American-born author Laura E. Goodin has been writing professionally for nearly 40 years. She attended the 2007 Clarion South workshop, and holds a Ph.D. in creative writing from the University of Western Australia. Her novels After the Bloodwood Staff and Mud and Glass are available from Odyssey Books. Her stories have appeared in numerous publications, including the Review of Australian Fiction, Andromeda Spaceways Inflight Magazine, Adbusters, Wet Ink, The Lifted Brow, and Daily Science Fiction, among others, and in several anthologies. Her plays and libretti have been performed on three continents, and her poetry has been performed internationally, both as spoken word and as texts for new musical compositions. She has taught creative writing at Deakin University, and delivers workshops internationally and online to writers of all ages and backgrounds. She serves as one of the editors-in-chief for Fafnir – The Nordic Journal of Science Fiction and Fantasy Research, and as an editorial advisor of the journal Science Fiction: A Review of Speculative Literature.She lives in Melbourne, Victoria.
Web site: http://www.lauraegoodin.com
Facebook: http://www.facebook.com/Laura.E.Goodin.Writer
Twitter: @lauragoodin
- Tell us about your recent publications/projects.
I’m currently working on the sequel to my second novel (Mud and Glass), a four-episode (as far as I can tell at the moment) radio series, and some scholarly research. My Facebook writer’s page (http://www.facebook.com/Laura.E.Goodin.Writer) and my newsletter (subscribe at http://eepurl.com/csJ741) are where I’ll be announcing any new developments.
- What has been the best publishing or SF community experience of your career so far?
I can point to five highlights: of course, the brilliant and terrifying six weeks I spent at Clarion South 2007; receiving my PhD in creative writing in 2015; co-producing (with my husband, composer Houston Dunleavy) the multimedia spoken-word and new-music extravaganza The Cabinet of Oddities, which we produced at Conflux in 2015 and the Melbourne Fringe in 2016; the launch of my first novel, After the Bloodwood Staff, in 2016; and my tenure (so far ongoing) as one of the editors-in-chief of Fafnir – Nordic Journal of Science Fiction and Fantasy Research. But really, every con and every speaking engagement and every workshop I’ve done has had at least one magical moment in it, and usually many.
- Which recent Australian/NZ work would you recommend to international fans interested in expanding their Antipodean spec fic knowledge?
I very much enjoyed Kyla Ward’s collection of poetry, prose, and research, The Macabre Modern. The pieces are witty, poignant, engaging, and intriguing (by turns and simultaneously). I’m also eagerly awaiting the release of Russell Kirkpatrick’s Silent Sorrow, the first of his series The Book of Remezov. (I am regrettably unsure of how many books will eventually be in the series, but as this one is numbered “Volume 1”, I think we can assume there will be more. His blog posts about the cartography he employs in the book have got me all a-twitter with map-geeky enthusiasm.
Australian SF Snapshot Project 