together, the two performers sought to make us laugh while also making us think.

This was a dream assignment for me, as it involved spending a day in John’s company as he wrote a couple of scripts, met with Bryan to film the program at an ABC television studio, and supervised the final edits of a two-and-a-half minute program that would be broadcast around Australia the following evening. In between these tasks, there was plenty of time for conversation; at no point did John seem rushed, and he had a kind word and a wry joke for everyone he crossed paths with. This episode consists of excerpts from some of the writing-related discussions he and I had that day, as well as a few amusing asides. I’d also encourage you to read my article for The Weekend Australian Review, which is called ‘In The Line of Political Satire’. I put a lot of effort into the writing and rhythm of this piece because I knew John would read it, and that man rarely wasted a word.

Our first conversation that day took place in a Fitzroy cafe on Wednesday, 12 November 2014. My recording device was a small digital recorder placed on the table between us, or held in my hand as I wrote in my notebook while on the move. The audio wasn’t captured with this podcast in mind, as Penmanship did not exist at the time. The recording at this first location has the most ambient noise, so you’ll hear a bit of the coffee machine in action, as well as some other voices in the background. Please bear with me, as the audio quality does improve throughout this episode, as we move to quieter locations. There is about 20 minutes of audio in this cafe section, cut into four segments. Some of the cuts are quite abrupt, but I’ll briefly introduce each section to give some context throughout the episode.

CLARKE, John, Dip Lid, PhD in Cattle (Oxen). Advisor and comforter to various governments. Born 1948. Educ. subsequently. Travelled extensively throughout Holy Lands, then left New Zealand for Europe. Stationed in London 1971-73. Escaped (decorated). Rejoined unit. Arrived Australia 1977. Held positions with ABC radio (Sckd), ABC Television (Dfnct), Various newspapers (Dcd), and Aust Film Industry (Fkd). Currently a freelance expert specialising in matters of a general character. Recreations: Whistling. Address: C/– the people next door. Or just pop it inside the door of the fusebox. Should be back Friday. Died 2017.

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Episode 35: Amelia Lester

Amelia Lester is the editor of Good Weekend.

Penmanship podcast episode 35: Amelia Lester, interviewed by Andrew McMillen. Published in March 2017.

For the first episode of 2017, I could think of few more qualified guests than Amelia Lester. Penmanship is all about exploring the gritty details of how to build a life around working with words, and Amelia has done just that at the very highest level of magazine publishing. After graduating from Harvard University, she worked at a literary agency for a year and then achieved her dream of working at The New Yorker, which has long been regarded as one of the leading homes for longform journalism in the English-speaking world. Amelia stayed there for ten years in various editorial roles before returning to her home country to take the reins at Good Weekend, a magazine she loved to read while growing up in Australia.

In early March, I met with Amelia at the Fairfax Media building in Sydney. I have written for Good Weekend since 2014, and for Amelia since October, so this episode marks the second time I’ve interviewed a current editor of mine on Penmanship, following last year’s chat with Erik Jensen of The Saturday Paper. My conversation with Amelia touches on what makes a great magazine feature story; her philosophy about how editors should manage their schedules to spend less time at the desk, and more time out in the world; how she began working at The New Yorker as a fact-checker and then became Managing Editor by the time she was 26; why manners are important in journalism; how she learnt to manage her email inbox, and why she is leaving Good Weekend in April after a little over a year in the role.

Amelia Lester is the editor of Good Weekend, the Saturday magazine of The Sydney Morning Herald and The Age newspapers. Amelia grew up in Sydney and graduated from Harvard with a BA in English and American Literature and Language. She spent ten years at The New Yorker, where she was first a fact-checker and was appointed managing editor at the age of 26. Later on she relaunched the Goings On About Town section of the magazine, served as executive editor of newyorker.com, and wrote the “Tables for Two” restaurants column. In between she was also a features editor at The Paris Review, a New York literary quarterly. Amelia has worked at Good Weekend, Australia’s premier home of long form journalism, since February 2016, and relaunched the magazine in June of that year. She appears regularly on television and radio as a political commentator and is a board member of the Sydney Writers Festival.

Amelia Lester on Twitter: @ThatAmelia

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Episode 34: Andrew Stafford

Andrew Stafford is an author and freelance journalist.

Penmanship podcast episode 34: Andrew Stafford, interviewed by Andrew McMillen, 2016In 2004, UQP published his landmark book, Pig City: From The Saints To Savage Garden, which covered three decades of Queensland’s musical and political history. Three years later, the book was followed by an event of the same name, staged by Queensland Music Festival and featuring a headline performance by the original line-up of Brisbane punk rock band The Saints, who had not played together in almost 30 years. Sometimes authors live to see their book made into a film; it is much rarer that a book is made into a music festival with their heroes headlining, and Andrew Stafford can count himself among the lucky few in the latter category.

Reviewing the Pig City festival in 2007 was one of my first assignments as a fledgling music journalist for the website FasterLouder, and in the years since, Andrew and I have become colleagues and friends. Having spent 14 years driving a cab while writing about music, sport and the environment, Andrew is a full-time freelance journalist who now writes about these matters for a range of outlets including The GuardianThe Saturday Paper and The Sydney Morning Herald.

In late September, I visited his home in the Brisbane suburb of St Lucia to record a conversation which touches on the skillset required for his long-standing role as Queensland AFL correspondent for The Age newspaper; how an early interest in birdwatching introduced him to an enduring passion for punk rock; how he got started writing about music for Brisbane street press and Rolling Stone magazine; how his depression has affected his productivity throughout his career; how he first hatched the idea for Pig City and spent three years writing it while driving taxis, and how he looks back on a mental health crisis in early 2016 that led to national media coverage in the wake of his sudden disappearance.

Andrew Stafford is a freelance journalist and the author of Pig City, a musical, political and social history of Brisbane, now in its third edition. In July 2007 the book was transformed into a key event as part of the Queensland Music Festival, headlined by the first performance by the original line-up of The Saints in nearly 30 years. He has been the Queensland AFL correspondent for The Age for 11 years. His journalism also appears in The Sydney Morning Herald, The Guardian, The Saturday Paper, The Monthly and many more. He maintains a blog, ‘Notes From Pig City’, and watches birds for fun.

Andrew Stafford on Twitter: @staffo_sez

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Episode 33: Holly Throsby

Holly Throsby is a songwriter, musician and author.

Penmanship podcast episode 33: Holly Throsby, interviewed by Andrew McMillen, 2016As an accomplished singer and songwriter, Holly has been performing since 2004, and has released five albums. In 2010, she joined forces with her friends Sarah Blasko and Sally Seltmann to form the indie pop group Seeker Lover Keeper, which released one album the following year. In 2016, she became an author: her first novel was published in September by Allen & Unwin. It’s named Goodwood, and it’s about what happens to a small town in New South Wales when two prominent members of the community go missing within a week of each other.

The story is narrated by a 17 year-old named Jean Brown, and everything we see is filtered through the young narrator as she grapples with the dramatic turn of events. It’s a combination of a mystery narrative and a portrait of a town experiencing a collective trauma. Goodwood offers a wonderfully lush and well-realised depiction of several aspects of contemporary Australian life, and it announces Holly as a major talent in fiction writing.

I first met Holly in April 2013, when she invited me into her home in Sydney to talk about drug use for my book Talking Smack. In late September 2016, Holly’s book was launched in Brisbane by previous Penmanship guest Kathleen Noonan at Avid Reader bookstore. The morning after, we met at an inner-city hotel room for a conversation which touches on her extensive research into the creative process as she began the book’s first draft while pregnant with her daughter; why she likes the distance and anonymity that comes with writing fiction; how elements of the story and its characters draw on her upbringing in Sydney’s inner west; how she snuck some of her favourite Australian expressions into the book’s dialogue; what inspired her to record an album for children, and what led her to write an op-ed for The Sydney Morning Herald about same-sex marriage.

Holly Throsby is a Sydney-based songwriter and musician. She has released four solo albums and a children’s album called See! She is known for summoning melodies that sound beautifully crumpled, worn and decades-old, and matching them with hushed, cutting lyrics that read like a Carver short story. Holly has been nominated for four ARIA Awards: two for Best Female Artist, one for Best Children’s Album, and one as part of Seeker Lover Keeper, her band with Sally Seltmann and Sarah Blasko. Goodwood is Holly’s debut novel.

Holly Throsby on Twitter: @HollyThrosby

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Episode 32: Liam Pieper

Liam Pieper is an author and freelance journalist.

Penmanship podcast episode 32: Liam Pieper, interviewed by Andrew McMillen, 2016Since the publication of his first book in 2014, a memoir named The Feel-Good Hit of the Year, he has quickly followed it up with two more. Last year, he published a collection of short essays called Mistakes Were Made, which I reviewed for The Weekend Australian, where I described his writing as “electric: charged with meaning and energised by surprising comedic turns”. With his third book, Liam has proved that he’s supremely talented at writing fiction, too. Named The Toymaker, his debut novel is based on an ambitions, multi-layered narrative that travels between an Australian business set in the present day, and German concentration camps during World War II. The character that links these two worlds is a Russian man imprisoned during the war who escapes to Australia and starts a globally successful toy business.

When Liam visited Brisbane in early August, I met him for the first time at his hotel room. Our conversation touches on the unique way in which Liam received funding to research and write The Toymaker while living overseas; how he navigated the legal threats that arose after the publication of his first book, which detailed his career as an adolescent drug dealer; how he messed up an important magazine assignment by filing 22,000 words instead of the requested length of 5,000 words; and how he helps young writers with finding the voice that best suits their style while working as content director for an online community called Writers Bloc.

Liam Pieper is a Melbourne-based author and journalist. His first book was a memoir, The Feel-Good Hit of the Year, shortlisted for the National Biography Award and the Ned Kelly Best True Crime award. His second was the Penguin Special Mistakes Were Made, a volume of humorous essays. He was co-recipient of the 2014 M Literary Award, winner of the 2015 Geoff Dean Short Story Prize and the inaugural creative resident of the UNESCO City of Literature of Prague. He is also content director of Writers Bloc, a platform and resource for emerging writers. The Toymaker is his first novel.

Liam Pieper on Twitter: @LiamPieper

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Episode 31: Richard Fidler

Richard Fidler is an author and host of Conversations.

Penmanship podcast episode 31: Richard Fidler, interviewed by Andrew McMillen, 2016Since 2005, he has hosted a national radio program that sees him interviewing a wide range of guests, for around an hour at a time. Named Conversations, Richard likes to think of it as a form of guided storytelling, and over the years he has spoken with everyone from prime ministers to average Australians who have a remarkable story to tell. The host records four of these conversations every week, and the results are never less than fascinating: to my ears, he is among the top interviewers in the country. In July 2016, he published a book named Ghost Empire, an ambitious, multi-year project which blends ancient history with a travel story of personal significance.

A few years ago, Richard travelled to Italy and Turkey with his 14 year-old son, Joe, to retrace the rise and fall of Constantinople, the magnificent eastern Roman city that endured for a thousand years, and saw every aspect of human nature unfold within and outside its imposing walls. “The story of how Constantinople flourished into greatness and expired in terrible violence is one of the strangest and most moving stories I know,” Richard writes in the book’s introduction. When reviewing Ghost Empire for The Weekend Australian, I wrote, “We already know he is an interviewer of great empathy; now we know he mirrors that skill on the page, too. The beauty of this book is its accessibility. It has been written by a man who sits near the centre of Australian culture, and his name on the cover will draw many new readers to this old tale. It certainly attracted me.”

In early August, I met with Richard at the ABC building in South Bank, Brisbane, and he kindly offered the use of his studio recording equipment for this interview. After fiddling with the audio levels for a few moments, like a master pianist tinkling the keys to warm up, he allowed me the rare chance to ask him all sorts of questions for around an hour. Once we had finished, I got another glimpse at his efficient workflow, when he quickly edited out a minor blemish where he had accidentally cleared his throat mid-sentence. Our conversation touches on how his approach to storytelling for the radio program helped him when researching and writing Ghost Empire; how he struck upon the structure of interspersing historical detail with present-day travel vignettes; what he got out of reading the book aloud to his son during the writing process; where his love for stories began; what he learned about making radio programs from This American Life host Ira Glass a few years ago, and how being behind the microphone at Conversations has changed how Richard thinks about storytelling.

Richard Fidler presents Conversations, an in-depth, up close and personal interview program broadcast across Australia on ABC Radio. He has interviewed prime ministers, astronauts, writers and scientists, but the program often features remarkable people who are unknown to the wider world. The program attracts a large listening audience around the nation, and is the most popular ABC podcast in Australia, with over 16 million downloaded programs in 2015. Richard has also presented several television series over the years, including the acclaimed Race Around The World, and he was the creator of Aftershock, a documentary series on disruptive new technologies. In another life Richard was a member of Australian comedy trio The Doug Anthony Allstars (DAAS), which played to audiences all over the world. Richard’s first non-fiction book Ghost Empire was released in July 2016. It blends travel memoir with history, following his journey into Istanbul with his fourteen-year-old son Joe, to uncover the history of Constantinople, the lost capital of the Eastern Roman Empire.

Richard Fidler on Twitter: @rfidler

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Episode 30: Kate Hennessy

Kate Hennessy is a freelance writer and editor.

Penmanship podcast episode 30: Kate Hennessy, interviewed by Andrew McMillen, 2016I first read Kate’s work in about 2009, when we were both contributors to the Australian music website Mess+Noise, where she was a critic and feature writer whose work I admired greatly from afar, since she was based in Sydney. It wasn’t until 2016 that we met for the first time, at the Rock & Roll Writers Festival in Brisbane, where we were both guest speakers. In the intervening years since I first saw her byline, Kate has worked as a music and arts critic for The Sydney Morning Herald, The Guardian Australia and The Quietus, among others, as well as travel writing for a range of Australian and overseas publications. Outside of freelancing, she works in corporate writing and editing, and teaches courses on music journalism and professional business writing.

It was the latter skillset that brought Kate to Brisbane in mid-May, and we met at her hotel room so I could ask her a few questions over a bottle of white wine. Our conversation touches on how she learned to make boring things interesting while working for a corporate writing agency; why she decided to become a freelancer as she approached the age of 30, and how it turned out to be a perfect fit for her; why she received hate mail from a musician after writing about his band in The Sydney Morning Herald; why the supply-and-demand in the travel writing business is worse than in music journalism, and why she thinks live music is like sex.

Kate Hennessy‘s music and arts criticism appears in The Guardian, ABC Arts, Fairfax, Australian Book Review, Noisey, Limelight, Mess+Noise and UK magazines The Wire and The Quietus. Kate talks about arts on ABC TV and has spoken at Vivid Ideas, Darwin Writers’ Festival, the Rock & Roll Writers’ Festival, Bigsound and at live events for Sydney’s FBi Radio. Kate is an Australian Music Prize judge, a founding member of feminist collective LISTEN and a teacher of five years at the Australian Writers’ Centre. She developed a masterclass for The Guardian called ‘How To Be A Music Journalist‘, offered in Sydney and Melbourne, and as a festival workshop at Hobart’s Dark Mofo festival. Kate’s travel journalism has taken her to Africa, Papua New Guinea, Turkey, Solomon Islands, Germany, Peru, Taiwan and remote Indigenous communities in Australia. She has a Bachelor of Creative Arts (Creative Writing major) from Wollongong University and won a scholarship to the University of California, Berkeley, where she completed a double major in Political Science and History.

Kate Hennessy on Twitter: @smallestroom

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