1. When and why was WestWords,the Western Sydney Centre for Writing, established, and could you tell us a bit about your roles at WestWords?

WestWords began as a literature development organisation for children and young people 17 years ago. For the first seven years of its life it went from project to project under the umbrella of Blacktown Arts Centre. But then, ten years ago, in the response to growing need, and the expanding population of Western Sydney, WestWords became an independent company, moved to Parramatta and I became its Executive Director.

As soon as I could I did a widespread consultation to discover how WestWords could best support the writers and writing of this richly diverse region. What I heard is the basis of everything we now do.  We facilitate, create and share the stories of Western Sydney – where over 10% of Australia’s population live, 45.7% of people speak a language other than English at home and almost every country of the world is represented here. We encompass every age, and stage of life. We established the Western Sydney Centre for Writing to develop and celebrate the literature of, and from, this place.

Through the design of our programs we have created a pathway for writers, starting with our comprehensive schools, after-school and holiday programs, moving through our programs for emerging writers, and onto publication, commissioning and employment opportunities for both emerging, and established writers. We showcase work through our three imprints – WestWords Books: adult books into the trade,  WestWords Children’s: books for children and young adults and WestWords Community which brings together work from our schools’ program as well as work with particular cultural and community groups, for example Rwandan genocide survivors, women regaining their voice after DV and the homeless. We also run a live events program with everything you would expect to see as well as open mic nights and a monthly slam. We receive commissions and run writing competitions. And we have YouTube and podcast channels.

2. What kinds of support does WestWords provide for writers and aspiring writers, and how do these offerings cater for the diverse needs of your community?

Specifically for emerging, and emergent writers, we offer a stage series of developmental programs to support developing writers, notable among these is our Academy program. This year-long program is about ‘everything you need to know about being a writer except for the words on the page’. In other words how to navigate the industry, survive and thrive as a writer. We also offer mentorship programs of different lengths and focusses, from feedback on an extract of a major work, to full manuscript assessment. We run workshops and masterclasses series – these are always in response to the needs we see and are asked for. Our writers’ groups always have a component focussing on the craft, and include Nepali Women’s Writers Group, Campbelltown writers groups, Illuminated Ink – our LGBTQIA+ group, Speculative Fiction group to name a few. And residential programs to give writers time away from the everyday to focus on their writing.

3. What are the common challenges faced by writers that come to WestWords?

For our constituency the major barrier for them to be able to practice and hone their craft is financial. Quite simply writers who come to us cannot afford the fees generally being asked. And yet, so often those who aren’t ‘well off’ have the most incredible stories to tell. So, all of our activities are delivered free or at low cost to guarantee access and equity to match the constraints of the writers who come to us. Who gets to tell our nation’s stories should not just be restricted to a privileged minority.

The other major challenge is finding publication opportunity in forums or publishing houses where their voices aren’t being skewed to serve existing markets/readerships. Which leads to your next question …

4. When was the publishing arm established and what did it publish and why?

We began WestWords Community a decade ago to provide culmination to the programs we ran in schools and with cultural and community groups. This remains a focus as these publications not only give a direction and an outcome, but also serve as a ‘symbol of value’ in their communities. The impact of having their voices, their stories shared and celebrated cannot be underestimated.

In early 2022 we were gifted a small publishing house that specialised in children’s picture books. That gave us the means, infrastructure and expertise to expand our publishing into the trade, first with picture books, and then books for adults.

We are in a privileged position. As a not-for-profit we are never market-led. Rather, we can afford take time to work with writers, develop their craft and strengthen their voice. We can take greater risks, and put our efforts into bringing readers to the work.  Western Sydney with its population, blend of cultures, languages and literary traditions, the stories, and how they are told, are surprising, bold, different and wonderful. That’s why we publish.

5. When did the adult creative non-fiction and fiction publication begin and what inspired the expansion into poetry?

Our first adult publication into the trade was in 2021. It came out of a program we were running with four poets of the Rohingya diaspora – a woman living here in Canterbury-Bankstown and three young men living in Cox’s Bazaar in Bangladesh, the world’s largest refugee camp. Over six months we mentored them, ran workshops which culminated in a collection of poetry. The work transformed and distilled their experiences into a powerful and poignant journey. Two of the young men were accomplished photographers and their images form an accompanying photo essay of the people and lives of the camp. That was the start of our list that now encompasses fiction, narrative and creative non-fiction as well as poetry.

In Western Sydney there is a massive resurgence in poetry amongst young people. It often takes the form of slam and spoken word, but these poets are also drawn to the page. The blend of this generation’s experiences, cultures, literary traditions makes for a lively, very immediate, distilled form of poetic expression that is truly exciting. These poets don’t restrict themselves to the page or the stage but easily move from one to the other each pollinating the other. This work needs to reach a wide audience, which is why we are publishing it.

6. Do you plan to publish poetry as just as standalone volumes or in anthologies? 

We are open to both. Most importantly we are guided by the work that we see developing and emanating from the writers within our orbit. And the decision to publish is largely determined by whether the work demands to shared.  

7. How are poetry manuscripts chosen for publication and can you share any insights into the poetry manuscripts or poets you’ve chosen to publish and what drew you to them?

How we choose what gets published is in part a question of resources. We are a small organisation so we can only take on so many books in a year. Currently we are publishing 25 books a year on average across all three imprints. The other part of the answer is in my response to the previous question – we want to publish work from poets who demand attention, that is deeply personal, that investigates the human condition and interrogates our place in the world.

8. In relation to publishing, what else have you got on the horizon?

In WestWords Childrens we have picture books from debut writers and illustrators, including in October Being Indy set in a world of playgrounds, big hair and defiant colour, this is a story of trying to fit in and the true worth of being yourself. From WestWords Community, a collection of three migrant stories about coming to Australia and reconciling different worlds and learning to live with contradiction. And from WestWords Books Swallow, a novel based on the life of William Swallow, convict and the last man to be tried for piracy in an English court, Bound a multi-generational story which begins in pre-revolution China and ends in Western Syndey suburbia about the ties that bind across time and tradition. And there is more poetry coming next year.

Find out more @ WestWord https://www.westwords.com.au