Editors Victoria is Australia's largest association for professional editors.

2019 IPEd Conference



Around 300 editors attended the Conference held at the Pullman Melbourne On The Park. Personal reflections received provide a vivid image of the pitch and keynotes of the Conference program (photos are posted elsewhere in the newsletter):


1st coverage: Conference impressions

by Tess Moloney 

I haven’t been to an editors’ conference for some years and, apart from the odd software training, I hadn’t done much formal external professional development for years either, so the idea of two days of listening and reflecting on language, editing practice, the profession and industry was a treat.

From the start, at the welcome drinks on Wednesday evening, I experienced pleasure from being with people who, in a broad professional sense, shared my interests. It was legitimising to be among peers and to realise I had connections with some attendees, some over many years. I recognised people I had met at RMIT when we were students, at assorted workplaces, and over dinner at SocEdsVic (as it was once called) meetings in Carlton.

It was a rewarding, friendly, well-organised conference with a diverse range of topics, presentation formats and smart, clever and witty speakers. The name tags used large type, the venue was grand, and helpers were numerous. I even got to have my first experience being a barrel girl when I was called on to draw the bingo chits out of the proverbial hat at the Welcome.

From Roly Sussex, I learned that the recorded record number of SMSs sent in a given month by one person was 500,000 and that over 75% of interactions in English are now conducted by people who don’t speak English as their first language. From Susan Butler, I caught up on ‘fulsome’, ‘literally’, ‘toil’, ‘repsychable’ and other changes in usage and pronunciation and my options to care – or not. From Laurel Mackinnon, I learned there are 30,000 academic journals publishing 2 million articles in a billion-dollar industry, and about the growth of predatory journals.

I was pleased to hear that the Wheeler Centre in Melbourne attracts audiences of 200 six times a week and I enjoyed Michael Williams’ characterisation of New York publishers as ‘looking for the last big thing’. I was impressed by Rekha Raghunathan’s description of IndiaSpend’s work turning little-viewed research articles into much-viewed pieces of journalism. 

Having known so many expensive failures or short-lived experiments in digital publishing (from having worked in educational publishing), I liked hearing from Doro Forck of the Commission for the Conservation of Antarctic Marine Living Resources (CCAMLR)’s development of the open-source platform, Drupal, to reform the way their research meeting’s findings and recommendations were managed. They are now written up, reviewed, translated into four languages at each iteration and finalised for adoption by the end of the meeting – to the envy of others in the research world.

A new word for me was ‘rapporteur’, a new meaning of a word was ‘thirsty’. I learned that ‘plagiarism’ comes from the Latin word for kidnapper. I like the neatness of the expression ‘vanity-capped words’ and seeing a young Bob Dylan’s wordplay with street signs.

We covered ethics, accessibility, copyright, simultaneous print and electronic workflows, and collaborations using Google Docs. 

I realised my society had grown up and was so much bigger and more structured in the time I had been paying only half attention to it. Long-fostered ambitions had been realised, and more were planned.

I would have liked the presentations available online, and to have known that in advance, to save taking pics of screens with my phone. The food at lunch was a bit traditional and bland for me, but there was plenty of it and the morning and afternoon tea snacks were tasty. Often, I was interested in sessions in other rooms too, but I tended to settle into one ballroom rather than change at 10-minute intervals. Those vignette sessions did make the convenors very time conscious. 

My thanks and appreciation to everyone involved – chairs, convenors, staff, committee members and volunteers – for your hard work and warmth and for creating two good days of learning and camaraderie.

Tess Maloney is a member of Editors Victoria.


2nd coverage: Learning, volunteering and networking with a pair of kitty ears

by Sara Kitaoji

Having spent so many years in Tokyo and Hong Kong, I was looking forward to finally meeting and learning from my fellow editors in person at my first editing conference. I attended two workshops and many sessions in between my committee duties, which included ushering, coordinating volunteer shifts, judging and dashing about with a pair of fluffy, green kitty ears. I skipped the academic editing stream, as I was more interested in topics beyond my own specialisation.

I enjoyed Peter Riches’s workshop on how to find, evaluate and respond to a request for tender (RFT) for a government project. Peter offered practical strategies for the entire process – identifying our strengths and perceived weaknesses, developing key ‘win themes’ and negotiating contracts. We implemented the ideas in group exercises, the most memorable of which produced hilariously innovative designs of a spaceship to Mars.

Pamela Hewitt kicked off the marketing stream with a topic that concerns us all: ‘For Love and Money’. A packed audience gathered for insights and motivation from an eminent editor and instructor. Pamela encouraged us to find creative ways to harness our talents and find new opportunities, while being realistic in the face of increasing technological and economic changes.

In the accessibility stream, Julie Ganner discussed print disability and introduced the work of the Australian Inclusive Publishing Initiative (AIPI). I appreciated her perspective that finding solutions for one group can improve accessibility for others. Like many of the sessions, it felt too short but made me want to explore further on my own.

In the professional practice and development stream, Liz Steele, Lorna Hendry and Stephanie Holt impressed me with their carefully designed Professional Writing and Editing program at RMIT, which includes cross-disciplinary projects and internship opportunities. The program not only focuses on the mechanics of editing, but also fosters a sense of professional identity and the interpersonal skills required to work with authors. (They involved students at the conference for their social media and photography skills as well.) Frankly, I wish I’d enrolled 20 years ago!

Other impressions. The professional photography session was a bargain for $50. I was well caffeinated, thanks to the brainwave coffee cart, and refreshments were plentiful. There was a constant eager buzz throughout the three days, and every smiling editor I met made me wish I could stop for hours to share our experiences and knowledge. What a friendly, supportive bunch we are.

The Gala Dinner at Mural Hall was marvellous fun, with editors in all their eclectic, quirky glory. After a rousing speech by Tony Wilson, DJ Fiona Scott Wilson cranked up the music and … well, let me just say that videos of dancing editors are still floating around the internet.

Having contributed via email and Zoom over the last two years, I appreciated the heartwarming support and camaraderie of my fellow committee members, many of whom I had only known online before the conference. I’ll never forget on the first morning, Maryna Mews presented me with a big box of muesli bars because she was worried I wouldn’t have time for breakfast in the hotel! To me, this highlighted the kindness and consideration with which we treated each other, amid all those flying WhatsApp messages and last-minute checks and changes. In addition to the committee, we had a fantastic team of reliable volunteers, all experienced editors, who maintained a reassuring air of calm. Led by Renée Otmar, our magnificent convenor, our team was united in working towards our common goal.

Did every conference delegate feel as inspired, motivated and empowered as I did? I hope so. I’d like to encourage you all to consider volunteering, to contribute your unique skills and personality to our editing community.

Organising committee member, vollie sub-committee member, academic editor, translator and cat =^..^=


3rd coverage:  Conference workshops

by Maryna Mews and Liesha Northover

By 8.30am on Wednesday 8 May, the Pullman Hotel was buzzing and around one hundred people were turning up to take part in the morning pre-conference workshops. The registration desk was in full operation, the bookshop staff were unloading book stock and editing merchandise, the coffee cart was doing good business, and the posters were being put up …

A further one hundred turned up for the afternoon sessions and stayed for the Welcome Reception in the evening.

The IPEd 2019 conference got off to a great start with the mounting of six three-hour workshops. Three were held in the morning and three in the afternoon. The topics that the workshops covered had been canvassed by the conference organising committee and were diverse. They ranged from working on your mindset to improve your earnings, to editing commercial popular fiction. If anybody missed out on attending any of the workshops described below and would like them to be run for EdVic members, please contact Maryna Mews at edvic.training@iped-editors.org  

In a vivid presentation, Trudie Sarks, Senior Solicitor at the Arts Law Centre of Australia, based in Sydney, explored issues of defamation, copyright, moral rights and contracts. The participants of the workshop gained knowledge about their legal rights and responsibilities as editors. They were also given the opportunity for a one-on-one session with Trudie in a legal clinic. Trudie told participants that the Arts Law Centre can be contacted for free or low-cost legal advice. There are also information sheets on the website and many sample contracts at www.artslaw.com.au

Peter Riches, well-known for participation in previous IPEd conferences and conducting workshops interstate, is the Director and Consultant of Red Pony, a technical writing and editing firm located in Melbourne. He showed participants how to service and qualify a request for tender (RFT) for a government project. Participants were also given guidance in drawing on their previous experience effectively and developing and writing a response to meet the requirements that are unique to public-sector projects. 

Much laughter was heard coming from the workshop on commercial popular fiction conducted by Kate Cuthbert, Program Manager at Writers Victoria. In her workshop, Kate provided participants with examples from film and books to illustrate the many types of popular fiction. These ranged from romance to science fiction and fantasy. Kate also talked about the conventions within each genre and the expectations of readers. She also gave participants a short piece of fiction to assess and discuss and provided information about the many organisations and fan clubs that support and promote the diverse range of fiction genres. 

Just back from LA, where she attended training to further develop her life coaching skills, Dr Malini Devadas of Edit Boost helped participants in the Money Matters workshop explore their own mindsets to determine what was stopping them from raising their rates and finding new clients. Many participants reported that they felt more confident about their business by the end of the afternoon and were inspired to be proactive in marketing their editing services. Malini is offering a free mini e-course on money mindset for a limited time – you can find out more at www.editboost.com/iped2019.

Creating and using macros is a skill that many editors wish to master. Kevin O’Brien, managing editor at Scribe Publications, Melbourne, taught this highly practical workshop. Working on their own laptops, participants were provided with a template that included some useful editing and formatting macros and they learned how to record, import, write and edit their own. On 22 June, Kevin will be running a course for Editors Victoria: Expanding your Word power. Bookings are now open (details are also elsewhere in the newsletter).

Dr Tomas Zahora, research and learning coordinator at Monash University Library, and the final trainer, put an interesting question to participants of the publication ethics and plagiarism workshop; what is an original idea? In the Middle Ages, most sources were not acknowledged and originality was aligned with vanity. He said that what was happening now with the rise of social media was not dissimilar. In some ten years’ time we might not be so preoccupied with issues of plagiarism. In the meantime, it is important to understand what constitutes plagiarism, self-quotation, textual similarities, predatory practices like salami publishing, and the like. Participants were provided with information to stimulate discussion and they participated in exercises.

Some useful websites: 

Workshop Convenors, IPEd 2019 Conference Organising Committee


4th coverage - Conference glimpses 

by AJ Collins and Sally McInnes

Not being of the academic ilk, I only planned to attend two half-days of the conference, being the Ethics/Life Writing stream, so with Sally McInnes contributing to the academic/professional practice and professional development streams, the following is a tasting plate of some of the sessions we attended.

The venue was cosy and comfortable, volunteer ushers were warm and welcoming, Mini-Mentors were enthusiastic, and the Poster Talks seemed a success. The quality of presenters was excellent; however, due to time constraints, their presentations were occasionally rushed. The range of talks was well-curated with on-point topics. Kudos to the planning committee.

I paid a brief visit to the opening address, which was buzzing with eager attendees. Being allergic to speeches, I soon slunk off to the chill-out room to get some work done. Here, it was lovely to eavesdrop on the enthusiasm of the RMIT students who were on site to handle photography and video.

Ethics stream:

Saira Manns (freelance) talked about the intensive labour involved in transcribing her grandfather’s biography, patching together missing or mis-remembered details and vacillating on whether to include offensive material – something that’s often discussed and agonised over in our Facebook Secret Editors Business group. Heather Millar (freelance) related the challenge of transcribing a memoir written on the back of old envelopes (I love this image). Her time working as a writer in volunteer palliative care and hospital avoidance programs showed how these services can help residents in the twilight of their years make sense of their lives. Though whispered secrets abounded, they didn’t always make it onto the page.

While these philanthropic pursuits are no doubt often rewarding in themselves, we were reminded that such emotional work requires us to be aware of self-care – mental, emotional and physical. Sometimes, the impact of this work isn’t felt until much later when fatigue, depression or a myriad of other symptoms can manifest.

Belinda Pollard (freelance) who edits the Broken to Brilliant charity series, explained how editing personal trauma stories can be triggering if an editor has an empathic personality, has witnessed secondary trauma or suffered their own past trauma.

It was timely then that Caitilin Punshon (freelance) spoke to us about the connection between illness and editing and how finding meaning in our own ailments or conditions can be therapeutic.

The Super Book Club 1 discussed the delicate ethics of including sensitive material when it comes to family, friends or public figures. Mandy Brett (Text Publishing) stressed that even with due diligence, editors can still be caught unawares – a mother recognising her children on a blurred-out book cover.

Kirstie Innes (Black Inc.) mentioned how she sometimes has to use her spidey senses to ensure inexperienced authors fully understand ethics in presenting the truth – it’s a balancing act.

Marisa Wikramanayake (freelance, MEAA delegate) talked about sensitivity readers and the importance of avoiding bias, misrepresentation, cultural inaccuracies, insensitive language, and stereotypes. It’s our job as editors to educate our clients.

In his keynote speech, Michael Williams (Director, The Wheeler Centre) was hilariously humble, reminiscing on his unsteady beginnings. He didn’t know what he was walking into, but he did enjoy receiving long, angry letters on how to get things right. His key point was: “Publishing is getting an imaginative moment or idea to connect as widely as possible with its ideal audience.” Social good is essential.

Academic/Professional Practice streams:

Robyn Williams (Capstone Editing) talked about the ‘iron triangle’ – when editors are faced with the pressure of delivering high-quality work in the shortest timeframe, and at the lowest cost. Online services, such as Airtasker, have increased this pressure by undercharging, yet delivering poor quality work, leading to what Pam Hewitt refers to as the ‘gig’ economy. Clearly, it’s now essential for universities and institutions to work more closely with editors and to understand what they can and cannot offer.

Penny Modra (The Good Copy, regular guest, ABC Radio Melbourne) emphasised the importance of working with an organisation from the top down to stress the value of editing. She works with clients to develop their brand, showing how the value of the word has not diminished, just changed in form.

Pam Hewitt (freelance) addressed the poor pay rate of in-house editors (71% of the average salary) and how freelance salary rates have actually been decreasing in real terms. Pam attributes this to editors being a feminised, under-unionised industry. To aid the profession, editors need to charge enough to make a living and not settle for bad deals.

Marisa Wikramanayake (freelance, MEAA delegate) added that as freelancers we don’t have the right to enter into collective bargaining, but we do have the right to determine our own working hours. She suggested the Fair Work Act 2009 and MEAA (our union) could provide advice on rights, and an MEAA membership was a good idea for editors.

Wiley Educational Publishing talked about the changing roles of editors: how their in-house content editors are becoming more like project editors, relying on freelancers for quality control and to alert them of any issues.

Edward Caruso (freelance) said to be realistic when quoting – to work in days per year, billable hours, and to allow for sickness and holidays. Kathy Stove (Freelance) said that you can’t assume you have a job until it’s on your desk, and Renee Otmar (Conference Convenor) made the point that it’s best to meet your client when starting a job, to find out the back-story to the work.

Roly Sussex (Professor Emeritus, IPEd Patron) and Susan Butler (Lexicographer, formerly Macquarie Dictionary) talked about the changing nature of the English language and how editors have to use their judgement and be flexible, while taking into account the style of writing and author’s preferences. “We are not so much editorial gatekeepers, but bouncers.”

Sally McInnes: "We need to do more to advocate for our work, and to have improved wages and conditions. A major difficulty is that the majority of us work as individuals and it is difficult to organise collective action. There are many forces working against us. Forces acting for us are IPEd, the MEAA and creating opportunities for continuing professional development." 

As the 2019 IPEd Conference came to a close, Renee Otmar explained the complex planning process, we were treated to a fun 'eddibuddy' choir led by Ted Briggs, awards were issued and formal addresses made. Elizabeth Speigel from Editors Tasmania closed by inviting attendees to the next IPEd Conference to be held in our fair Apple Isle: Hobart 28-30 June 2021.

AJ (Annie) Collins and Sally McInnes are members of Editors Victoria


5th coverage: Show me the money: Pamela Hewitt gets real about freelance rates

by Felicity Sutton, student editor

Editors, we need to talk about money. As Salt-N-Pepa would say, "Let’s tell how it is, and how it could be; how it was, and of course how it should be".

For many editors, discussing the financial side of their jobs either feels unseemly (profit, rates, income) or is incredibly boring (super, savings, tax). But "don’t be coy, avoid, or make void the topic, ’cause that ain’t going to stop it".ii

We need money to live. Unseemly or not, we should discuss it openly and often. 

As someone who is new to the editing profession, I have so many questions around setting my own rates that it makes me terrified of being asked for a quote. How much is editing or proofreading supposed to cost? What do others charge? How much can I ask for without being greedy, and how low can I go without undercutting other editors? What is a normal rate for an ‘emerging’ editor – or does charging less for being new undermine my own skills? And what’s an acceptable discount for mates’ rates? 

I find it particularly confusing coming from a career as a registered nurse, where there’s never a question of what I will get paid. All I need to know is the classification of my position (for example, RN grade and year) and I can look up my rate of pay online according to the Victorian award rates. Simple! 

Needless to say, ‘For love and money’ by Pamela Hewitt was at the top of my list to see at the IPEd conference. I wasn’t the only one – Pamela’s engaging presentation drew a sizeable crowd. In a way, it was reassuring to know that there are many editors in the same boat, but it also confirmed that this is an industry-wide concern. 

Pamela’s key message was to think of love and money as a combination, not a choice. Often it doesn’t feel appropriate to ask for more money when we genuinely love the work. It’s a labour of love; I’m not in it for the money; if you do what you love, you’ll never work a day in your life – all that garbage. It was so freeing to hear Pamela say that you can have both: it’s OK to love your work and still demand adequate pay. “I love editing, but I don’t think that means I should undersell my skills,” she said. “Ask yourself: what do I need to charge to make a fair living?” 

Pamela recommended that editors should be charging a rate that factors in their overhead costs, and that ‘overheads’ should include not just professional development and resources, but sick leave, annual leave, and superannuation. The average wage for freelance editors has increased over time, but not enough to keep up with inflation and the rising cost of living. As Pamela pointed out, editing ‘on the side’ is not enough if you want to earn a living wage and set money aside for retirement. 

At 32, I’m considered a millennial, so I don’t expect to retire in the same way that older generations will (if at all). But building up savings and superannuation is important for people of all ages, and the earlier we start thinking about it, the better.  

Pamela was also clear that we should charge according to our worth – rates that reflect our editing experience, our specialist knowledge, and our unique skill set. I find that as a new editor, it’s hard to charge according to my worth when I haven’t figured out what it is yet. I hope that over time I will develop a clearer idea of my particular skill set and feel confident to charge accordingly. Presumably, the longer you spend in the industry, the better you also get at judging how much time and effort each job will require, and what you need to charge to make it worth your while. 


Meanwhile, the IPEd board is forming a working party on pay rates (still open to expressions of interest). This will hopefully lead to the establishment of recommended editing rates in Australia, so we’ll have somewhere to start. Beyond that, if we wish to develop an award rate for editors, ensuring adequate and consistent pay for all, the key is to follow the example of other professions and unionise. 


The IPEd Board is requesting expressions of interest (EOIs) from members to form the Pay Rates Working Party (PRWP). Please submit your EOI to Tay Winchester, corporateservices@iped-editors.org. Check for closing date for EOIs. 

For information on union membership, visit https://www.meaa.org/join/
i Salt-N-Pepa, Let's talk about sex, New York: Next Plateau, 1990

Felicity Sutton is completing an Associate Degree in Professional Writing and Editing at RMIT University.


6th coverage: Human first, editor second 

by Stephanie Bal, student editor

I watched the new Netflix film Extremely Wicked, Shockingly Evil and Vile at 9am on a Saturday morning when three other people were in the house. I came out of my room four-and-a-half hours later with eleven tabs still open on my laptop, all with the name Ted Bundy. I had to keep the light on for days, but it wasn’t because of what I saw – it was the way I threw myself into reading everything afterwards, and letting my imagination take me there again and again.

I attended the 2019 Institute of Professional Editors conference as an RMIT Professional Writing and Editing student furiously taking notes to post on Twitter for the ones who couldn’t make it – and the ones who could but like the hum of tweets. I learned and networked and left with sore thumbs from all the phone notetaking. The golden advice I’m keeping close is found in two words from Belinda Pollard’s session on 'Editing personal trauma: limit imagination'.

It seemed almost absurd. Editors are avid readers, and reading is where we let our minds run wild. Imagination is an important aspect of being a great editor – envisioning where the author could push the narrative when the writing isn’t yet strong enough to take it there.

I am curious about the way others live in the world; true stories allow me to explore this. But I have a tendency to overextend empathy and imagination. I didn’t just watch a film about Ted Bundy, I blurred the lines of perpetrator and victim and empathised with both sides. My partner kissed me goodnight and I imagined the horror of Bundy’s girlfriend realising that the man she loved, who helped raise her daughter, was a violent rapist and killer. I lay in bed and saw the blood-soaked pillows.

Belinda Pollard talked about her editing work with survivors of domestic violence who want to write their stories. Instead of becoming so deeply moved that she is incapable of being a professional editor, or building thick walls that keep her safe from feeling, she is self-aware and careful.

There is no switch to turn off imagination, but we can rein it in. When Pollard is about to work with a personal trauma story, she initiates personal coping mechanisms of exercise, prayer, sleep and connection with a support person. She confines her attention to the project to certain times – never after dinner and never too many hours in the same day.

She approaches her work as a human first and an editor second – prioritising the person over the book or schedule. That person isn’t just the author, but is also herself. She is compassionate towards her own emotions and limitations.

Belinda Pollard concluded with how we take care of ourselves as editors working on personal trauma stories can not only change the experience for us and our authors, but also for the reader – it can shape the ultimate value and authenticity of the book.

I’m clinging to the wisdom of limiting imagination not just as an editor but as a human.

Stephanie Bal is studying Professional Writing and Editing at RMIT and works with a variety of businesses as a freelance copywriter and marketing consultant. She also writes and edits in her role as Communication Copywriter in the Organisational Development team at RMIT.


7th coverage: the Mackenzie

A friend, mentor and trailblazer – Janet Mackenzie

by Siena Barry, student editor

This year’s conference saw the launch of IPEd’s newest and highest award, the Janet Mackenzie Medal (JMM). The prize was announced by Kerry Davies, Chair of IPEd.

Janet Mackenzie (1947–2018) was a fierce champion of the editing profession, from co-founding Editors Victoria almost 50 years ago to working with the Style Manual Steering Group from 2015. She was part of the push for a national organisation in the early 1990s and for the development of the accreditation scheme. Her published works include The Editor’s Companion, and she was a key contributor to Australian Standards for Editing Practice. Janet was awarded (among many others) the 1972 Barbara Ramsden Award from the Fellowship of Australian Writers and the 2010 George Robertson Award from the Australian Publishers Association.

More than that, though, Janet was a beloved friend and mentor to many. In an emotional speech, Kerry remembered her ‘wit and plain speaking, her trailblazing, her knowledge, sense of humour, clarity of thought and principles, her support, her astuteness’. As a student editor myself, it was truly moving to see what a profound effect Janet had in her work and also in the world around her – perhaps the old maxim that 'a good editor’s work is always invisible' does not hold true for everything. Kerry said that, even prior to hearing the sad news of Janet’s passing last year, it had been evident that her incredible contribution should be celebrated; the question was how to develop the criteria for the award so that someone other than Janet herself could win it.

The JMM – affectionately, ‘the Mackenzie’ – will be awarded for the first time in 2020 to a professional editor whose work has included exemplary service to IPEd and to the editing profession at large, and will include an Honorary Life Membership of IPEd. Moreover, Janet’s bequest to IPEd of the copyright and royalties from her publications will be the foundation of an educational trust; a truly fitting legacy for this champion of editing. The task of filling Janet’s shoes is no small one, but certainly an exciting one and a challenge we can all look forward to meeting.

Siena Barry is a student of RMIT’s Associate Degree in Professional Writing and Editing. 


8th coverage: the Rosie

by Elizabeth Robinson-Griffith, student editor

On Thursday May 9, attendees of the 9th annual IPEd National Editors conference gathered for the social highlight of the event: the Gala Dinner.

The elegant, Art Deco style Mural Hall, designed by Sidney Myer, was the perfect backdrop for the 1920s themed event. Editors by day transformed into glamorous dames and slick gangsters for the night, bringing the Melbourne Noir scene to life.

MC and DJ, Fiona Scott-Norman, had the crowd in stitches with her lively banter at the beginning of the night, and on their feet dancing at the end.

The keynote address was given by author Tony Wilson, who gave a hilarious, and often moving, speech about his experiences being editor over the years. Tony ended with a reading of his forthcoming children’s book and a cheeky invitation for editors to approach him during the night with feedback!

The pinnacle of the night was the presenting of the 2nd biennial Rosanne Fitzgibbon Editorial Award, known as the Rosie. The award, named in honour of Rosanne Fitzgibbon, a Distinguished Editor (DE) and former editor at the University of Queensland Press (UQP), recognises excellence in the field of editing. It was judged this year by author Marion Halligan and editor Leonie Tyle.

The winner was Julia Carlomagno, editor at Scribe, for her editorial work on Briohny Doyle’s narrative non-fiction book, Adult Fantasy (Scribe).

IPEd patron, Prof Emeritus Roly Sussex OAM, presented Julia with the award to warm applause.

In her charming acceptance speech, Julia praised the Rosie, saying it is "validating to have an award that acknowledges the collaboration that can occur between authors and editors".

Elizabeth Robinson-Griffith is a writer and editor based in Melbourne with a particular interest in feminist issues and crime fiction. You can find her at elizabethrobinsongriffith.com