In a special series direct from the Ubud Writers and Readers Festival Bora Chung chats with Irma about how she wrote her first short story solely for prize money but it eventually led to a short fiction collection that was shortlisted for the Booker Prize, why her publisher thought an approach from Anton Hur to translate her collection into English was a scam, what it was like to be at the Booker Prize ceremony and the strange thing every judge said to her, how the Booker has impacted her career, why she doesn’t translate her own work into English even though she is a translator herself, the future of AI in terms of both writing and translation, why she translates books just for fun without the promise of a publishing contract, and why her Indian publisher recently submitting Your Utopia for a small Indian prize has meant more to her than shortlisting for the Booker.

About Bora

Bora Chung has written four novels and six collections of short stories. In 2022, her collection Cursed Bunny was shortlisted for the Booker Prize. In 2023, it was a finalist in the U.S. National Book Award for Translated Literature. She has an MA in Russian and East European studies from Yale University, and a PhD in Slavic literature from Indiana University. She has taught Russian language and literature and science fiction studies at Yonsei University, and translates modern literary works from Russian and Polish into Korean.

In a special series direct from the Ubud Writers and Readers Festival Laura Jean McKay chats with Irma about the experience of touring her books to the UK, why she threw up in a caravan sink after finishing her novel, how the publishing landscape for short fiction has changed over the last two decades, a disastrous book event that ended up in an Oscar-winning performance, writing about big political themes, the surreal experience of recording her audiobook during the pandemic, why winning prizes can be a lonely experience, the overwhelming and unexpected support of the sci-fi community, how to develop writing muscles, the worst writing advice she received from a very famous author, why a serious illness altered the development of her novel, and the practical methods that she used to climb out of an intense period of writer’s block.

About Laura Jean Mackay

Laura Jean McKay is the author of The Animals in That Country - winner of the prestigious Arthur C Clarke Award, The Victorian Prize for Literature, the ABIA Small Publishers Adult Book of the Year and co-winner of the Aurealis Award for Best Science Fiction Novel 2021. Laura is also the author of Holiday in Cambodia and was Adjunct Lecturer in Creative Writing at Massey University. Her latest collection is Gunflower, shortlisted for the Queensland Literary Award and named one of The Guardian’s best books of 2023.

In a special series direct from the Ubud Writers and Readers Festival Aube Rey Lescure chats with Irma about how she initially followed a friend’s advice not to become a writer but then ditched law to pursue it anyway, how being multilingual impacts the way she writes, why she refused to follow the career trajectory her creative writing course advised, why she got fixated on publishing a book before she was 30 – and then was forced to let go of it, how her mum’s April Fool’s joke led to an important plot line in her debut novel, how she approached writing from different POVs, why she let go of the need for external valuation – and was then shortlisted for the Women’s Prize for Fiction, the pressure of writing the second novel, the impact of her essay on women’s safety, what she learnt from the publication day disappointment of not finding her book in stores, and the phone call that made her squeal on the streets.

ABOUT AUBE REY LESCURE
Aube Rey Lescure is a French-Chinese-American writer. She grew up between Provence, northern China, and Shanghai, and graduated from Yale in 2015. Her debut novel, River East, River West, was shortlisted for the Women’s Prize for Fiction 2024, and her fiction and creative nonfiction have appeared in Guernica, Best American Essays, The Florida Review online, and more. She has also co-authored and translated two books on Chinese politics and economics, and is the Deputy Editor at literary magazine Off Assignment.

In a special series direct from the Ubud Writers and Readers Festival Nam Le chats with Irma about why his first unpublished novel was a spectacular failure but still worthwhile, why for a long time he was a secret writer and the renowned Iowa Writers Workshop was him ‘coming out’ to the world, how he naively thought the crazy success of The Boat was what all writers experienced, why Nam made a pact with himself that he would find the good in every publicity question, how his publisher felt about him wanting to publish a poetry collection – notoriously the smallest selling genre – and why he had to fight for the book in the US market, the ways in which he is wrestling with his cultural identity and the notion that he must represent a particular voice, why he puts so much pressure on himself as a writer, the good and the bad of the writers’ room on film and TV projects, and how self-doubt can become damaging.

ABOUT NAM LE
Nam Le burst onto the literary scene in 2008 with his collection of short fiction, The Boat, which was translated into 14 languages and won every prize imaginable, including the Dylan Thomas Prize and the Prime Minister’s Literary Award. It was also selected as a New York Times Notable Book and named book of the year by everyone from The Guardian to The Australian. Since then Nam has published a monograph, On David Malouf, as part of the Writers on Writers series, and most recently a collection of poetry, 36 Ways of Writing a Vietnamese Poem. He has also written for film and television.

Irma and Karen chat about writers festivals they’ve recently attended, as well as the joys and challenges of being a panel moderator and interviewing other authors. Then Karen talks to JP Pomare about how he didn’t know he was writing crime until it was marketed that way, why his goal is to transcend the genre, how he’s managed to publish seven books in six years, why we’re so fascinated with crime fiction, how writing an Audible original taught him valuable lessons about writing, why research can be a trap and so he fact-checks instead, how he finds expert consultants, why an announcement over the loudspeaker at a library event was the lowest point of his career, and why he tried to break into a prison as research.

About JP
JP Pomare is the bestselling author of seven novels and several Audible Original crime thrillers. Several of J.P.'s novels have optioned for film and TV, with one already adapted as a mini series and another currently under production for Stan Australia. He’s a proud Māori man (Ngāpuhi) and grew up in Aotearoa (New Zealand). He lives with his family in Melbourne.

Irma and Karen chat about the upcoming Ubud Writers and Readers Festival. Then Karen talks to Kylie Needham about how a short story turned into her debut novel, the joys and challenges of writing for television and the screen, the collaboration of the writers’ room and the vulnerabilities of the process, what writing scripts taught her about moving the narrative forward, whether authors should get involved with screen adaptions of their work, the inequality and sexism of television in the 2000s, and a beautiful moment with a literature high school teacher decades later.

About Kylie:
Kylie Needham is an award-winning screenwriter. She has won two AWGIE (Australian Writers’ Guild) Awards for television scriptwriting, and her work has been published in several literary journals. Her first novel GIRL IN A PINK DRESS, published in 2023, won the MUD Literary Prize for the best debut literary novel by an Australian author, and also won the MARION Writers Prize for Fiction.

Irma and Karen chat about audio books.

Then Karen speaks with Finegan Kruckemeyer about how he got his first break as a playwright, the difference between writing for young people and adult audiences, how much freedom there is in the parameters of commissioned works, why he acts out his scripts, why a school production of one of his plays blew him away far more than the professional production, how he goes about writing both comedy and big issues, why he doesn’t enter the rehearsal space, advice on how to get started as a playwright, and how his wife’s illness and a new puppy led to writing his first novel.

About Finegan:
Finegan Kruckemeyer is one of Australia’s most prolific playwrights and has written more than 100 commissioned plays for children and adults that have been performed all over the world. He’s received many awards for his work as a playwright, including the 2017 Mickey Miners Lifetime Achievement Award for services to international theatre for young audiences, and the 2015 David Williamson Award for Excellence in Australian Playwrighting. He’s recently had his first novel published: The End and Everything Before It.

Irma chats to agent Jacinta di Mase about what agents do to earn their 15%, the intricacies of contracts – including rights reversion, world rights, backlists and rising royalties, how an agent can fight for an author over cover design and choosing a title, the dos and don’ts of submitting to agents, the extent of editorial feedback to expect from agents, how the submission process to publishers works, the ins and outs of foreign rights, what a co-agent is and why they’re important, how film/TV deals are negotiated, how Covid transformed the industry for the better, and why a meeting at Allen & Unwin with Clementine Ford turned out to be one of the highlights of Jacinta’s career.

About Jacinta
Jacinta di Mase has a background in bookselling and publishing, and worked for ten years in two of Australia’s premier literary agencies, before setting up her own agency, Jacinta di Mase Management, in 2004. The agency represents a diverse range of writers and illustrators across all areas of the publishing market, including fiction, non-fiction, and books for children and young adults.