Manuscripts - Long and Short Stories
Full-length Manuscripts
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"Cut on the Bias" was a Second Rounder, Launch Pad Prose Writing Competition 2021(https://tblaunchpad.com/announcing-the-second-round-of-the-2021-launch-pad-prose-competition-1/)
and again a Second Rounder, 2023 Launch Pad Prose Competition 7th Annual ...always the bridesmaid...😢 So I decided to self-publish with the help of Busybird Publishing https://www.busybird.com.au/ |
Short Stories
"Lady Katherine" is a stand-alone backstory of the only child of the Laird of Glenross and the Countess of Chestermere who finds herself orphaned at fifteen and how she ably oversees her vast estates and comes to terms with her own sexuality. Lady Katherine, the Countess of Chestermere (suo jure), features in "Cut on the Bias", the first of a 3-part saga set in 1905.
Memoirs of a Bastard Colonist
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ACKNOWLEDGEMENTS
My sincere thanks to the many who tirelessly helped, guided and encouraged me in getting this thing out of my brain and onto the page. Without you, this book would not exist.
To my editor, Ellen Spooner—your belief that this story was worth telling gave me the encouragement to persist. Thank you for your unrelenting guidance, your insight into character and plot and your precise counsel; holes were filled, passive voices weeded out, and superfluous adjectives and adverbs consigned to the dustbin. You helped me more than I could ever express.
To my beta readers and critics who, over the years, pushed me to write one more chapter, one more paragraph …
Sue Morey, my number one fan, whose enthusiasm kept me going when I wanted to abandon the book two-thirds of the way through. She’s earned her coffee—and a million thanks besides.
Joan Fayle, whose medical knowledge, grammatical expertise and interest in what I was doing, helped me to smooth out the bumpy bits. To her, a warm and fuzzy blanket of gratitude.
Barb Cromie, screenwriter, published author, journalist and unstinting time-giver, who read, reread and re-reread every word and helped me polish my bits of rough-hewn rubble into something smoother. A ‘thank you’ simply is not enough. I am deeply indebted to her and her generosity of spirit.
Kathryn Gallagher, avid reader, who gave solid encouragement to continue and who introduced my words to her group—Sue Smith and Maria Power—who, in turn, affirmed this story was worth telling.
Terry O’Brien and Michelle Fröhlich (O'Brien) for their valuable input into the German dialogue between the Schwartzman family members, and for saving me from embarrassment.
Pamela Morrissey, published author, actor and fellow-writer from the Australian Writers' Guild for her positive critiques of this and other scribblings.
June Rogers, Executive PA and wordsmith, who appraised my words from the other side of the continent. My sincere thanks.
Irene di Bona, generous with her time, who read parts and chapters as I churned them out. Many thanks for her persistence and feedback.
Helen Raik, Kim Raik and Elizabeth Chan, who all read very early versions of the manuscript and who gave positive feedback.
AJ Collins and her Beta reader Liz who diligently went through the very first versions of this endeavour and who were most encouraging.
I am also very grateful to my fellow-writers from the Australian Writers’ Guild, who first heard my ideas about this story and helped me give it shape and substance in its early stage.
And, of course, the Internet and its myriad fabulous websites: Wikipedia, Internet Archives, Trove, Collins English Dictionary, Roget’s Thesaurus et cetera, et al, where so much information was distilled to give my voice a measure of authenticity.
And finally, to Rebecca Victoria Davies, a figment of my imagination, who became the champion of the dispossessed and the voiceless and a vindicator of wrongs against women and children, born innocent and propelled into a downward spiral by the choices she made. She emerged from the pages as a hero true to herself—as I could only wish for myself to be.
To my editor, Ellen Spooner—your belief that this story was worth telling gave me the encouragement to persist. Thank you for your unrelenting guidance, your insight into character and plot and your precise counsel; holes were filled, passive voices weeded out, and superfluous adjectives and adverbs consigned to the dustbin. You helped me more than I could ever express.
To my beta readers and critics who, over the years, pushed me to write one more chapter, one more paragraph …
Sue Morey, my number one fan, whose enthusiasm kept me going when I wanted to abandon the book two-thirds of the way through. She’s earned her coffee—and a million thanks besides.
Joan Fayle, whose medical knowledge, grammatical expertise and interest in what I was doing, helped me to smooth out the bumpy bits. To her, a warm and fuzzy blanket of gratitude.
Barb Cromie, screenwriter, published author, journalist and unstinting time-giver, who read, reread and re-reread every word and helped me polish my bits of rough-hewn rubble into something smoother. A ‘thank you’ simply is not enough. I am deeply indebted to her and her generosity of spirit.
Kathryn Gallagher, avid reader, who gave solid encouragement to continue and who introduced my words to her group—Sue Smith and Maria Power—who, in turn, affirmed this story was worth telling.
Terry O’Brien and Michelle Fröhlich (O'Brien) for their valuable input into the German dialogue between the Schwartzman family members, and for saving me from embarrassment.
Pamela Morrissey, published author, actor and fellow-writer from the Australian Writers' Guild for her positive critiques of this and other scribblings.
June Rogers, Executive PA and wordsmith, who appraised my words from the other side of the continent. My sincere thanks.
Irene di Bona, generous with her time, who read parts and chapters as I churned them out. Many thanks for her persistence and feedback.
Helen Raik, Kim Raik and Elizabeth Chan, who all read very early versions of the manuscript and who gave positive feedback.
AJ Collins and her Beta reader Liz who diligently went through the very first versions of this endeavour and who were most encouraging.
I am also very grateful to my fellow-writers from the Australian Writers’ Guild, who first heard my ideas about this story and helped me give it shape and substance in its early stage.
And, of course, the Internet and its myriad fabulous websites: Wikipedia, Internet Archives, Trove, Collins English Dictionary, Roget’s Thesaurus et cetera, et al, where so much information was distilled to give my voice a measure of authenticity.
And finally, to Rebecca Victoria Davies, a figment of my imagination, who became the champion of the dispossessed and the voiceless and a vindicator of wrongs against women and children, born innocent and propelled into a downward spiral by the choices she made. She emerged from the pages as a hero true to herself—as I could only wish for myself to be.
For Peter A Cross
who believed in me
who believed in me
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The very fine print:
All rights by all media reserved
Copyright Susanna Bonaretti
Copyright warning: The whole contents of this work are copyright of Susanna Bonaretti.
No part of the contents may be reproduced or dealt with in any way that is inconsistent with the rights of Susanna Bonaretti under copyright law.
In particular, no part of this may be disseminated to a third party without the prior written permission of Susanna Bonaretti.
All rights by all media reserved
Copyright Susanna Bonaretti
Copyright warning: The whole contents of this work are copyright of Susanna Bonaretti.
No part of the contents may be reproduced or dealt with in any way that is inconsistent with the rights of Susanna Bonaretti under copyright law.
In particular, no part of this may be disseminated to a third party without the prior written permission of Susanna Bonaretti.