" As Flannery O’Connor and Alice Munro have shown, it’s one thing to teach yourself to write and another to train your editors to read you. Both these regional writers – each stubbornly invested in particularity – educated their publishers and their readers with sheer persistence, by holding their nerve. Every Australian reader is forced to accommodate the strangeness of overseas – usually American or British – fictional settings. To keep up you need to adapt to new and weird idioms and soon these become normative. This provincial form of cosmopolitanism isn’t optional. Similarly, a reader from some no-account place like Perth is expected to adjust their senses eastward with no reciprocity. At nineteen and twenty it was a nasty surprise to realize just how resistant a Sydney or Melbourne editor could be to the appearance on the page of Australian places and species with which they were unfamiliar. It may be hard to believe at this distance, but in my early days it wasn’t just the foreign publishers suggesting I append a glossary to the end of a novel. As I recall, the pesky dugite (Pseudonaja affinis) caused the most editorial grief at home and abroad, and I was tempted to follow St Patrick’s lead and ban elapid snakes entirely. But I kept coming back to Flannery O’Connor. Not only was she misunderstood in New York, she was a problem for folks at home in Georgia, too. I loved her craft and the singularity of her world. But I also admired O’Connor’s cussedness, her refusal to come to heel. She was an important influence. "

― Tim Winton , Island Home