Review of Australian Fiction publishes two stories every two weeks by Australia’s best writers.
A digital-only publisher, RAF is available in .epub and .mobi formats, so you can read it on various devices, anywhere in the world.
RAF is inspired by the tradition of innovative Australian short story publishing from the 1970s and 1980s – Tabloid Story, Australian Short Stories, State of the Art – and we are following in the footsteps of our great short story writers and publishing innovators, albeit updated for the 21st century.
We call this the Frank Moorhouse Way.
The first story in each issue of Review of Australian Fiction is by an established Australian writer (with three books of fiction or more published).
The second story in each issue is by an emerging writer (with less than three books of fiction published).
RAF commissions the established author, but asks them to choose an emerging writer they’d like to be paired with. This allows RAF to tap into the hidden and unofficial mentoring world of Australian writing. RAF pays writers 50% net of each sale, divided between both writers, in the form of royalties. So every time you buy an issue of RAF or subscribe you are directly contributing to paying Australian writers.
We used to pay the established author a larger share, but then Jennifer Mills, author and advocate of paying writers fairly, convinced us that both authors should receive an equal share.
We call this the Jennifer Mills Protocol.
One of the happy consequences of pairing established and emerging writers in each issue is that over time the emerging writer will have published more books, and so will become more established.
When this happens, we ask them back to head up their own issue of Review of Australian Fiction, and, in turn, to choose an emerging writer to be paired with – just as they were once chosen.
This is what happened with writer Nigel Featherstone, first published in RAF in 2014, as an emerging writer, and brought back as an established writer in 2016.
In this way, RAF aims to support writers in all stages of their career.
We call this the Nigel Featherstone Pact.
But writers are readers, too. And Review of Australian Fiction is first and foremost for readers of Australian fiction.
Part of the reason we started RAF in the first place was to create an excuse to read more Australian fiction, and then to support and foster the writers that we wanted to read more of. And to share that reading experience with our subscribers.
Jessica White has subscribed to RAF since the first volume and she has gone on to be published in RAF as an emerging writer.
It is through our subscribers that we often discover new writers.
We call this the Jessica White Effect.
In bringing you the best Australian short stories, we don’t want to be limited, either by restrictive word limits, or by the types of fiction we publish.
Fiction is supposed to push you into unfamiliar territory. And this needs the space to do so.
It is for this reason that Review of Australian Fiction has published stories from two thousand words to twenty thousand words. It is why we publish all styles and genres of fiction, from literary to speculative, horror to fantasy. Our only rule is that is has to be good.
This is why in our very first volume we published a science fiction story by James Bradley. And why we continue to push the limits of fiction.
We call this the James Bradley Challenge.