ACT Secondary Schools Poetry Prize (Highly Commended) – 'Entombed Within Dreams' by Leo Barnard

The inaugural ACT Secondary Schools Poetry Prize by Noted was held in 2016 in partnership with The Red Room Company. It was judged by Johanna Featherstone and Myles Gough. 

The shifting sands spread as far as the eye can see
And is deeper than even the mind can reach
Past the burrows of long dead chieftains,
Past the bones of forgotten beasts
And down to the dream realm of mythic reality

So we drift inside its abyssal depths
Seeing our hopes and wishes come true
Revelling inside bright lights and sound
That ring loud through the swirling fog
Yet above the ground naught is heard but subconscious tolling

But dreams are fragile things and oft can shatter
Like vases and ornament they lie in pieces
What once was beautiful lies ugly and broken
A treasured item that lasted untold centuries
Now poking holes in a dull green garbage bag

 Yet some dreams try to rise and escape
Trying to burst through the roof of the cave
Writhing, screaming and clawing with rage
A rage caused by little more than fear
And so nightmares are released into our world

Entombed beneath the shifting sands
Dreams drift through the Stygian abyss
Try as they might they cannot escape
And no dreams will see the shifting sands
That spread further then the eye can see

ACT Secondary Schools Writing Prize (Highly Commended) – 'The Darkest Madness' by Jessica Hudson

The inaugural ACT Secondary Schools Writing Prize by Noted was held in 2016 in partnership with The Stella Prize. It was judged by Simmone Howell, Steph Bowe and Zoya Patel.

In the middle of the room there was a long white table. On it was a girl. She lay stretched out across the table, her arms either side of her, limp, and hanging over the edges of the table. Her hair ballooned beneath her, long and matted, inches from her waist. Her eyes were closed. Blood splatters were starting to rust on the white sheen that coated the walls. The carpet was all tattered, strands pulled up in places, and it frayed along the sides. The only sound that could be heard in the room was that of a faint beeping.

The girl was breathing very slowly, with a long time between each breath. It seemed every breath was fighting to get out. However, she wasn’t the only presence in the room. The room that was confined solely to her mind.

The others that filled the room could not exactly be defined. They were shadowy shapes. In this room the shadows weren’t hiding. They danced about, swirling through the air in an almost gleeful manner. The odd thing about the room was that the girl seemed to be breathing in time with the dance of the shadows.

A man crashed through the door. The door shut as quickly as it had opened, and disappeared. He hurried over to the girl, not deterred by the shadows that were came towards him to try and keep him away. It was almost as if he couldn’t see the shadows. He was a surgeon, and she was his patient. He pulled out a scalpel, seemingly from nowhere. An antiseptic was being smothered over the skin, a cold liquid on a cold dead surface. The doctor’s gloved hand dug the scalpel into the skin, red blood seeped to the surface of the wound.

The doctor plunged his other gloved hand inside the incision, to try and improve visibility of the area. Inexplicably the wound wouldn’t widen, so he was forced to feel his way around inside.

He was unable to find anything wrong with her until he reached the heart. Here at last he found part of his answer. Some physical evidence of what exactly was wrong with this girl, which was all that he wants. He could feel the irregular heartbeats. The doctor searched for a blood clot, or a burst artery, or really anything that would explain why the girl’s heart was beating with such pain. He couldn't find anything. The longer his hand was around her heart, the quicker the girl’s pulse got, until the beeping was so quick and loud that it could not be ignored by the doctor.

The shadows closed in on her and the doctor. Some would say that they were trying to protect her, other’s that they were trying to destroy her. The doctor still could not see them, and he was far too occupied trying to slow the girl’s pulse, and stabilise her condition. Yet the doctor did not understand that this was the most work her heart has done for days, and at least if it was beating then she was alive.

The shadows blocked out the light around the girl and the doctor. The girl’s body started to shake, forcing the doctor to abandon the procedure. He attempted to keep her still, placing both his hands on her shoulders, unsuccessfully trying to pin her to the table. Her heart rate continued to rise, climbing upwards, and upwards. Then everything in the room seemed to freeze for a second. Her heart rate dropped drastically, and there was the long beep of a flatline, as the girl went silent. The doctor stepped away from the table. He disappeared.

The shadows closed in on her. Even though the doctor was gone they did not stop their march. Then she moved. Her body started shaking, gently at first, then it became more vicious, until she was writhing on the table. The girl moved to sit up. For the first time, she was awake.

She tried to get up, swinging her legs over the side of the table and pushing herself down off it. She was still shaking, and she ended up crumbling to the floor. The girl let out a loud, sharp, hollow scream. It didn't stop, even when she should have run out of breath. It sounded like she was being tortured, and the shadows continued to dance around her, unbothered by the sound.

She started pulling at the flesh where the doctor cut, the wound still open. She dug in her hand and pulled out her spleen, her liver, her kidneys, her lungs, throwing the organs in front of her, the blood from her body staining the carpet. The girl was in a fit of madness. She ripped out her heart. It dropped from her hands, and bounced slightly along the floor. She struggled to get up, wheezing breaths in between her movements, as she followed her heart. She stomped on it. Hard. As hard as she possibly could, years of rage, and hurt, and sadness being let go in that one moment, somehow having her heart torn out hurt less then when it was inside of her, teaching her not to love herself.

She stomped. Cried. Screamed, and fell to the floor, no longer in pain. She had cured the things that the doctor never could, because he couldn’t see what she could see. That the problem was not a invader, but a civil war. Now the war was over. There was no winner. Finally she was at peace. 

Noted 2016 Artist Spotlight: Madeleine Karutz

This year, ahead of Noted, Bela Farkas interviewed six festival artists. In this sixth instalment, he chats to Madeleine Karutz, a freelance comic artist, illustrator and animator. She has created comics for the National Youth Magazine, Voiceworks and a recent comic anthology called Starrytellers as well as various student publications.

Image: Madeleine Karutz (sort of)

Image: Madeleine Karutz (sort of)

How did you get started as an Illustrator?

I started by drawing little characters on whatever material was available and it’s progressed from there. Unfortunately it did not involve a giant man knocking on my door and telling me ‘Yer a Illustrator, Maddy’. But it did involve some really amazing people encouraging me and offering me some great opportunities to grow as an artist.

What can you tell us about your work in the Starrytellers project?

Starrytellers is a comic anthology about stars and I did a comic about a busker magician that can perform little bits of real magic, but at a personal cost. It’s an 18-page comic so it’s probably my longest published comic to date.

Could you briefly explain your creative process?

Generally it involves me trying to read as many articles and other stories as I can during the day. So by the time I go to bed my brain is overflowing with ideas and I scribble them down. These many doodles then form a collective overnight and trip me over when I get out of bed the next morning, demanding my attention. Then there is a self-doubt fermentation period of anything from two days to a year. If they make it through that I try to make them look handsome and cohesive, ready for public consumption.

What are things that are inspiring your work right now?

I’m really enjoying little comics/animations that are like parables or any that involve talking animals. Especially inspired by the work of Yuri Norstein and Tove Jansson. Trying to take some of that aboard so I can find alternate ways to tell the stories I want to tell that can engage viewers better.

Do you have creative slumps? And if so, how do you handle them?

Probably my greatest problem is having the confidence to see something through. Doubt worms its way through and at 3am you’re wondering if it’s worth it, does the world need another comic with a talking dog? I normally handle it by just pushing through it, playing some music. By the time it’s done you can see the merit in it, it’s just in the halfway stage that everything looks a bit wonky because you’re really projecting with your doomfuture head imaginator what it will be.

Madeleine Karutz will feature at Noted Writers’ Festival 2016 in the following events: Independent Publishing Fair – Sunday 20 March, 10am-3pm at Gorman Arts Centre; and Remixed Histories – throughout the festival online.

Canberra-based writer and 2016 Noted artist Bela Farkas's work is heavily influenced by popular culture and current events. Bela's work will also appear as part of Bill Poetries at this year's festival.

Noted 2016 Artist Spotlight: ACT Comic Meet

This year, ahead of Noted, Bela Farkas interviewed six festival artists. In this fifth instalment, he chats to ACT Comic Meet organiser EmmJ, who is a writer and artist with work appearing in various anthologies published in Australia and Sweden.

What is the ACT Comic Meet?

The ACT Comic Meet is a Canberra-based community of comic creators. We enjoy reading and making comics, and there are opportunities to meet and draw or chat about comics every month. Our members are very active in the local comic community and many – in addition to their own comic work – have contributed to a number of the meet’s publications to date. Not everyone comes to meet-ups – there are quite a few people who are not able to meet up in person due to work or other commitments, but they are still active online and participate in our anthologies.

Image: ACT Comic Meet

Image: ACT Comic Meet

What happens at a typical meet?

At a typical meet, people show up some time between 2pm and 4pm. Some people stop by the comic shop and bring their haul to the meet-up to read and discuss. Some people bring drawing materials and sketch at the table. Some people drink beer (or gaming-themed cocktails and mocktails). Some people do all of the above. Some do none of the above. All are welcome.

Has it been growing?

The group has been growing for the last couple of years, but the number of attendees at the monthly meet-ups can vary from two or three up to more than twenty. We appreciate it if people find us on Facebook or email us beforehand so we can give the venue a heads-up, but it is certainly not necessary.

What is the process of coming up with a comic and how do comic meets help?

One thing that our meet-up helps with is having a group of interested folk to keep you accountable. For myself, I know that if I tell people I am working on a project, and I think they might ask me how it’s going, it helps keep me motivated. Another thing is that there are a lot of people who will happily share their hard-earned experiences in comic creation, from writing tips to screen printing, from paper making to fully digital creation techniques and programs.

What do you find is the hardest thing about creating a comic?

Deadlines. (Even self-imposed deadlines.) There is always something more you can do, some little tweak to make it perfect, but at some point if you want to get the story told, you have to abandon your art.

How important are comic fairs to getting your work out there?

Comic and zine fairs are really important. Sure, putting your work online is great, but it can be really difficult to tell if your comics are being read, or if you are just shouting into the void. There are as many goals to making comics as there are comic-makers. For the creators who primarily want to tell their stories, fairs bring your work to the reading audience.

For those who aspire to work for a comic publisher, in Australia or overseas, fairs let you meet up with others on the same journey – to network, to find support, and community. It’s a great feeling when someone finds us at the same zine or comic fair a year later and tells me that they enjoyed the book they bought last time. The best feeling is when they then tell you that they have started making their own comics, too.

The ACT Comic Meet will feature at Noted Writers’ Festival 2016 in the following event: Independent Publishing Fair – Sunday 20 March, 10am-3pm at Gorman Arts Centre.

Canberra-based writer and 2016 Noted artist Bela Farkas's work is heavily influenced by popular culture and current events. Bela's work will also appear as part of Bill Poetries at this year's festival.

Noted 2016 Artist Spotlight: Kaaron Warren

This year, ahead of Noted, Bela Farkas interviewed six festival artists. In this fourth instalment, he chats to acclaimed horror writer and Shirley Jackson Award Winner Kaaron Warren. Kaaron has sold over 200 stories, three novels and six short story collections. She was a recent guest at Genrecon and has taught a Dream Writing workshop at an abandoned mental health facility.

How did you get into writing the horror genre?

I’ve always been interested in the darker side of human behaviour, and even as a child I wrote scary stories, or crime stories. So when a flyer came in the mail asking for feminist horror stories, I knew I had to have a go at one. I had a nightmare where my boyfriend’s hair turned white overnight and that became the starting point for the story.

It got some attention; good reviews, and an invitation to the next anthology, a Penguin one called Strange Fruit. That story was about extreme dieting and body piercing, and from then on I was identified as a horror writer.

Image: Kaaron Warren, by  Art Atelier Photography

Image: Kaaron Warren, by Art Atelier Photography

Movies can use sound effects and music to build up a scare. How does a writer build that into a novel?

It’s the use of imagery, of particular words, and of layered sensory impressions.  You plant an idea early on then play it out later, so that the idea is eating away at the reader while they turn the pages. For a recent short story, ‘Sleeping with the Bower Birds’, I wanted to create a bird-like sense, so I used words like peck, feather, flutter.

Using the senses in every way is important. You’re trying to involve the reader, draw them in, make them feel what your characters are feeling. One of the best music soundtracks I know is Miracle Mile. It’s also one of my favourite movies. There is a steady heartbeat running throughout that speeds up as the movie progresses. You find your own heart beating in response, adding to your panic. It really is brilliant. I use this as an example of what I want to achieve in writing! I’m not sure I’ve ever managed it quite so well.

I noticed you do Dream Writing workshops. What exactly are they?

Dreams are fertile places for ideas. The conscious mind has let slip and the subconscious solves problems, explores images, sorts through traumas. So they are great for writers, but some people think that simply transcribing a dream makes a story. It really doesn’t! I’m sure most of us have been trapped as someone tries to tell you every single detail of a dream they had: ‘… and then, oh but I forgot, and then this happened, and this weird thing, and that weird thing, but I forgot to tell you this big…’ It’s torturous! The workshop is about using your dreams to write layered stories. Using the emotions, the imagery, the ideas, the senses, the solutions, and translating them into a story that people will want to read.

Do you have any tips to get published?

Read widely so you know who is publishing the sort of work you’re writing. Borrow from the library, but buy as much as you can, because every market needs support. Don’t send a story to a market that doesn’t suit you. Only ever send your best work. Take feedback on the chin. The editor or reader isn’t always right, but you should always at least think about their suggestions.

Do you believe in the super natural?

I want to, very much. I’ve never seen a ghost, but odd things happen all the time. If the supernatural exists, then an afterlife exists, and this life isn’t all we have. So I want to believe.

What’s your favourite horror trope?

I can never resist a haunted house! That said, I like horror that goes beyond the clichés and surprises me, stays with me, makes me think. So I love the work of Livia Llewellyn, Jeff Ford, Steve Rasnic Tem, Gemma Files, Deborah Biancotti and PS Cottier, a poet, to name just a few.

Kaaron Warren will feature at Noted Writers’ Festival 2016 in the following events: Where the Wild Words Are: Horror – Wednesday 16 March, 7:30pm-9pm at the National Film and Sound Archive; and Snap Stories – follow the festival on Snapchat @NotedFestival to receive ‘snap stories’ by Kaaron Warren, among many talented others.

Canberra-based writer and 2016 Noted artist Bela Farkas's work is heavily influenced by popular culture and current events. Bela's work will also appear as part of Bill Poetries at this year's festival.

Noted 2016 Artist Spotlight: Ethan Andrews

This year, ahead of Noted, Bela Farkas interviewed six festival artists. In this third instalment, he chats to Ethan Andrews, a stand-up comedian from Singleton, NSW who has performed at the National Young Writers’ Festival, Sydney Fringe and Brisbane’s Anywhere Festival. He also hosts the live show Madam Speaker, has appeared on ABC Radio National’s Now Hear This and is the worst accounting student at the University of Newcastle.

Image: Ethan Andrews

Image: Ethan Andrews

How did you get into stand-up comedy?

I was really into Theatresports when I was a teenager and was in a lot of school musicals. When I left high school, I tried to start a band but couldn’t find anyone to play with, so I started stand up. My first gig was for Triple J’s Raw Comedy.

What helps you prepare for a show?

If I’m hosting a show, I’ll usually procrastinate preparing material, spend the evening fretting that no one will show up and start the gig ten minutes late. I’m always full of nervous energy, so I’ll try to distract myself by joking around with the other comics on the line-up.

How do you handle hostile crowds?

I’m pretty lucky that most of the shows I do aren’t at venues that attract hostile crowds. On the rare occasion that I’ve been yelled at or heckled relentlessly, I like to remind myself that those people aren’t the audience I want to perform for anyway. Drunk people at a bowling club aren’t my target market and that’s fine.

What inspires your material?

Real things that have happened to me – and relationships. I don’t think I have any new opinions on current affairs to contribute, so I like to stick with stories from my past.

Do you have any tips for up-and-coming comedians?

Go to a comedy or fringe festival and watch the shows that everyone is talking about. If you can’t make it to a gig, google ‘best comedy specials’ and watch as many as you can. Be inspired, go to open mics and give it time.

Ethan Andrews will feature at Noted Writers’ Festival 2016 in the following events: Show + Tell – Saturday 19 March, 3pm-4pm at the National Library of Australia; and Lit Hop – Saturday 19 March, 6pm-10pm, various locations in the CBD. 

Canberra-based writer and 2016 Noted artist Bela Farkas's work is heavily influenced by popular culture and current events. Bela's work will also appear as part of Bill Poetries at this year's festival.

Noted 2016 Artist Spotlight: Fanciful Fiction Auxiliary

This year, ahead of Noted, Bela Farkas interviewed six festival artists. In this second instalment, he chats to Fanciful Fiction Auxiliary’s Carody Culver and Jackie Ryan. Jackie writes and designs the Aurealis Award-winning comic book series ‘Burger Force’, and Carody is the Assistant Editor of Peppermint magazine.

What is Fanciful Fiction Auxiliary?

A comedy writing project in which a loose collective of established and emerging writers adopt delusional alter egos through which they channel the power to come up with writing so bad it’s good. Think unashamedly purple prose, plot twists so illogical they’re more like somersaults, forests of double entendres, and a steadfast commitment to keeping a straight face – these characters truly believe in the literary worth of what they’re inflicting upon their audiences.

Image: Fanciful Fiction Auxiliary

Image: Fanciful Fiction Auxiliary

How did the FFA concept come about?

Jackie’s always been fascinated by ’80s melodramas such as Lace and Return to Eden, so creating the FFA was a chance to merge this unholy love of polyester, lip gloss, shoulder pads, big wigs and bigger wind machines with writing and performance.

How did you come up with the characters you play in the FFA?

All we had to do was turn our egos loose. Coming up with ridiculous pseudonyms aided the transformation—Jackie is Valkyrie Cul de Sac, our preening and overbearing leader, and Carody is Tuesday Thatch, a tweed-clad librarian who gets strangely turned on by the Dewey Decimal System.

What do you love most about live performance?

The opportunity to model our unwieldy collection of loud outfits. It’s also fun to see how audiences react to our crazy stories.

What do writers gain from the experience of playing characters they create?

The chance to experiment with the absurd under the protection of a pseudonym and a huge wig. It’s a chance to write something completely different and unashamedly over the top – the writing equivalent of drunken karaoke, except you get to make up the words.

Carody Culver and Jackie Ryan will feature at Noted Writers’ Festival 2016 in the following events: MEGA-BAD!SLAM! NO!BISCUIT! versus MEGA-NOTED – Wednesday 16 March, 7:30pm at The Phoenix Pub; A Funny Thing Happened on the Way to This Panel – Sunday 20 March, 2pm at Gorman Arts Centre; and Bill Poetries – throughout the festival in various locations.

Canberra-based writer and 2016 Noted artist Bela Farkas's work is heavily influenced by popular culture and current events. Bela's work will also appear as part of Bill Poetries at this year's festival.

Noted 2016 Artist Spotlight: Kate Iselin

This year, ahead of Noted, Bela Farkas interviewed six festival artists. In this first instalment, he chats to Kate Iselin, a Melbourne-born, Sydney based writer. Her work has appeared in Daily Life, Kill Your Darlings, Spook, The Guardian and Archer Magazine. Her blog, Thirty Dates of Tinder, chronicles her romantic and sexual misadventures in the world of online dating.

Image: Kate Iselin

Image: Kate Iselin

What inspires you to write your blog?

I first started writing the blog when I had just moved to Sydney and knew basically no-one, so my aim was to figure out a way to get out and meet people! Tinder was just becoming a big thing and I noticed a lot of my friends were using it and talking about their experiences, so I decided to download it in the hope of meeting friends, dates, and anyone else who wanted to hang out and show me my new city. One night I jokingly tweeted that I should just go out with whoever invited me and then write about it, and the rest – as they say – is history.

How hard is it to write about your personal life on such a public forum?

I’m generally a pretty open person, and even in conversation there’s not a lot I would say ‘no’ to talking about. Sharing and over-sharing has always been in my nature, I think – but that having been said, it’s always a little tougher to write so personally in a public place. It can be hard to expose not only your writing to other people’s judgements, but also your life as well, because when you get negative feedback it’s often a double-whammy: ‘not only does your writing suck, but so do you as a person!’

The thing that makes up for it is that so many people have contacted me, especially after reading the blog, to say that they’ve had similar experiences or that I’ve written about something they’ve been too shy to talk about. Relationships and sexuality can be really isolating topics, so if something I write makes someone feel less alone, that’s above and beyond anything I could dream of as a writer.

Is there a perfect date scenario?

I think the perfect date scenario is just having a great conversation with someone and really enjoying each other’s company. If you can get along well with someone, find common ground, share a laugh, and (hopefully) develop an attraction to each other, then that’s all that matters. I’ve had terrible dates in five-star restaurants and wonderful dates in cheap pubs and coffee shops – it really isn’t about where you go or what you do, but who you do it with.

What happens to the blog if you find the perfect date?

Well, I am non-monogamous, so in an ideal world, any partner/s I had at the time would read the entry and congratulate me on having an awesome time!

What makes a date memorable?

I think every date is memorable! I don’t think anyone out there is such a boring blank slate that it would be possible to walk away with zero impression or recollection of them. If you go on a date with someone and don’t learn anything about them in the time you spend with them, either they must be refusing to answer any questions or you’re just not trying hard enough!

Kate Iselin will feature at Noted Writers’ Festival 2016 in the following events: Lit Hop – Saturday 19 March, 6pm-10pm, various locations; Snap Stories – follow the festival on Snapchat @NotedFestival to receive ‘snap stories’ by Kate Iselin and many talented others.

Canberra-based writer and 2016 Noted artist Bela Farkas's work is heavily influenced by popular culture and current events. Bela's work will also appear as part of Bill Poetries at this year's festival.

(Extra) boring (but essential) bits

Image of a blank TV, a DVD player and video player.

Image of a blank TV, a DVD player and video player.

In the lead-up to our upcoming Boring Bits video series, the team at Noted HQ have curated some of our favourite free online resources for writers. Please note, this blog post provides a starting point only. We do not take responsibility for material found on external websites and suggest you always do your own research before making decisions.



Going into business

Australian Government (various)


Ready to take your creative career to the next level? After deciding if you are going to go it alone (sole trader), buddy up (partnership) or go big (company or trust), it’s time to get an ABN and find out if you need to register for GST. If you’re not trading under your own name, you’ll also need to register your business name with ASIC. Not sure where to start? You can find an overview of the issues connected to starting a business here.




Getting paid: invoicing 101

The Australian Taxation Office


It’s happened! You’ve got and done a job, registered for your ABN (see above) and now it’s time to get the cash. The Australian Taxation Office has a handy guide to setting out tax invoices and invoices (yep, there’s a difference).




Get covered: insurance options for writers

Flying Arts and Media Entertainment and Arts Alliance


Renting a studio? Planning on teaching some workshops? Time to get insured. We always suggest you shop around for the best deal.

For $245 a year (price as at Feb 2016) Flying Arts offers Public and General Liability Insurance for Australian professional writers through their Accredited Membership program. You can find out more about membership benefits and the application process here. 

Want something a bit more heavy duty? Media Entertainment and Arts Alliance provides insurance for journalists (in addition to lots of other great benefits) through their Freelance Pro membership. You can read about becoming a member here and MEAA's insurance policy here.




Whose is that? All things copyright

Australian Copyright Council


The Australian Copyright Council is your one-stop-shop for information on copyright issues for writers. Free online guides cover key issues facing writersjournalistseditors and publishers – plus loads more. Check out the full list of guides here. Make sure you also keep an eye out for the Australian Copyright Council video in Boring Bits.




Legal eagle

Arts Law Centre of Australia


If you don’t already know about the Arts Law Centre (ALC), now is the time to rectify that! Beyond offering free and low cost legal advice for creatives, ALC have an amazing collection of information sheetssample agreements and check lists available on their website as part of their Info Hub. While not all resources are free, costs are kept to a minimum so they’re always excellent value. For writers, reading the free sheet on authors and self-publishing is a must.




Think we’re missing something? Add links to your favourite online resources in the comments below. 

Writers Room X

Writers Room X:  Callout for Participating Writers.

Are you a writer with a particular nerd-on for serialized TV? Do you love the idea of working in the classic TV writers' room format, crafting a long-form narrative with a team of other writers? Do time, budget and resource restrictions really rev your engine?

Writers Room X is an experiment in content creation produced by Noted, Canberra's experimental festival of words. WRX will put a diverse group of Canberran writers in a room together and charge them to create full scripts for a 6-part micro-budget web series over an 8-day period.

This project is an earnest attempt to create quality script material that will actually be produced and shot (stay tuned for more details about shooting timelines). The aim is to combine the classical format of the television writers room with the creative freedom of independent film-making. There will be a full staged reading of the finished scripts at the conclusion of Noted Festival.

We're looking for writers with idiosyncratic perspectives and a desire to innovate who still have love for the traditions of TV storytelling. We a want diverse bunch but you need to be excited about collaboration and working within creative restrictions.

Participants must be free to attend daytime sessions on the 13th, 19th and 20th of March, and must be willing to commit to writing a 6-10 page draft script between the 14th and 18th of March. There are up to 5 participant slots available.

If you're interested then please send the following to nickdelatovic [@]

1. A 100-word creative bio

2. 100-200 words on why you're excited to be a part of this project

3. A 100-200 word description of the TV show that you dream of writing (if money etc were no object)


Expressions of interest close on Friday 5 February 2016.