What inspired you to begin a writing career?

My first inspiration was probably my parents’ bookshelves, when I was little. I’d sit on the carpet looking through the National Geographics and trying to figure out what the novels were about. Mum worked in a library, so we always had books around. And at Dad’s work there was a whole room full of typewriters, so I’d sit in there bashing out letters. Ding! You’ve written another line of random nonsense! Very satisfying.

My first book was about the Queen. More of a pamphlet really, self-published when I was about 5. It didn’t have many words – the main feature was a terrifying drawing of her – but I remember adding a copyright statement on page 2, ‘NO part of this Book may be reproduced…’ or something like that. Just in case the plagiarists started getting ideas.

What does it mean to you to be awarded funding from Creative Victoria to support the development of your creative non-fiction work Home Truths: Changing Our Minds on Homelessness?

When I opened that email, I just shot out of my chair and involuntarily ran around the house. A few loud shrieks also came out, which frightened my family. I had a strong reaction because this book is important to me, and receiving funding makes all the difference: it means I can keep the lights on, put my head down, and focus. Alongside the practical help, receiving a grant also feels like moral support. A group of your peers is saying, ‘We think this project sounds worthwhile, and we reckon you can do it.’ So I’m thankful for that, too.

What can you tell us about that upcoming work?

Home Truths will dissect the myths that shape how we think about homelessness in Australia. The book will use creative non-fiction to explore the murky territory of social biases, prejudice, and misbelief. I’m interested in the gap between popular narrative and personal experience, so I want to bring the voices of people who’ve survived homelessness to the centre of the conversation.

My plan is to shine a light on common myths and misbeliefs about homelessness – why it happens, who it happens to, and who’s to blame – and ‘speak back’ to them via testimonies from people with first-hand experience. Instead of being spoken about, they’ll tell their own stories, in their own words.

What do you know now that you wish you’d known at the start of your career?

I doubt that knowing this in advance would have helped anyone, but I didn’t envisage that technological change would have such a profound effect on the viability of writing as a profession.

Starting off as a journalist in the late 1990s, I saw the rise of free online content transform that industry and make freelancing an even more precarious way to make a living. Now we’re facing even bigger challenges thanks to rampaging advances in AI.

Having your books stolen to train AI models for billionaire-owned companies is no fun. So if I had a time machine, I’d go back to the 2000s and try to warn every creative worker and arts advocacy organisation on the planet: the tech-bros are coming, and they have no moral compass! We better start getting organised.

Which Australian authors and illustrators are influential for you?

Anna Krein, for her fearless curiosity and her storyteller’s instinct for getting to the heart of things; the prolific Tony Birch, for the humanity of his characters and his skilful evocations of place; Helen Garner, for her unflinching gaze and brave capacity for self-scrutiny; and Fiona McFarlane, for her world-building skills, nuanced writing, and ability to inhabit multiple perspectives.

Two writers who are no longer with us also deserve a mention. Ross Gibson’s visionary approach to place has been a big influence for me, especially Seven Versions of an Australian Badland (one of my favourite books). And I always admired the versatility and sheer talent of novelist Andrew McGahan. The Rich Man’s House – his last book, published posthumously – blew me away.

I don’t write much poetry myself, but I’m drawn to poets who conjure up a whole vibrating atmosphere from a handful of words. Claire Gaskin and Evelyn Araluen both do that brilliantly. 

And Shaun Tan is my favourite Australian illustrator: his paintings and drawings are a window onto a strange and beautiful parallel universe.

Why are you a member of the ASA?

Because writing is labour. And like every worker, creators deserve fair pay and protection from exploitation. That’s why unions and professional associations exist: to be a voice for us, to protect our rights and look out for our interests. But those organisations can’t exist without members.

The ASA has been representing authors and illustrators since the 1960s. Every year, when our annual copyright and lending rights payments land in our bank accounts, we have the ASA to thank for that. As we’re seeing now with the rise of AI, the world keeps throwing out new challenges. So it’s reassuring to know that someone has our backs.

Find out more about Meg at megmundell.com.au or follow her on Facebook.