Dominique Wilson of Wet Ink expresses the importance of a writer’s voice and style
Dominique Wilson
Dominique Wilson is the managing editor of Wet Ink, an Australian literary magazine. Before helping to launch the magazine in 2005 she gained several BAs, an MA and a PhD in Creative Writing and now uses these qualification together with her experience to tutor high school students and run writing workshops as well as being Chair of the Adelaide branch of International PEN. She tells us why Wet Ink is fast becoming a collector’s item.
What is the motivation behind Wet Ink?
To promote both emerging and established Australian writers nationally and internationally.
How did you become involved with the magazine?
I was involved with Wet Ink from the very beginning, back in early 2005. The magazine evolved out of discussions a group of us were having in response to the ‘doom and gloom’ articles appearing in the press at the time, about the lack of opportunities for new and emerging writers.
We believed there was a reading public out there who would welcome a magazine showcasing the best of such work if such a magazine was easily accessible, so set about producing it. We decided from the start to also include work of established writers, not only to attract readership but to show that the work of emerging writers could stand toe-to-toe with that of better-known writers. We also decided it was important to be a totally independent magazine, so as to have total control over what we publish.
How does Wet Ink differ from other literary magazines?
Firstly, we publish more fiction per issue than other literary magazines in this country, along with poetry, creative non-fiction, one author interview, and around 11 book reviews per issue.
Secondly, our size and format is different - most literary magazines in Australia really look more like books. We prefer to combine great writing with great images, and so commission photographers and illustrators to complement each piece with a suitable image. We do this because we think it results in an attractive magazine that would look good on anyone’s coffee table or bookshelf, and a recent reader’s survey backs this up - Wet Ink is fast becoming a collector’s item.
What do you look for in a submission?
High quality writing. We publish all genres, and our readership is very broad - from a wide range of backgrounds, from high school students to retirees. And Wet Ink is sold both nationally and internationally, including Europe, the US and Canada, and the Asia-Pacific region. So we look for work that is captivating, regardless of genre - we look for work that is thought-provoking, moving or witty; something that will show us something new about the world, or something old in a new way.
The only thing we will not publish is work that has already been published elsewhere - after all, we are ‘the magazine of new writing’. And we ask that writers do their research - read a couple of copies of the magazine to get a feel for it, and check out our writers’ guidelines before submitting.
Do you write poetry or short stories yourself?
I write short stories, which have been published nationally and read on radio, and am currently working on a novel. Last year I was ask to adapt one of my short stories for the screen, which was then made into a short film.
What do you find the most challenging aspects of editing Wet Ink?
Firstly, deciding on the final cut - we receive around 600 submissions for each issue, and there is so much good writing out there. The second challenge is the time it takes - we publish four issues per year, and you have to remember that we all have other work, so we have to fit Wet Ink around that.
What do you enjoy most about it?
Having the opportunity to read such a wealth of stories.
Also that Wet Ink has often been the first to publish new writers that then went on to win major literary prizes - it confirms our original idea that publishers should trust their readers, and that ‘the sure thing’ isn’t necessarily the best.
And I’m touched by the support we get from our readers, some of whom have been with us since issue 1.
Whose writing do you admire?
That’s a tough one - I read so much, and across so many genres, both for my own enjoyment and to review. I’m always discovering writers I didn’t know about - for example, I recently read the work of English author Tania Hershman, who wrote the short story collection The White Road - great writer!
I like also Geraldine Brooks, Cormac McCarthy, Maria Strani-Potts. Also many ‘oldies’ - Neville Shute and Gabriel García Márquez. Kafka. So many to choose from…
What inspires you?
The ocean. In winter. During a storm.
And rain - I love rain. I write my best work on cold rainy days.
Also people’s ability to withstand the most atrocious conditions and events, and still not only survive, but excel. The human spirit is something that continuously amazes me.
What advice would you offer an aspiring writer?
Read. Constantly. Everything and anything. Good writing will inspire you; bad writing will show you what not to do. I become very frustrated with aspiring writers who tell me they don’t read because they don’t want their work to be influenced by other - trust me on this: you want to be influenced! If you read enough, there’s no chance that you’ll end up a copy of anyone else.
Don’t send any of your work out until it’s the very best you can make it (there’s too much competition out there for something that is just ‘good enough’. Sorry, but ‘good enough’ isn’t good enough). I always tell people to put away a piece you think is finished for a good three to four weeks (and yes, I do do it myself).
Then take it out and get someone to read it to you out loud - you’ll be amazed at all the awkward sentences, boring bits and so on that show up. Then, when you think it’s fully polished, ask yourself this question and answer it honestly: ‘If I hadn’t written this, would I be willing to pay good money to read it?’. If the answer is ‘Not really’, then why on earth do you think our readers would want to?
And lastly, don’t give up. It can take years before you get your first acceptance, and even after that, you’ll keep getting rejections - even ‘famous’ writers get them. You have to develop your voice - your style - and you can’t do that in just a few months…
What comes next for Wet Ink?
We’re always looking at ways to increase readership, and to promote Australian writers not only in Australia, but overseas as well - for example, we recently supported the Ubud Writers and Readers Festival in Bali by giving them 200 copies of our latest issue for their guests and international media.
We have also recently become registered to receive tax-deductible donations, so that patrons of the Arts can benefit from supporting Wet Ink.
And we’d also like to increase the size of the magazine a little, to give our readers more of what they enjoy.
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I work in a bookstore, so I see a lot of lit mags come through. Most are ignored by the general reader. Maybe it’s because many appeal to a very slender part of the population whose interest is both fickle and passing. Many others are heavy with non-fiction, which will often find only brief relevance. The range and richness of story telling that I’ve found within Wet Ink means that this mag is developing a loyal readership, that will grow, and that it will endure.