The Second Cure shortlisted for the
2019 Norma K Hemming Award
The Norma K Hemming Award is an juried prize ‘given to mark excellence in the exploration of themes of race, gender, sexuality, class or disability in a speculative fiction work’ and ‘is regarded as one of the prestigious awards given to Australian speculative fiction.’ It is administered by the Australian Science Fiction Foundation and the winner will be announced at a ceremony at the Continuum Speculative Fiction Convention in Melbourne in June 2018. The Second Cure is shortlisted for the long-work section, along with some seriously impressive company! Previous winners include Claire G Coleman for Terra Nullius, Louise Katz, for The Orchid Nursery, and Margo Lanagan for Sea Hearts.
The Second Cure — the Miniseries: rights optioned by Bunya Productions
It’s been nearly two decades since I last wrote for television, but I’m sharpening up the old skills for an exciting new period of my professional life. Bunya Productions is one of Australia’s most exciting boutique production houses, responsible for award-winning TV series and films, including Mystery Road, starring Aaron Pedersen, Judy Davis and Deborah Mailman, and the extraordinary Sweet Country. I couldn’t hope to work with more talented and enthusiastic people.
We’re in early development of a six one-hour episode miniseries. Watch this space for more news!
Adelaide Writers Week
It was such a delight to be invited to 2019 Adelaide Writers Week, where I appeared on the panel “Future Tense” with novelist James Bradley, hosted by David Sly. It was a lively discussion where we discussed our writing in the context of social and environmental dystopia, both real and imagined. The audio of our session can be heard here.
The Second Cure shortlisted for the 2019 Aurealis Award for Best Science Fiction Novel
What can I say? Gobsmacked! The Aurealis Awards are Australia’s premiere literary awards for speculative (science fiction, fantasy and horror) fiction. Some mighty competition in my category and brilliant works across the board — if these are genres you enjoy, here’s your reading list!
The winners will be announced at the Aurealis Awards ceremony taking place in Melbourne on Saturday May 4, 2019.
Brilliant Careers: Engendered Masterclass
I was thrilled to have been selected to participate in Screen Australia and Bunya Productions’ four-day intensive genre masterclass, to workshop The Second Cure as a six-hour miniseries, in December 2018. The residential masterclass was taught by internationally renowned US writer/producer Raelle Tucker and Canadian director Jeremy Podeswa, who between them have worked on some of the finest television of the last decades (Game of Thrones, Boardwalk Empire, True Detective, The Newsroom, True Blood, Homeland, The Borgias, The Tudors, Dexter, The Walking Dead, American Horror Story, Supernatural, True Blood, Jessica Jones...), along with local industry professionals. It surpassed my expectations with the generosity of everyone involved. Inspired and inspiring. My thanks to Bunya Productions, Screen Australia and Jeremy and Raelle.
The Masterclass was financed as part of the $1.882 million in Brilliant Careers funding dispersed to 13 organisations to deliver business and skills-growth opportunities for Australian female creators.
Greer Simpkin is a Producer and the Head of Television at Bunya Productions and is running the Engendered program. Bunya Productions have just come off an incredible year where they managed to take out both the Best Film (Sweet Country) and the Best Drama Series (Mystery Road) at the AACTA Awards, in addition to a swathe of international accolades and sales for both titles.
“Genre is what is really cutting through on TV at the moment, so the Engendered Masterclass funded by Screen Australia represents a tremendous opportunity for female creators,” said Greer Simpkin. “Jeremy and Raelle are masters of delivering premium genre, and furthermore when you think of the likes of The Handmaid’s Tale and Sacred Lies, they have made dramas that have proven the creative and commercial worth of female-led storytelling.”