[00:00:00] Speaker A: Hello authors.
[00:00:01] Speaker B: I'm Joanne Morell, children's and young adult fiction writer and author of short nonfiction for authors. Thanks for joining me for the Hybrid Author podcast, sharing interviews from industry professionals to help you forge a career as a hybrid author, both independently and traditionally publishing your book. You can get the show notes for each episode and sign up for your free author pass over at the hybrid author website to discover your writing process, get tips on how to publish productively, and get comfortable promoting your books at www.hybridauthor.com au. Let's crack on with the episode.
Hello authors.
I hope you're all keeping well in whatever part of the world you reside and listen to. The podcast in. Today's interview is with children's and young adult author and award winning short story writer Nadia L. King, and we chat the responsibilities of chairing a panel, being prepared, and payments Nadia's tips for authors looking to conduct this role, as well as sharing her blunderous and positive panel moments.
So in my author adventure this week, it's been a bit of a whirlwind. Squibby Australia west members, if you're listening, you should have received a very special newsletter outlining that our amazing rotness Wajamup Retreat is back for this year 2024 and registrations actually open tonight for bookings. I'm going. I cannot wait. Ever since I joined Squibby, which for anybody else listening, it's a society of children's book writers and illustrators and I'm part of Australia west, which is Perth chapter and it's just such a fun retreat. You go across to we've got an island called Rottnest Wadjunmap in an aboriginal language and yeah, there's publishers that come and readings and it's such a great event and it's not been on the last couple of years, but now it is, it's back and yeah, so I've been busy with the committee putting together information regarding that and doing some social media posts. So yeah, it's been kind of busy that way with admin stuff and like correspondence and things. I feel absolutely a bit overwhelmed with correspondence at the moment. So if you have emailed me then thank you for your patience. I will get to the email soon. Finally got my business plan away, so that's very exciting for the hybrid author and I've really just been thinking about my young adult project this week. I haven't really been actively writing in it because there has been a hierarchy of work and other commitments that have needed my time. So I just want to say, when things like that happen, if you have a week that kind of throws you off, it's absolutely all right. As a parent, as someone who maybe works a day job or something, then you just have to roll with it. You just have to keep going for what works best for you that week.
[00:02:57] Speaker A: What you get done.
[00:02:58] Speaker B: Sometimes life kind of throws curveballs at you that is very unexpected and you just have to roll with them and yeah, just go with it, go with it. And the writing will always come. We've got the Perth Writers Festival here in this weekend and there's a squibby catch up also, so I'll be going to that on the Sunday and possibly some other events. So this was quite fitting to have this interview with Nadia about chairing a panel because obviously in writers festivals there's lots of panels that are being chaired and if this is something that you are keen to get into, then I hope you enjoy the interview.
[00:03:34] Speaker C: Hello, my name is Nicole Webb and I'm the owner of Nicole Webb Book Publicity. I'm originally a journalist and a news reader with over 30 years experience in the media. My memoir, China Blonde, was published in 2020 and I'm now working on a novel set in Singapore. In the past two years, I've completed more than 20 successful author book publicity campaigns. Promoting your book can feel like a daunting task, so if you want help planning your book publicity path, I'd love to help you. If you need a compelling media release and someone to pitch you and your book to the media, or perhaps you want some media training to ensure you're confident when discussing your book, then let's talk. From consultations through to full marketing campaigns, I design tailored strategies to suit your needs and to target your book to its specific audience. You can check out my website, www.nicolwebonline.com for more details.
[00:04:36] Speaker A: Nadia L. King is an australian author of indian and irish descent. She is a children's author and award winning short story writer who believes passionately in the power of stories to make the world a better place.
Nadia is currently undertaking postgraduate studies in English and creative writing. She is a proud role model for books in homes and lives in Western Australia with her family and ever expanding collection of books. Welcome back to the Hybrid author podcast, Nadia.
[00:05:05] Speaker D: Thanks so much for having me. Jo.
[00:05:08] Speaker A: We're so thrilled to have you because you were the very first guest on the hybrid author podcast, so I'm so pleased to have you that we've come full circle.
[00:05:18] Speaker D: That's amazing. You've done such an amazing job.
[00:05:20] Speaker A: Thank you. And it all started with you, dear.
But for those who haven't heard or haven't heard the first episode of the hybrid author podcast or haven't heard of you before, can you tell us about your background in writing and publishing? And also.
Yeah, we'll start with that.
[00:05:39] Speaker D: Okay. So I started writing about ten years ago when I was in my early forty s, and I was just messing around. I just felt like I really needed to do writing. And since then I've had eight books published. So several of those have been published by an indie UK publisher and also recently by Scholastic, which was sort of a big goal of mine to be published by them. So I was delighted to be.
And I write mainly, I guess my genre probably is more short stories for adults. That's really my jam. And I've been chairing panels for libraries and for others, sort of like Scribblers festival for a few years. So I was an MC or a facilitator for Scribblers festival for quite a few years for about, I think maybe three or four years. So I chaired their panels and then they have, because scribblers festival is the premier children's literature festival in WA, they have a lot of student involvement or kid involvement. So they had a young adult panel made up of students, and I coached them so that they knew what to do and what to expect.
[00:06:54] Speaker A: That's really cool. Yeah. Well, today's topic is on chairing a panel, so you're certainly the perfect person to talk about it. It sounds like you've had lots of experience there. But for listeners who don't really understand or haven't heard the term chairing a panel before, are you able to maybe define what the responsibilities of chairing a panel are?
[00:07:14] Speaker D: Yeah. So chairing a panel really is, it's like if you're facilitating a group workshop, so you're really the person that is holding everything together, keeping people on time. Time is really important, so you want to make sure that you don't run over that if you're going to have A-Q-A session, that you have left enough time so that the audience can have a bit of engagement with the talent. I really think that, I guess with anything in life, preparation is key. So when you have got your details of the panel that you're chairing, you need to familiarize yourself with the panel members and with their works. And key really is preparing your questions in advance. You want to make sure that you've covered off the brief that the organizer has provided to you.
So that you're not asking just random questions, you're asking questions that are going to hit the brief. I think another good tip, really, is to ask questions, or responsibility is to ask questions that you want to know the answers to because your audience will likely want to know the same things that you're interested in. This is probably more of a tip than a responsibility, but preparing more questions than you think you'll need for the session, just to make sure you can cover the whole session.
[00:08:35] Speaker A: Yeah.
[00:08:35] Speaker D: You just don't know what's going to happen. It's live, so you don't know how people are going to react. You don't know how the audience is going to react. And panel members may or may not want to answer a question or they might like, I remember I've gone through and come up with what I thought were some really good questions over the years and thinking, oh, this will get them going. And you literally just get a one sentence answer which takes them like a sound bite and then you're like, oh, I thought that was going to.
[00:09:05] Speaker A: That was going to give us at least 1015 minutes.
[00:09:07] Speaker D: Yeah. I think having loads more questions in your pocket so that you can pull them out, so that you just cannot have that session run short. You have to run for the whole session. And so even if you've gone to a Q and a session and the audience is sitting there and they're not saying anything or they're young children and they're coming up with really random questions that aren't relevant. Yeah.
Hitting the mark. You might want to interject with questions then. So you need to have loads. I always have loads and loads of questions and I try and think of the flow of the questions so it's logical with the answers that are coming out, but just being flexible because you just won't know how they're going to answer. And so you really need to be on your feet during the session.
[00:09:57] Speaker A: Sorry, you finish. You finished.
[00:09:59] Speaker D: And just being aware and reading the audience and seeing what they're enjoying and if there's a particular sort of angle that they're really going down, then shift the question so that you're meeting the audience's reactions, I guess.
[00:10:15] Speaker A: Do you have to sort of gauge, obviously, the people that the panel that you're chairing, like, they are kind of personality types? Like, you can tell right off the bat if someone's a chatter or someone's not so much of a chatter. Do you already have it laid out? Like you'll be asking, do you just change the rhythm or what's the word, the order, I guess, of the people that you're asking.
[00:10:38] Speaker D: And if someone's taking too much airspace, then you try and sort of come up with questions that are more, that the other panel members will have more expertise in or have more interest in or have written something. So then you sort of direct attention away from them because you want everybody to have a go in the panel. You want to have one person taking over. You want to make sure that everyone's had a chance to speak.
[00:11:01] Speaker A: Yeah, well, that would be the point of the panel, wouldn't it? So in every instance that you've chaired a panel for whatever organization, so it sounds like you've done some big ones and festivals and obviously some smaller ones as well, I guess, through the library systems and things, you've been given a brief by everybody to follow. And what's in the brief? Is it just an outline of how things might go? Yeah.
[00:11:23] Speaker D: For the festivals that I've done, sometimes you get really good information and you might get the books provided. Other times you'll get minimal information and there'll be no texts and you might have to pluck them off your own shelves or go and find them from libraries or bookshops or whatever. But really. Yeah, you do get a bit of a brief, but it's minimal. You're given minimal direction. But, you know, for instance, if they want to cover magic, you better make sure questions are geared towards that. And then, you know what age. I'm really talking about children's literature. If you know the demographics of the people that are coming, then you can make sure that you're covering. Little kids are going to want to know about authors, what their favorite colors are. Do they like chips and ice cream?
Adult audiences are not so fussed about that, how they do it, what their process is. Are they plot, are they hamsters?
Depending on really knowing who the audience is and just covering. Like I said, you don't get a lot of information about the brief, but there will be a gist and you want to make sure that that's what you're hitting.
[00:12:32] Speaker A: No, absolutely. No. It's good that you've got a bit of free reign, I guess, because it makes you, I guess, as the chair. Panel. Chairing chairperson. I don't know what the term is. What is the term? Just chair?
[00:12:47] Speaker D: I think it's facilitator or interviewer.
[00:12:52] Speaker A: Yeah. Well, I was trying to think it does feel like an interviewer role because you still have to. Obviously, you're determining the flow and the questions and the timing and all that sort of stuff. But yeah, rather than sort of, this is what you've got to ask. And have you ever done a panel and it sounds like you're over prepared, so that's fine, but a fear of mine arises to think that you would just run out of things to say.
[00:13:16] Speaker D: That's why you always have loads and loads. I mean, probably for like an hour session, you could probably get away with six to ten questions. I always go in with about 20.
[00:13:29] Speaker A: So you're over prepared? Yeah. And are you allowed to hold those? You're allowed to keep them close by so you can refer to them.
[00:13:37] Speaker D: I usually have, like, I'm such a nerd and I'm not modern, so a lot of people, I guess, would just do their phone or their iPad or whatever, but I'm always freaked out that something will happen.
[00:13:49] Speaker A: I think that's good. Nothing can go wrong there. Unless you're me and you can't read your own writing.
[00:13:55] Speaker D: And I type it out as well, like double space bullet points.
[00:14:01] Speaker A: Yeah.
[00:14:01] Speaker D: I try and make it as easy for myself as possible, given that you have to really be moving in your mind, you're moving things around and gauging things. You want to make everything as easy as possible for yourself. Day.
[00:14:13] Speaker A: So how are you gauging the time? At the same time as sort of going between people to ask for questions. Do you have a watch that you're looking at or you got a clock?
[00:14:24] Speaker D: Depends on where the gig is and if it's like an awesome theater or within a library. Say, I just have my watch on or I might set my timer. But you never start exactly on time anyway. Especially with library events. They like to leave a little bit of extra time for the audience to turn up, but for sort of something that's run, like for a festival that's run really on time to the minute somewhere. Like there's that theater in Sibiaco. I've forgotten the name of.
[00:14:55] Speaker B: The regal.
[00:14:55] Speaker D: No, not. Oh, was it the regal? No, the regal didn't have one. It was another theatre, the little one. Anyway, that one has a clock on stage, a countdown, which I just thought was amazing. I was like.
I was like, this is like the best thing ever.
[00:15:11] Speaker A: It helps, doesn't it?
[00:15:12] Speaker D: Otherwise. Because once you've got your phone on, it goes to the black screen and then you have to put your password in again to get the timing up. And an old fashioned watch would be better, really. But yeah, that theater in Cbiaco, which I've forgotten the name of it was amazing. I just loved that clock.
I went from there straight to the regal theatre, like the next day or the next session or whatever, and there was no clock on stage. And I was like, there's no clock on.
[00:15:39] Speaker A: What are we going to do?
That's so funny. Yeah, it feels like a multitasking role. That's why I'm just intrigued to find out how you sort of camly, as well as being present, you've also got other things going on. So it just feels like, yeah, definitely multitasking. So, as the facilitator, would you rock up to a gig and you would expect. You're not involved in the setup or anything. You'd expect just to be ready to go at your time slot, sit down and get started. That's what your job. You're there for that and that only.
[00:16:11] Speaker D: So usually, for any of those sorts of events, you usually need to rock up. I think they like you to get there usually quite a bit before the audience. And you do like a sound check and you go into the green room and sort of one of my tips, I know that I'm sort of jumping the gun with the questions, but one of my tips for anyone that wants to facilitate is really make the most of your time in the green room, in the room before the event, because then you'll get to know the panel members and it's only the people that are going, it's performers and artists in there, so it's not like they're going to be distracted by anybody else. So you can really get to know the panel members for just that short time before you go on stage.
Yeah, you can ask them things like, how would you like me to pronounce your name, especially if they have, like, a complicated name that you're not familiar with. And you can check if there's anything that's off limits for any of the panel members. And that's another reason why you need lots of questions, because you just don't want to be left short.
[00:17:11] Speaker A: Do you recommend even going one further than that, than just sort of seeing them before the event, but actually contacting the people before the event to ask these sort of questions, rather than on the actual day?
[00:17:27] Speaker D: For a lot of these people, if they're really quite high profile, you won't have access to them. You might have their agent or to their publisher, and you can provide a list of your questions if you like. And I have done that for some people, but, yeah, usually even in the green room, if I've got, like, a list of the questions, I'm happy in the green room to say, look, because I have my clipboard right there with me to say, can I check your name, pronunciation and would you mind running your eyes over these questions and just marking any that you really uncomfortable with? It's just consideration, really. I think it's just being considerate of the people that you're working with.
[00:18:04] Speaker A: Yeah, no, they're really good tips. It's something that you don't sort of think about. Just the little fine details like the fine tuning things and stuff. That's good. I've yet to get my way into a green room. I'll see you in there one day.
[00:18:17] Speaker D: Don't go into a green room very often.
[00:18:20] Speaker A: Who knows, you might cheer me on a paddle one day. Well, taking it right back before even the event and all of it, was this something you have set out to do or you have just gotten known in the industry for these skills? And obviously, the first time that you came on the podcast, we were talking about judging writing competitions. So you seem to take on quite a leadership role within the writing industry for kind of these events and stuff like that. So have you just through contacts, found that you've been offered to chair panels as a role? How have you actively strategically sought them out?
[00:18:54] Speaker D: Yeah, I would love to say that I actively strategically plan, but like most things, it wasn't. When I started writing, like about a decade ago, I love to read. Reading is absolutely one of the biggest joys of my life. And so what I thought I would do is I would use whatever little platform I had to be supportive of people in the industry. So I really went out of my way just for the australian industry to provide reviews and author interviews for my blog. I don't think anyone does blogging anymore. But anyway, so when blogs, I was probably even on the outer for the blog thing. I was probably too late for that. But when I was doing my blog, my blog really was reviews and author interviews. And so I started with. So I think a tip is to start with your own platform and use that, because whatever you're using, conduct author interviews. If you want to be facilitating author panels, conduct author interviews, and that way you'll get lots of experience coming up with questions and hopefully your name will sort of get out there a bit. And I think if you are doing this as a service for authors and for readers, then people sort of see that you're not sort of doing it to promote yourself, you're doing it to promote people. And so people are more positive. I think yes, I think start with your own platform, whatever platform that is, and use that as a way to gain experience and to get a bit of a name. And then another trick. Trick is probably not the right word. Another tip is to identify the type of events that you're keen to be involved with. And then lots of festivals rely heavily on volunteers for them to run. Literally. They can't run without volunteers. And so if you identify an event that you're really interested in, you could volunteer to help out and that way you'll get a really good understanding of how these events work and you'll also make contacts and you'll sort of be networking in the industry and people will know that you're very helpful and you're reliable and it's all the usual stuff, really. There's no sort of special shortcut or special trick, it's just doing the hard yard. So, yeah, working out what you're interested in and then going ahead, because if you're interested in it, you'd be more than happy to volunteer anyway. And that way you'll get behind the scenes view of how things are working and then you'll.
[00:21:17] Speaker A: Yeah, no, that's really good tips there. Absolutely.
I always wanted to volunteer at that reading conference that they have. I haven't made it to that reading one.
[00:21:30] Speaker D: The one in Fremantle.
[00:21:31] Speaker A: Yeah. The literature center.
[00:21:33] Speaker D: Yeah.
[00:21:35] Speaker A: Should definitely do that.
[00:21:37] Speaker D: They definitely have volunteers for that event. Definitely, yeah.
[00:21:41] Speaker A: The tickets are just so expensive, usually, but I've never been.
[00:21:45] Speaker D: Because it's been too expensive.
[00:21:46] Speaker A: Yeah, well, everyone who has been always raves about it, though, and they always say how good it is. But, yeah, the tickets always are a bit expensive. So maybe when I've got a few more books published, that won't be too bad.
So you've done these things, you've obviously put yourself out there as well. But in terms of getting paid for these roles, these roles are paying roles, or some of them volunteer roles or is that a bit.
[00:22:14] Speaker D: Usually they're paid roles. I really think that facilitating is the way to go. So if you're appearing as talent, you will only go, like, once, or you might go every couple of years or every few years. It's unlikely that you would be asked again and again because actually there are new books coming out all the time. So I think going in as a facilitator is a much. It has more longevity because you can be asked back every year to do your gig. And so although you can use ASA Australian Society of Authors public appearance rates as a bit of a guide, I found, really that festivals have a set rate for performers, and so the rates will be included in your contract. But what's also interesting is often the facilitators, unless you've got really huge stars that they've flown over from the US or Europe or whatever, often you'll be paid more than the local talent because you're doing more work.
Sit there and answer your question.
I don't have to worry about the time.
[00:23:21] Speaker A: Yeah, fair enough. No, that's good points there. Is it? I don't know, kind of like. So for example, we've got Perth writers festival coming up in Perth, Western Australia. And so to look at the lineup for that, which I haven't actually scoured all over it, but I've seen a few familiar names and whatnot. And for local publishing houses and things, do they like to have facilitators? Like, it seems to be the same people, I suppose, that are the ones that are on the panels, but then they're also facilitating other events. So do they try and work it out like that because they're maybe paying those people?
I don't know. They're probably not paying them a flat rate to be there all weekend. They're in different positions, like you said. So do you know much about that or. Not really quite inclusive, I guess, is what I'm saying.
[00:24:06] Speaker D: Well, I've only appeared at Perth Festival once, and it was your children's section of it is minor for audiences rather than the Anna funders or whoever are coming over.
[00:24:17] Speaker A: Yeah.
[00:24:18] Speaker D: So I think the prestige of being there may outweigh, if you're a local author or a local facilitator, probably outweighs the rate that you're being paid. Yeah, you are being paid, but yeah, it certainly wasn't my highest paying gig.
[00:24:35] Speaker A: No. Yeah, I just thinking about programs and stuff like that, and then it seems like a lot of people who are on the panels are then doing extra events as facilitators around the place. So I just wondered whether they do that intentionally.
[00:24:48] Speaker D: Probably the programming for these events is so complex and goes on for so long that I imagine they would try and line everything up and use the people that they've got under contract and see where else they can use them.
[00:25:06] Speaker A: No, it makes sense. So back to your chairing paneling experience. In all instances or whatever, does anything come to mind? Have you had any blunders that you've had to work through any sort of moments or has ever had slowed and run pretty smoothly because you've been extra.
[00:25:22] Speaker D: Prepared with your clipboard you never know what's going to happen.
We had a really high profile american author come over. Female american author come over. And there were a lot of students, high school students in the session. Like, I want to say maybe 300 students. And the lights were intense. Like, you just couldn't see it. You couldn't see out to the audience.
It was just really hot, and the lights were in our faces. I won't say the name of the school, but there was a prestigious boys school and boy, each.
It was awful. A couple of students put their hands up, and they were putting their hands up, and at the same time making, like, a lewd gesture with it. With their hands as they were putting their hands up. That was awful. And then they were asking just really awful questions.
There was a couple of questions slipped through where I was giving them the benefit of the doubt. So one lad got up and said his awful question, and the famous author was brilliant and had done so many events, so was able to sort of get out of that. But really, that was my gatekeep, that. And I didn't. So then when the next lad did it, I think I said something like, keep it clean.
That's not an appropriate question for this festival. So would you like to ask something about how this author plots her novels?
[00:26:56] Speaker A: Yeah.
[00:26:56] Speaker D: Deflects that.
It's just really difficult. I remember when I gave a. Which isn't facilitating, but it's, again, dealing with the public, because you just don't know what they're going to do. And I had been giving a presentation with another.
We were actually presenting as researchers rather than as authors, and we were presenting to a wealthy group of older people. And at one point, this woman, she started off asking me a question, and she was very friendly at the beginning, and then it soon turned to just this really unfair criticism of my work.
[00:27:31] Speaker A: Oh, my goodness, man.
[00:27:33] Speaker D: Yeah. In this public place. And I just was flawed.
This was before I started facilitating, and I didn't really have a good comeback, and I think I got annoyed, and I showed that I got annoyed, and that was a mistake. And I should have just said something like, that's an interesting point that you make, and if you'd like to come and see me afterwards, we can discuss it more.
[00:28:01] Speaker A: Gosh. So that's good points there as well. Is it worth coming up with responses to questions that are either going to make you feel uncomfortable or get your back up, or you shouldn't be showing any sort of emotional response, really. You're the deadpan person.
[00:28:18] Speaker D: Yeah, I kind of feel like it's like when someone's commented harshly on a social media post, you don't engage. That's like the golden rule. How much you want to, you don't engage. And I think it's the same, especially in a public place where you're on show. I think you have to be in control and not sort of go down to their level and not respond in that way. And I think, honestly, it took me about a year to come up with that retort. I was like, I have to have something in my arsenal that I can pull out when it happened. And so, yes, now I know. That's what I would say. I would say that's an interesting point you make. Maybe we can discuss this after the session. Come and find me.
[00:29:00] Speaker A: Oh, gosh, I hurt that you had to go for that. It's horrible because it's hard enough, like, getting up there and doing whatever without people criticizing you. Yeah.
[00:29:11] Speaker D: And we were doing it.
We weren't getting paid. We were just doing it for this group of people just as something that, for their interest.
And because the peasant started off so friendly, I sort of was lulled into this sense of, this isn't going to go badly. And then when it did go badly, I was devastated. But it was the same with these lads. It was awful. And I remember I was just mortified, and I had to apologize to the author, and she knew exactly what was going on.
[00:29:39] Speaker A: Right.
[00:29:40] Speaker D: And it was like, well, I know you've come all the way from America and now you're in Perth, and I've let your audience abuse you.
[00:29:50] Speaker A: But she was okay?
[00:29:51] Speaker D: Yeah, she was fine, but, yeah, it wasn't. As humans, we always focus on 98% of the thing went really well. And the 2% was negative.
The negative. We don't tend to remember the positive.
[00:30:03] Speaker A: Yeah, well, let's do that now. Let's talk about. We've talked about that negative all the other times. I've been fairly positive, I guess. Have you had so many standout panel sessions that you just think that was an amazing conversation? Everybody just bounced off each other and it was so much fun. Anything coming to mind there?
[00:30:19] Speaker D: Yeah, and I can't remember the name of the author, but she wrote this series of books. I can't even remember how many books. Like, there's like eight or nine books. It's a magical fantasy series. She's, like, really big and, yeah, she was awesome. So it was just such a good session. And I think we did the session one day, and then we did the session the next day, and having a do over was even better.
And I had that rapport with her and we were riffing off each other and it was fun.
Was a lot of fun. Plus there were clocks on the stage.
[00:30:53] Speaker A: That made a difference.
That's hilarious. Oh, no, that's good. Well, you've shared so many tips already, Nadia. Like, super interesting. For anybody who would like to add sort of this onto their cv or their creative career resume or something. Do you have any more tips that you want to share that you haven't touched on with anybody?
[00:31:11] Speaker D: No, I think I just want to reiterate that preparation. I think that's really key.
[00:31:15] Speaker A: Yeah.
[00:31:15] Speaker D: You just have to have a lot in your arsenal and know I made a mistake with those lads and I made a mistake with the lady that was giving me a hard time. But just knowing that you can learn from those and you can put that into your future toolbox so that you know how you can deal with those in the future.
[00:31:35] Speaker A: Yeah, absolutely. No, that's all really sound advice and. Yeah, what is happening with you for future works? Are you writing any fiction at the moment? Are you just knee deep and about to be? Dr. Nadia Il King wanted to say that for ages.
[00:31:51] Speaker D: Not yet, not quite, doctor. So, 2024. I have to keep reminding myself that we're in 2024. So I have a couple of titles that are being released by scholastic this year, and I have a poem in an anthology of children's poetry which has been published by Fremantle Press in March. Right way down. So I'm very excited about that. I'm not really writing any fiction at the moment. I am, as you mentioned, finishing up my.
I've been for the last two years, I've been examining how characterization operates in the realest modern short story.
[00:32:26] Speaker A: Amazing.
[00:32:27] Speaker D: Which has been really, like, just. It's been hard, but it's been just a wonderful journey. So I'm also a little bit sad to finish that up. In the coming months, you'll just have.
[00:32:36] Speaker A: To do another one.
Can you do two phds? I don't know.
[00:32:41] Speaker D: You can.
[00:32:44] Speaker A: There might be another one on the cards. Well, that's amazing. Congratulations and all your success. And thanks again for coming on to share with us, chairing a panel.
[00:32:52] Speaker D: Oh, you're very welcome. Thank you so much for having me. Good luck to everyone.
[00:32:56] Speaker A: Well, before you disappear, can you tell us where people can find your books that you've got out and your short stories and everything that you do online?
[00:33:04] Speaker D: Yes, you can find me at my website. So nadialking.com and I sell my books locally so if you want to get a copy of one of my books, people can just drop me a dm through my website and yeah, we can go from there.
[00:33:20] Speaker A: Fantastic. Thanks, Nadia.
[00:33:22] Speaker D: Well, you're very welcome.
Thanks again, Joe.
[00:33:31] Speaker B: So there you have it folks. The super smooth and knowledgeable Nadia L. King chatting how to tear a panel so I hope this episode helps any of you out there looking to undertake this role. Next time on the hybrid author podcast, we have publisher Bernadette Foley, who has 30 years professional experience working in the role of fiction and nonfiction publisher at Hashette Australia and Pan McMillan. She has also set up broadcast books at which he works directly with writers, assisting and encouraging them to develop their writing skills through individual mentoring and workshops. And me and Bernadette chat publishing your product to a professional standard because this is something that she works with authors to publish their books independently as well to reach traditional publishing professional standard. I wish you well in your author adventure this next week. That's it for me. Bye for now.
[00:34:18] Speaker A: That's the end for now.
[00:34:19] Speaker B: Authors, I hope you are further forward in your author adventure after listening, and I hope you'll listen next time. Remember to head on over to the hybrid author
[email protected] dot au to get your free author pass. It's bye for now.
[00:34:38] Speaker D: Our channel.
