LUCY TRELOAR

Writer and Editor working in Meat Market


About Lucy

Lucy Treloar was born in Malaysia and educated in England, Sweden and Melbourne. A graduate of the University of Melbourne and RMIT, Lucy is a writer and editor, and has plied her trades both in Australia and in Cambodia, where she lived for a number of years. She has an abiding love for Southeast Asia, a region she retains links with through her editing work, which focuses on English language translations of a diverse range of material including folk tales and modern narrative forms.

Lucy is the winner of a number of awards, among them the 2014 Commonwealth Short Story Prize (Pacific Region), the 2013 Writing Australia Unpublished Manuscript Award, and an Asialink Writers Residency to undertake research in Cambodia. 

Her short fiction has appeared in Sleepers, Overland, Seizure and Best Australian Stories, and her non fiction in a range of print media including The Age, The Sydney Morning Herald, and Womankind.

Lucy’s debut novel, Salt Creek, published by Picador in August 2015, was mostly written in her office at the Meat Market. It has been shortlisted for The Miles Franklin Award. It has been described by Peter Pierce in the Australian as ‘brilliant’ and Booktopia’s editorial director Caroline Baum as ‘utterly compelling and almost mythic’. She is in the early stages of development of her next novel.

Lucy lives in inner Melbourne with her husband and children.

lucytreloar.com


How do you use your space?

My space is quite austere (one chair and a long desk), which always surprises people since my home tends in the opposite direction. The aim is for it to be very boring, as this is what drives me to focus on the work of writing. The only visual relief is the large pinup boards on two of the office walls, which I use to display images of the setting and subject that I’m writing about.

I work on a desktop computer each morning, using handwritten drafts and notes as the jumping-off point to the day’s work. Sometimes I print out a few chapters and mark them up by hand or even cut them up to move scenes around. (The floor is very useful at this stage.) I find the physicality of the action quite different from moving things around on screen, though this works up to a point.