By Glenine Hamlyn AE
Online presentation by Carody Culver, 4 February 2026
Structured thinking and attention to detail: these are qualities Carody Culver, managing editor of Griffith Review (GR), displayed in her presentation on this esteemed literary journal, and they no doubt serve her well in her work.
I was struck by the number of times Carody said how good it was to work with a small team of dedicated staff, consulting with them about knotty editing issues. She said her previous experience of freelance editing had been isolating, although it taught her many skills. Having been assistant editor at GR since 2019, Carody became managing editor in 2022.
The team of 4 (managing editor, deputy editor, editorial assistant and general manager, all on 4 days a week) are answerable to the head of the School of Humanities, Languages and Social Science at Griffith University; this relationship, Carody told us, is very supportive. The positions and infrastructure are funded by the university, while a grant from Creative Australia enables GR to commission contributors. Carody spends about half of her time commissioning contributors. She spends the other half conducting structural edits, reading widely, interviewing writers at writers festivals and other events, and leading the team.
Founded in 2003 as a current affairs bulletin, GR has evolved into a platform for high-quality Australian writing, both fiction and nonfiction. The journal is a launching pad for emerging writers. Melissa Lucashenko was given one of her first publishing opportunities in the second edition of the journal. In 2024, 37% of contributors were emerging writers. More than 200 books, Carody told us, began as standalone pieces in GR.
The journal appears quarterly in print form, for which two-thirds of contributions are commissioned. The remaining third consists of writing on the theme of the edition, submitted in response to a callout. Articles are 3,000 to 4,000 words long, and GR receives more submissions than they can print. Carody follows up on some of these writers, occasionally reserving their submissions for a later edition.
Who reads GR? Sixty per cent of readers are women aged between 35 and 65. Many readers are also writers, and 65% have a postgraduate degree.
Griffith Review may have moved away from current affairs, but the themes of the individual editions are topical nonetheless: “On the Money”, for example, is the theme of the most recent edition. The journal aims to respond to a particular moment in a way that will not see the content go out of date quickly. Given that the editorial team determines the themes one year ahead, this is a balancing act. The breadth of each theme helps to ensure topicality by enabling contributors to approach it from a wide range of perspectives. (The theme of the very first issue published in 2003, “Insecurity in the New World Order”, could well be relevant today.)
The editorial process begins 5 months before the edition appears. Carody carries out structural editing but passes the manuscripts on to the deputy editor for copyediting. Proofreading is done in Melbourne, where the publication is also printed. NewSouth Publishing is the distributor.
Griffith Review’s online presence (GR Online) does not follow the themes of the print publication. Contributions – gained from a callout – each comprise up to 1,500 words. A new contribution appears online every 1 or 2 weeks.
GR Online plays an important role in the second pillar of the journal’s activities after publishing: mentoring. Griffith Review nurtures interns from WEP, the Queensland University of Technology (QUT), Griffith University and the black&write! Project at the State Library of Queensland. Every year, GR holds a competition for emerging writers (defined as writers who have published no more than one book). Two writers from this competition are paired with 2 editors.
The third pillar of activities is events, designed to showcase authors and attract new subscribers. Griffith Review tries to organise at least one event per edition, partnering with independent booksellers, national writers festivals, and other cultural and literary organisations.
Carody concluded by noting challenges and highlights. Given the current financial situation at most universities, it comes as no surprise that the major challenge is funding. Since 2022, GR has reduced staff numbers by 2. The closure of Meanjin in 2025 rattled the literary scene. Another growing challenge throughout the arts is the heightened environment of risk. Publishers have to be careful what they publish.
Yet there are highlights. Subscription numbers are rising. Carody loves interviewing “great writers”. Again, she pointed to her “wonderful team”.
“Griffith Review continues as the lodestar for what we can expect in excellent Australian writing” (Melissa Lucashenko).