2018 CBCA Shortlisted Books for Older Readers: ‘Take Three Girls’, ‘The Secret Science of Magic’ & ‘Because of You’

The remaining CBCA shortlisted books for Older Readers are Take Three Girls by Cath Crowley, Simmone Howell and Fiona Wood; The Secret Science of Magic by Melissa Keil and Because of You by Pip Harry.

– some ideas on sharing them with readers –

Take Three Girls by Cath Crowley, Simmone Howell and Fiona Wood (Pan Macmillan)

Take Three Girls has been shortlisted for the Indies awards; and longlisted for the ABIAs & Inkies awards.

I reviewed it for the Weekend Australian and interviewed the authors for  the blog here.

More information on this and the other shortlisted books will be available soon on an online CBCA platform.

Ideas for the English Classroom

Four types of writing are used in the novel 1. Writing in the voice of each protagonist 2. Wellness Journal entries (italics) (Students could analyse differences in voice from both these types of writing) 3. Wellness Worksheets 4. PSST – the source of cyber bullying

Wellness Journals give further insight into the three protagonists as they describe how they’re feeling; as well as what they think about the other girls. This gives another perspective. Read a selection of these entries.

Students write three journal entries from the point of view of Iris, Clem’s twin sister, or another character.

Wellness Worksheets Complete one of these e.g. self-esteem scale, page 147; Lou Reed’s song Perfect Day page 218; letter to future self, page 428.

Read other novels by these authors.

The Secret Science of Magic by Melissa Keil (Hardie Grant Egmont)

The Secret Science of Magic was longlisted for the Indies awards. I reviewed it for the Weekend Australian.

This novel has an equally strong male and female voice.

Ideas for the Classroom or Library

Magic Joshua is a magician who is trying to grain Sophia’s attention. Sleight of hand and, particularly, timing are the magician’s most important tools.

Students could try to replicate some of Joshua’s magic tricks in reality or using technology.

  • Playing-card optical illusions, pages 30, 40
  • Igniting a paper rose, page 82
  • Showing a Doctor Who Christmas special on a vintage movie projector, page 110

These tricks culminate in an illusion at school, where Joshua makes the school disappear.

Use Plotagraph (which creates a moving image from a single still graphic image) in Adobe Photoshop or other tools to demonstrate this or another magic trick.

Drama  Sophia is forced to take Drama. The class studies All’s Well that Ends Well, page 74 – a prescient play title for this novel. Read the play.

Read other novels by Melissa Keil: Life in Outer Space and The Incredible Adventures of Cinnamon Girl

Because of You by Pip Harry (UQP)

I interviewed Pip Harry for the blog here.

Several places are mentioned to show that this novel is set in Sydney, including ‘Sydney eats’, page 106, a group that feed the homeless. Meredith also helps them by running a Street Library, pages 69,121,222.

Meredith believes: ‘Books can save anyone. If they’re the right ones.’ page 164

Ideas for the Classroom or Library

Poems for each other Nola gives a poem to Tiny and vice versa. Read Nola’s poem for Tiny, page 97, and Tiny’s poem for Nola, page 133. In pairs, students write poems to give each other.

Writing Group The writing group at the homeless shelter tries the following activities, which students could do also.

  • Writing a group story using the Dada, Surrealist technique where each person writes a line and passes it on to the next person to write the next line to see where the story goes, page 108.
  • Use a ‘real-life media story you pick out to start your own story … Write it as a sequel, action adventure, poem, dialogue’, page 110. Only allow 20 minutes max.
  • Open Mic Night: Eddie performs his poem ‘Clean’ about his father’s death, pages 171,177. Students could write and perform their work, including poems, at an open mic night or similar event. (Read The Poet X by Elizabeth Acevedo about a girl who writes heartfelt poetry and performs at a poetry slam.) 

Read other novels by Pip Harry.

2018 CBCA Shortlisted Books for Older Readers: ‘Ballad for a Mad Girl’ & ‘Mallee Boys’

The fact that all of this year’s CBCA shortlisted Older Reader novels are written by women reflects who is currently writing Australian YA. As a consequence, many of the novels have female protagonists, including Vikki Wakefield’s Ballad for a Mad Girl. However, debut novelist Charlie Archbold (who is female) has written Mallee Boys, a novel that epitomises masculinity.

-about the books and some ideas on sharing them with young readers –

 Ballad for a Mad Girl by Vikki Wakefield (Text Publishing)

Ballad for a Mad Girl has been longlisted for a Gold Inky Award—(Australian titles) and shortlisted for the Adelaide Festival Awards for Literature: Young Adult category and the NSW Premier’s Literary Awards: The Ethel Turner Prize for Young People’s Literature in 2018.

I reviewed it for the Weekend Australian.

It is Vikki Wakefield’s fourth novel, a gothic Australian thriller, a murder ballad and lament in prose. It explores the effect of grief and loss on Grace, who is trying to mask her vulnerability.  

It walks a tightrope – literally and psychologically as it balances the genres of contemporary realism with elements from the supernatural ghost tale.

Grace is the “mad girl” of the title but her madness springs perhaps from her struggle with anger and grief rather than mental illness; although the barriers may be permeable.

At times the writing is crystalline to show the shattered mirror-pricks of Grace’s rage; as well as sharp images of birds: living swallows butted against tiny bird sketches. Grace’s elusive childhood “dandelion” dreams as well as echoes from a past generation are sculpted into an aching ballad of melancholy and terror. The past and present also ultimately lay the path to a “bright and unbreakable” future with some signs of hope and grace. 

Film An early scene where extreme prankster, Grace Foley, freezes at the pipe challenge crossing over the quarry at night is a pivotal scene in Ballad of a Mad Girl. It sets the confronting, haunting tone.

In small groups, students film a re-enactment of Noah, private school poster boy, breaking Grace’s record as he crosses the pipe over the quarry and then Grace crossing after him and freezing when she is distracted by thoughts of Hannah Holt – rumoured to have been killed by William Dean and buried in the gully below. Headlights are dimmed and stones are thrown.

Film Grace’s friends and the onlookers in their private and public-school factions.

Use different camera angles, particularly to give the illusion of the pipe over a height. NB don’t use a pipe high above the ground.

Film an establishing shot; the camera can scan characters and show close-ups of their facial expressions.

Use filters to create a night-time setting and lights to emulate the headlights. Show them dimming when Grace crosses. Include sound effects.

Ballad Students could write a ballad or murder ballad (lyrics that tell the story of a murder).

Read other novels by Vikki Wakefield.

Mallee Boys by Charlie Archbold (Wakefield Press)

Not many readers seemed to be aware of this book until it was CBCA shortlisted. Feedback has since been very favourable.

It is set in the Murray Mallee area of South Australia and told by two brothers. Sandy is fifteen and a good student although dreamy. In an early scene, slapstick and terror merge when he’s almost drowned by a swollen dead cow. His older brother Red has left school and seems suited to life on the farm with his dog, Ringer. He is suffering from guilt, believing he contributed to the death of their mother.

Masculinity is explored with sensitivity and credibility, particularly relationships between father and sons. The author writes with warmth and humour and shows that rural men can be gentle and compassionate.

Mallee men/Mallee wood Mallee men are described as mallee wood. They are ‘men from any time … like stumpy mallee trees: nuggetty and resilient. A heritage of hard work’ (page 100)

Rhopalic Verse After reading about Mallee males, students write rhopalic verse to explore their characteristics of strength and endurance with mallee wood. In rhopalic verse, each word in a line has 1 more syllable than in the prior word e.g. ‘to avert dangerous situations’. The poem could be quite short, perhaps 5 lines, each with 4 words per line. (This is guide only.)

Country & City podcast Differences between life in the country and city are mentioned in the novel: e.g. in the country old and young mix. In the city ‘people stick to their age bracket’, page 119; in the country – people make inventions, page 124.

Students could use a microphone and smart phone to make a 1-episode podcast about the differences between country and city.

2018 CBCA Shortlisted Books for Younger & Older Readers by Bren MacDibble/Cally Black

Bren MacDibble/Cally Black has blasted onto the Australian literary scene for youth with How to Bee for younger readers and In the Dark Spaces for YA. She is a fresh, authoritative talent; writing outside the mould.

-about the books and some ideas on sharing them with young readers –

by Bren MacDibble (Allen & Unwin)

How to Bee won the Patricia Wrightson Prize – NSW Premier’s Literary Awards & was shortlisted for the Griffith University Children’s Book Award (Qld) and Children’s Literature Award – Adelaide Festival Awards. Read a synopsis and the NSWPLA judges’ report here.

The novel circles around the importance of bees, children and community. The title is a pun with a double meaning. Some of the characters’ names reflect the almost-idyllic country setting where the story begins: Peony, Magnolia, Applejoy, Pomegranate …

The writing is sensory where it describes white cockatoos, fruit, a ‘face puckered like a burr on a tree trunk’ and Peony’s flawed Ma as a lemon, ‘You think it’s gotta be good coz it’s so big and has perfect skin but when you cut it in half you find out its skin is so thick there’s just a tiny bit of pulp inside and that it just ain’t got enough juice to go around’.

Students could write about other characters or people in their own families, describing them as fruit in lyrical style.

Themes & Issues

  • Domestic violence, making this novel most appropriate for mature, older children.
  • Wealth, deriving not from money but from loving people and family and living in community – a concern also of In the Dark Spaces
  • Hive/bees/pollination – another concern of In the Dark Spaces

Pollination/Bees/Honey is a potent theme.

Students could view the Behind the News (ABC TV) episode about the threat to bees in Australia http://www.abc.net.au/btn/story/s4291976.htm

There are also related teacher notes about bees http://www.abc.net.au/btn/resources/teacher/episode/20140729-beeproblems.pdf

Families or schools could investigate setting up a bee hive, particularly with native stingless bees. Compare the taste of commercially and local, unrefined and unheated honey.

Cycles There are a range of cycles within the tale: ‘the farm’s full of circles. Bees, flowers, fruit … all overlapping circles.’; seasons, places (from which characters leave and return); and a death is replaced by a new baby.

Concrete Poetry: Circle Shape Poem Children could write a Circle Shape poem about one of these or another cycle, where each line has an extra word, then decreases to make a circle shape.

In the Dark Spaces by Cally Black (Hardie Grant Egmont)

In the Dark Spaces has been longlisted for the Inkies award, highly commended by the Victorian Premiers Literary Prize, won an Aurealis Award, has been shortlisted for the Ditmars and shortlisted for the Ethel Turner Prize in the NSW Premiers Awards,

It is a sci-fi thriller/ hostage drama set in future space. Tamara lives in hiding on one of the intergalactic freighters. These are named after songs e.g. Lucy in the Sky, Jolene, My Sharona and Delilah. Her freighter is attacked by Crowpeople/Garuwa and she is kidnapped after witnessing mass murder because she is able to communicate with the Crowpeople. Through Tamara, we learn to understand the Crowpeople, who only take the resources they need to nurture the hives in their ships, which in return feed the inhabitants. Unlike humans who sell excess for profit.

Cally Black’s voice here is original  – raw, strong and captivating.

Dinkus When I interviewed eminent Australia author Isobelle Carmody recently, I was excited to learn about the ‘dinkus’.

The simplest way to indicate a section break within a chapter is to leave a blank space between paragraphs, but designers often prefer to use a symbol or glyph. These are often three horizontally placed asterisks but asterisks can be replaced with other symbols.

Crowpeople in In the Dark Spaces have three ‘shiny talons’ (page 41) sticking out from their boots. This symbol is used as a dinkus in the novel e.g. on pages 183,270.

Students find the talon dinkus in In the Dark Spaces, and then look for symbols or glyphs in other novels.

https://www.grammarly.com/blog/eight-uncommon-typography-and-punctuation-marks/

http://books.google.co.uk/books?…

Lightgraff Art (or lightgraffiti) is drawing or writing with light. It combines photography and calligraphy. It can be a live performance or recorded on video or time-lapse photographic stills. It is often used to embellish settings by highlighting or enhancing elements of the scene with colour, line, shape or script (using light).

Examples can be seen by searching online for ‘lightgraff images’.

An example of lightgraff art in Australia is by Karim Jabbari. http://www.theaustralian.com.au/arts/review/art-initiative-form-nurtures-culture-and-creativity-in-wa/news-story/db06452f0d39222bd246062a9c22e0f1

In small groups, students create lightgraff art based on a scene or setting in the novel, In the Dark Spaces. These could include

‘weapon-fire snaps and sizzles the ceiling and walls’, page 44; ‘a blast cracks the air’, page 46; bolts of light’, page 295- (rockets); and other battle scenes.

The following suggestions could stimulate or scaffold students’ ideas:

  • Light sources (such as a torch, lamp, lantern or spotlight) can be used to highlight features against a dark setting.
  • Silhouettes of characters could be juxtaposed against light-embellished settings.
  • Gunfire could be represented as light in lines or flashes (if appropriate).
  • Words could be drawn with light (possibly using sparklers or a torch). These words could represent themes from the novel such as ‘space battles’, ‘hive’, ‘protection’, ‘greed’ and ‘Crowpeople’.

2018 CBCA Shortlisted Books for Younger Readers: ‘The Elephant’ & ‘The Grand, Genius Summer of Henry Hoobler’

Peter Carnavas and Lisa Shanahan have been shortlisted for The Elephant and The Grand, Genius Summer of Henry Hoobler in the 2018 CBCA Book of the Year: Younger Readers category.

 –about the books and some ideas on sharing them with young readers –

The Elephant by Peter Carnavas (UQP)

The Elephant has also been shortlisted for the Patricia Wrightson Prize – NSW Premier’s Literary Awards. Read a synopsis and the judge’s report here. It is Peter Carnavas’s first novel, after an impressive output of picture books, and he has illustrated it with black and white line drawings.

Tree & Paper Planes Like Martine Murray’s two shortlisted books, a tree is a symbol here. It is Olive’s ‘thinking spot’. Her grandfather cares for her since her mother has died and her father become incapacitated by grief. Grandad makes and flies paper planes with her. Children could make coloured paper planes, write positive messages onto them e.g. ‘You have a wonderful laugh’ and tie them to a jacaranda (or other) tree to emulate some of the events in the story (see pages 125,142).

Other Symbols in the novel are the elephant, tortoise and the dog. 

Elephant The elephant is the major symbol. Olive’s mother had made a clay elephant which is now broken.

Soap carving Children could make a soap carving of an elephant: Materials coloured and/or patterned rectangular soaps (note descriptions on page 138), scrapers & peelers can be safe for child use e.g. plastic knife, potato peeler, paper clip, teaspoon, pencil, paper. Method Trace around the soap onto paper. Draw and cut out the elephant on paper. Trace around the shape onto the soap. Cut away excess soap with plastic knife. Cut away more with paperclip. Etch details and texture with pencil. ‘MetKids’ have a useful video. https://www.youtube.com/watch?v=Y17RweezGi8

Typewriter (page 38) Grandad typed poems for Olive’s mother. Students choose or write poems and type them using a typewriter.

School Olive’s school is celebrating its 100-year anniversary, so the students are studying old things. Children could show and talk about old things that are important to them

Side by Side song. Grandad and Olive love this song. Children could also listen to it and sing along.

Read Also read the Kingdom of Silk series by Glenda Millard, Stephen Michael King picture books and Peter Carnavas’s own picture books.

The Grand, Genius Summer of Henry Hoobler by Lisa Shanahan (Allen & Unwin)

The Grand, Genius Summer of Henry Hoobler won the Griffith University Children’s Book Award (Qld). I interviewed Lisa Shanahan about the novel for the bog here. Read the QLA judges’ report here.

Drawing Worry Henry is a worrier and describes worry as a ‘big round grey tumbleweed of dust, with skinny black-and-white-striped legs poking out of and red boots’, pages 10-11. Children could draw their own visual interpretation of worry.

The Beach using Green Screen Technology

The beach is the setting of many Australian holidays and is integral to this story.

Children could create freeze frames of characters superimposed over a green screen beach setting.

Freeze Frames

Students select a character e.g. Henry, his two siblings or his new friend, Cassie. Choose three scenes where they appear in the book.

Make a freeze frame to show their action or mood in each scene. A useful resource is ‘Drama resource’ https://dramaresource.com/freeze-frames/

Green Screen Superimpose students in their freeze frame poses onto virtual backgrounds or animated digital backdrops of the beach.

Equipment: iPad (a 1-stop movie-making device), green screen (could be made of green fabric or paper), lighting, tripod (opt), Veescope, Green Screen Pro or other apps for background videos, iMovie or equivalent. A useful resource is

https://lovetoteach87.com/2016/11/13/using-green-screen-in-the-classroom/

Parents are important in the novel. Henry’s parents have different personalities. His mother is an introvert – understanding with some anxiety. His father is an extrovert – exuberant (page 47), with a big, wild love (page 141).

If completing the activity about the beach (above) at school, include the children’s parents by giving them the opportunity to upload the beach film using the ‘Seesaw’ app or equivalent.

2018 CBCA Shortlisted Books for Younger Readers by Martine Murray

Martine Murray has been shortlisted for two of her books in the 2018 CBCA Book of the Year: Younger Readers category.

– about the books and some ideas on sharing them with young readers –

Henrietta & the Perfect Night

by Martine Murray(A&U)

Henrietta is a big thinker. She’s a great go-getter, determined, adventurous, endearing and exuberant. She has a strong young voice. Yet she’s shy.

The book is well designed and is illustrated by the author.

It contains short stories – which are quite sequential but stand alone.

In the stories Henrietta’s mother is pregnant; she starts school; has a sleep over; stars in the school play; and awaits the birth of her new sibling. Henrietta pretends to be a spy; does ‘rescues’ e.g. a bee and the other new girl, Olive; and she stands up for ‘small things’.

She is patient; truthful; a good friend; and kind like Joey in Marsh & Me

A tree features here, also in Marsh & Me and in the companion novel Molly & Pim & the Millions of Stars.

Henrietta and Olive peg Olive’s brother’s pyjamas in the tree. Children could cut and decorate paper pyjamas, perhaps using a template provided by a teacher or parent, and peg these onto a tree branch standing in a pot.

Seasons are addressed as Henrietta waits for the baby and the tree shows how the seasons change.

The class play is about Noah’s Ark. Read about Noah’s ark from a children’s Bible or other book. The children could then perform a play – a number of scripts are available online if you search for plays, puppet plays or skits about Noah’s Ark. If possible, include a bat in the performance because Henrietta had a role as bat – ‘special and mysterious and different from regular animals. Which is a bit like me.’ (page 66)

Previous Henrietta stories are being republished in a 3 in 1 volume.

Marsh and Me by Martine Murray (Text Publishing)

I’ve not long finished reading Marsh and Me (Text Publishing), and couldn’t wait to write about it. It is a beautifully written, dense and imaginative work brimming with thoughtful and important ideas.

Joey believes that he is a nice, ordinary boy who wants to skip puberty. He doesn’t like the word ‘puberty’, thinking it ‘slightly pushy’ but he does like the word ‘luminous’. He’s shy and sensitive, a ‘noticer of feelings’ and has one friend, Digby, who likes science.

When Joey climbs the hill one day he finds someone occupying the treehouse. Marsh is a ‘wild girl’ and the ‘Queen of Small Things’. She has secrets and tells the story of the Plains of Khazar which may be history, fairy tale or folklore. She sings to Joey and the first note ‘rings like a golden bell’.

Even though Joey doesn’t always like Marsh, he is intrigued and concerned for her and realises that he must reveal more of himself in order to make friends and deepen relationships. The novel soars when they create music together using voice and guitar. Both characters are profoundly drawn.

Poems Joey’s mother sticks poems on the fridge. One is by Rumi.

Children could take excerpts from other Rumi poems or poems by other poets that they like or remind them of Marsh and Me and display them.

An example is from Rumi’s I Am Wind, You are Fire:

Oh, if a tree could wander
and move with foot and wings!
It would not suffer the axe blows
and not the pain of saws!

Nature Play Both Joey and Marsh love spending time in nature, particularly in the treehouse in the peppercorn tree. They listen to bird calls and other sounds and plant an acorn.

It seems that many children today don’t have the time or opportunity to play in natural environments, especially where there are trees. Parents or teachers could provide unstructured (or structured) opportunities for children (including primary aged children for whom this book is written) to improve their emotional, mental and physical health by spending time in the natural world. They could build treehouses, climb trees, watch the clouds and shadows, record natural sounds or plant a seed found in the local habitat.

http://www.abc.net.au/news/2016-04-07/sharman-free-range-kids-could-become-healthier,-happier-adults/7306740

Reading Both Marsh and Me and Martine Murray’s companion book Molly and Pim and the Millions of Stars feature a tree. Another lovely link between the two novels is the character of Pim Wilder. (I reviewed Molly and Pim here.)

After reading Marsh and Me, it could be worth reading or re-reading Glenda Millard’s ‘Kingdom of Silk’ series, another thought-provoking yet tender and sensory exploration of childhood. All these literary works bring magic into the real world.

 

 

2018 CBCA Shortlisted Books for Younger Readers & The Shop at Hoopers Bend

The shortlisted books for the CBCA Book of the Year: Younger Readers is a very strong list. Some have already won or been shortlisted for other literary awards. Shortlisting in the CBCA awards is prestigious, increases awareness of each book and dramatically impacts sales.

The long lead time between the announcement of the shortlist and the winners and honour books in August’s Book Week provides a wonderful opportunity to explore these books.

I will look at the 30 shortlisted titles in a series of blog posts.

The Younger Reader books are:

The Elephant by Peter Carnavas (UQP) Also shortlisted for the Patricia Wrightson Prize – NSW Premier’s Literary Awards

How to Bee by Bren MacDibble (A&U) Also winner of the Patricia Wrightson Prize – NSW Premier’s Literary Awards & shortlisted for the Children’s Literature Award – Adelaide Festival Awards

Henrietta and the Perfect Night by Martine Murray (A&U)

Marsh and Me by Martine Murray (Text Publishing)

The Shop at Hooper’s Bend by Emily Rodda (HarperCollins)

The Grand, Genius Summer of Henry Hoobler by Lisa Shanahan (A&U) Also winner of the Griffith University Children’s Book Award

It is interesting to note that Martine Murray has been shortlisted twice in this category. Lisa Shanahan has also been shortlisted twice. Her other book Hark, it’s Me, Ruby Lee! is shortlisted in Book of the Year: Early Childhood.

There are four novels and one book of short stories shortlisted in this category.

The first I’ll look at is

The Shop at Hoopers Bend by Emily Rodda (HarperCollins Australia)

-about the novel and some ideas on sharing it with young readers-

Jonquil’s parents died when she was a baby. She’s now eleven and in the care of Aunt Pam who farms her out to boarding school and camps. She leaves the train unexpectedly at Hoopers Bend and is befriended by Pirate, a white and black dog. Jonquil is drawn to the shop at Hoopers Bend and Bailey, the older lady who has inherited it. Jonquil spins a tale and stays on, helping Bailey rent out the shop to different businesses for a short time. The shop exudes an ‘everyday’ magic.

I interviewed Emily Rodda about The Shop at Hoopers Bend and her writing for Boomerang Books Blog last year. I described it as ‘a transcendent tale that made me cry both times I’ve read it but also lifted my heart’:
https://blog.boomerangbooks.com.au/emily-rodda-shop-hoopers-bend/2017/08

Jonquils The protagonist’s name is Jonquil (shortened to Quil) and Emily Rodda chose this name deliberately because they’re unobtrusive with a ‘delicate beauty’ to suit a ‘reserved and sensitive’ character.

Plant jonquils. To compare these with other bulbs – daffodils, snowdrops and others could be planted as well.

Match these flowers with different personality and character types.

Stardust Quil invents a game, Stardust. She believes that all things, including people, contain the dust of long-dead stars and thinks that people whose stardust composition match closely have an instant affinity with each other. Conversely, people with very different stardust are unlikely to be friends.

Palaris – are people like Quil & Bailey; Aginoth – practical and confident; Broon – cheery but boring’ Kell – prickly but interesting; Derba – calm and reliable with no sense of humour …

After reading the novel, children could look more closely at the star names and corresponding personalities. They could use these names to categorise book characters from the shortlisted novels or other books (and maybe even themselves). As a group, they could compile results into a Stardust chart.

Bookplate Bookplates are an artform. Show children different bookplates. Examine the designs including space for name and possible date. Children design their own bookplates onto a sticky label (not post-it notes but labels that resemble bookplates from good stationers) to reflect themselves and their reading taste.

Forest for the Trees & Poetic Threads SWF18

I attended two standout sessions at the Sydney Writers’ Festival this year. Forest for the Trees is run by Writing NSW (until recently NSW Writers’ Centre) and Poetic Threads by Red Room Poetry (in conjunction with the Art Gallery of NSW).

‘Forest for the Trees’ is an annual seminar run primarily for writers but valuable for others in the industry. It’s a one-day forum held at the State Library.

Julie Koh

Julie Koh gave an enlightening keynote titled ‘My Path Through the Forest’. Some of her short stories sound like my favourite books – experimental literary fiction with magic realism and speculative elements. She recommends that emerging and other writers attend festivals, courses and literary social events, use social media and subscribe to professional organisations such as Australian Society of Authors. “The longer I’m in the literary world, the more I realise it’s about connections”. She acknowledged that authors are often introverts (who generate energy from being alone) and should balance their time with others and their book publicity with time alone writing and re-energising.

Julie quoted The Sound of Music: “When the Lord closes a door, somewhere he opens a window” as a reminder to “scatter seeds everywhere” to find opportunities to promote work, only ask once and keep trying something new re publicity. Her published books are Portable Curiosities and Capital Misfits. She’s currently writing the libretto for an opera and, with Ryan O’Neill, Jane Rawson and others, is part of the exciting, audacious writing collective Kanganoulipo.

In ‘Staying on the Path’, Charlotte Wood (whose The Natural Way of Things I have written about a number of times on the blog) explained that she must “follow the energy” – have curiosity and interest in the work she’s writing itself; and, to maintain longevity in the industry, have tenacity and perseverance and behave professionally by treating everyone with respect and with humility.

In the session ‘Going Further Afield’, Kirsty Melville from US-based Andrews McMeel Publishing (who publish Rupi Kaur’s Milk and Honey and other books of poetry) told us that poetry is generated by the political environment and “people are looking to the arts to express their creative selves.” She has recently signed three emerging Australian poets, Gemma Troy, Courtney Peppernell and Beau Taplin.

Candy Royalle, Scotty Wings & Mirrah

The highlight of the festival was ‘Poetic Threads’, three poetic performances inspired by ‘The Lady and the Unicorn’ medieval tapestries. It was curated

Mirrah after performing at Poetic Threads

by Red Room Poetry and held at the Art Gallery of NSW. Electrifying, sublime performance by Mirrah, Scotty Wings as Monkey and Candy Royalle took us to a heightened, magical place. Seek out their work.

 

Kim Scott, Bram Presser & winners of 2018 NSW Premier’s Literary Awards

Tamsin Janu – dual shortlisting for ‘Blossom’ & ‘Figgy Takes the City’

It’s an exciting literary week in Sydney, beginning with the announcement of the winners of the prestigious NSW Premier’s Literary Awards at the State Library.

I was honoured to judge overall Book of the Year, as well as the Patricia Wrightson children’s book category.

Taboo by Kim Scott won both the Indigenous Writers’ Prize as well as Book of the Year. This is the third consecutive year that an Aboriginal writer has won Book of the Year, with Leah Purcell winning with her play script, The Drover’s Wife last year and Bruce Pascoe with Dark Emu in 2016.

Taboo (Picador Australia) is an exceptional work: dense, skilfully composed and darkly lyrical with some mystical elements. It traces the reunion of people affected by a horrific past massacre in a Peace Park. Teenager Tilly is the daughter of deceased patriarch Jim. Her backstory is confronting,  intimating she has been treated like a dog. Twins Gerald and Gerrard may be her allies or threats. Multiple characters are introduced effectively and some unlikeable characters are rendered with affection and understanding.

Symbols of the curlew and other birds are powerful and I particularly appreciated the representation of words from the ‘ancient language’. They are alluded to but not shared on the page. Some can even animate objects. As Wilfred says, “Words, see. It’s language brings things properly alive. Got power of their own, words.”

Another multi-awarded title is Bram Presser’s The Book of Dirt (Text Publishing). It won the UTS Glenda Adams Award for New Writing, the Christina Stead Prize for Fiction and the People’s Choice Award. It is a holocaust novel which reads like non-fiction and includes transcripts of the author’s letters and replies with black and white photos. Ideas about the Museum of the Extinct Race, The Story of The Book of Dirt and images of dirt as the clay Golem’s heart will endure.

A clay Golem figure, Riverman, is also a feature of Zana Fraillon’s Ethel Turner Prize Young Adult winning book, The Ones That Disappeared (Hachette Australia). This is a salutary warning about child trafficking and slavery in Australia and elsewhere told in sensory language, with a sometimes-magic realism style. (I reviewed it for the Weekend Australian here.)

The winner of the Kenneth Slessor Prize for Poetry is Argosy by Bella Li (Vagabond Press). This is an exciting combination of words and exquisite, thought-provoking colour collage in evolving styles.

Congratulations to these and the other winners, as well as the creators of the shortlisted titles and thanks to the State Library of NSW, the coordinator of the awards.

Here is the link to the winning books and shortlists.

http://www.sl.nsw.gov.au/about-library-awards/nsw-premiers-literary-awards 

Peter Carnavas shortlisted for ‘The Elephant’

Link to my comments on the two youth shortlists

‘Michael Wagner & Jane Godwin: talented literary partners’

Michael Wagner and Jane Godwin are a talented husband and wife literary couple.

One of the first times I was aware of Jane Godwin’s work was when she was CBCA shortlisted for The True Story of Mary Who Wanted to Stand on Her Head. This and her other books are wonderful, and I particularly love the picture books Today We Have No Plans, Starting School and Go Go and the Silver Shoes and her YA novel Falling from Grace.

I clearly remember meeting Michael Wagner in Brisbane when I was consultant for an Indie bookstore there. Penguin Books were taking him around to talk about his unique series ‘The Undys’. I loved the games that the father and son played in these books and the love, as well as pathos, in their life and relationships in the housing commission apartment where they lived.

Thanks for speaking with Boomerang Books blog, Jane and Michael.

What are your professional roles in the book world?

We’re both full-time authors and part-time publishers. I (Michael) have my own small imprint, Billy Goat Books, which allows me to dabble in publishing by releasing a book or two a year, while Jane freelances for a couple of different publishers.

What have you written together and how do you help each other with your work/writing?

MW: We’ve actually only collaborated once, on the picture book Bear Make Den, the text of which is about 50 words, so much of our effort went into reducing the number of words in the text. It’s funny, you might think that two authors would double the prose, but in that instance, we helped each other create the most economical prose possible.

But we’re also slowly working together on a series of early readers. It’s an idea that I came up with, that would probably work as a series, but which really plays more to Jane’s strengths (i.e. her understanding of very young children), so it makes sense for us to work on it together.

When we’re not working together, we help each other with feedback and encouragement. It’s hard for ‘life-partners’ to be too critical of each other’s work – we’re meant to be our number one supporters, really – but whenever we get stuck, we seek help from each other.

What other literary/illustrative partnerships do you have and what books have these produced?

MW: There are actually too many of these to list, but an author-illustrator partnership I’m particularly enjoying right now is with my friend Wayne Bryant in the creation of the So Wrong series. He and I both love Mad Magazine, and we’ve created something similarly subversive and naughty, but in book format, and aimed more squarely at primary kids. I’m really proud of what we’ve achieved, although I know many would wonder why. J

JG: Anna Walker and I have created 6 picture books together, and we’re working on our seventh.  I am also Anna’s publisher of her books that she writes and illustrates herself, so we are quite connected!  I feel very lucky to have the partnership with Anna.  We have become good friends through working and exploring ideas together, and I think we each have an understanding of how the other works, and sees the world.

I’ve also made 3 books with Andrew Joyner, and we’re working on a couple more at the moment.  I love working with Andy – he is a genius at character and gesture, and he’s also very insightful with text, and gives great advice and feedback about the narrative and story.  He’s interested in the words as well as the visual world of the story.

Alison Lester and I have collaborated in many ways as well.  I’m her publisher, we’re great friends, and we’ve made many books together in Aboriginal communities with the kids and sometimes with the adults, too.  Recently we collaborated in creating a picture book called The Silver Sea, which we made with young patients at the Royal Children’s Hospital, Melbourne.  This was a really wonderful project to be involved in, and all proceeds go to the Education Institute at the RCH.

My friend Davina Bell and I have also collaborated in various ways.  Together we created the Our Australian Girl series when we were both working at Penguin. Davina and I have also co-written two books, and both have been illustrated by Freya Blackwood.  The three of us really enjoy working together, and usually this involves a trip to stay with Freya in Orange, where Davina and I camp in her beautiful studio.

Could you give us examples of your books across age-groups and forms, from picture books to series and novels.

JG: I’ve written picture books, junior novels and also stand-alone novels for middle readers and teenage readers.  I wrote many titles in the Aussie Bites and Aussie Nibbles series, and over the past 10 or so years it has been mainly picture books.  Part of the reason for this is that I adore the picture book genre – it fascinates and inspires me – and the other part is that I had a very busy and demanding job as a publisher so never had the time to write novels.  Now that I’ve left Penguin, I’m working on longer stories as well as picture books.

Which of your books’ longevity in print are you particularly pleased about?

MW: I’m most thrilled about the Maxx Rumble series, which, so far, has been in print for 14 years. It was my first proper attempt at writing for children and remains my most enduring work. I had no idea what I was doing when I wrote it, which I think, is why it’s worked so well. J

JG: I’m pleased that the novel I wrote over 10 years ago now, Falling From Grace, remains in print and is set at Year 8 level in secondary schools.  I still receive letters about that book from readers both here and in the US, so I feel happy that it’s still being enjoyed and hopefully hasn’t dated too much!

When in Brisbane, Michael and I also talked about his being in a band and about Jane’s YA novel Falling from Grace (2006), which I loved and have kept all these years. I still have the post-it note on the cover, which I wrote recommending it to one of my twin sons, who was then 14 years-old. The key character for me, Kip, was also 14 in the book, looked older than his years, played music, had given up swimming even though he was a champion and suffered anxiety – all like my son. He seemed like such a real person.

If I recall correctly, Michael mentioned that Jane had written the character with the help of their son, Wil.

After all these years, Falling from Grace is deservedly still in print and I highly recommend it.

JG: Oh, that’s lovely, Joy – thank you.  Wil didn’t help me with the actual writing, but I was certainly observing him and his world when I was writing that book!

It’s perhaps not surprising that the son of such a creative couple is now the lead singer, lyricist and muso in famous Oz band, The Smith Street Band.

How did you nurture Wil as a writer? Which song of his are you most proud and why?

JG: Wil was always interested in music and rhythm, from a very young age.  He was also always interested in language.  He spoke at a very early age, and also loved reading and books.  I read to him a lot, until he was quite old!  A passion for music is also something that Wil and Michael share.  I’m proud of a lot of his songs, and I have my favourites.  A sentimental favourite is My Little Sinking Ship, which is a song he wrote for his sister, our daughter Lizzie, when they were both teenagers.  I also love Laika, which is a very sad but beautiful song about vulnerability, really, based around the story of the Russian dog that was sent into space.  Lizzie and Wil have actually collaborated on both those songs – Lizzie made a little animation film clip for My Little Sinking Ship when she was in secondary school, and they made a handmade book, illustrated by Lizzie, for Laika.  We printed a limited quantity and they sold it at gigs. Recently, Wil received an email from a teacher at a Melbourne primary school, who said that her grade 5 and 6 students studied the Laika song, and it really inspired them in different ways. I found this very moving.

MW: All I can add to what Jane’s said is that I’ve been semi-obsessed with music since I was in primary school and I think that sort of passion from a parent is often absorbed by his/her children. I was also in a band that almost became famous, so perhaps Wil is living out a part of my life that was never quite fulfilled. I should also say that I never consciously pushed him in that (or any other) direction, we just responded to his interests, whatever they were at the time.

Which literary award has meant the most to you?

JG: I won the QLD Premier’s Award with my first novel, and this probably meant the most because it was very affirming when I was just starting out.

What are you reading and enjoying at the moment or recently?

JG: I’m reading George Saunders’s short story collection The Tenth of December. I recently read Lincoln in the Bardo and loved it, so I’m reading everything else of his now!  (Wil is also reading the same book, btw!)  I recently read Raymie Nightingale by Kate DiCamillo.  I love her writing, and can’t wait for her next book to come out.

MW: I’m almost always reading books about psychology, philosophy or human nature. I guess I’m hoping to become wise some day.

What are you writing now or next?

MW: I’m writing a few different picture books at the moment, but also trying to master a middle-reader series idea I’ve had hanging around for about five years. It has a catchy title and some decent enough plot ideas, but I’ve never been able to find the main character’s voice. Luckily, I think I’ve just started to find it recently. I sure hope so!

JG: I’m writing lots of picture books, and also a novel.

There do seem to be many books rushed through publication at the moment, particularly novels with misprints and with plots, characters and structure that could benefit from more care. This is actually preventing books from being shortlisted for awards. Why is this rushed writing and publication process happening and is it going to improve?

JG: When I remember back in the dark ages when I was working as an editor, we had a lot more time to work on each title.  We could give each book, and each author, the time they needed.  Many publishers and editors still really try to do this now, but the world of publishing and the economics of publishing have changed so much, and books often tend to be rushed through.

What would you both like to be remembered for?

MW: As someone who did his best. And perhaps made the world slightly better – be that through my books, or talks and workshops, or even through our children.

JG: I like Michael’s comment here, so I’ll echo that, I think – as someone who did her best!

Michael Wagner’s website

Jane Godwin’s website

‘White Night’ and interview with Ellie Marney

Ellie Marney’s new YA novel, White Night (Allen & Unwin) has an authentic Australian feel. It is warm-hearted with a welcome edge of rawness. Male protagonist, Bo, is a triumph, with his blend of masculinity, compassion and love.

Where are you based, Ellie, and how do you spend your time?

Ellie Marney

I live near Castlemaine, in north-central Victoria. I usually spend my time writing or reading! But I also have four kids, and a couple of day jobs, so life can get pretty busy.

How are you involved in Australia’s YA community?

In 2015, when the ALIA lists came out and OzYA was barely a a blip on the radar, a group of lit sector professionals – authors, librarians, booksellers, bloggers, publishers – got together to form the #LoveOzYA movement, to advocate for and promote Australian YA, and I was lucky enough to be at that first meeting. I’ve never really stopped flag-waving for OzYA since then!

Oz YA is thriving but why do there seem to be few Australian novels written for males at the moment?

I actually think Australian YA caters pretty well to males! There are plenty of great YA books written by male YA authors, or featuring male protagonists. But I also believe it’s good for boys to broaden their horizons (and maybe learn something new) by reading books with female protagonists, or written by female authors – I certainly encourage my boys to pick up books by authors of all stripes, with a range of protagonists. We don’t seem to worry so much about girls reading books written by men, or focusing on boys – Harry Potter, for instance – which makes me think it’s a bit of a double standard.

Could you tell us about your other books, particularly your very popular ‘Every’ series?

The Every series is based around the question of ‘What would a contemporary teenage Sherlock Holmes be like?’ (or as the tagline says, ‘What if Sherlock Holmes was the boy next door?’) and is my most popular series to date. People liked my take on Young-Sherlock-and Girl-Watson-in-Melbourne so much I wrote a companion novel, No Limits, which I self-published last year – Harris Derwent, one of the secondary characters in the series, had his chance to shine in a darker-edged story about drug crime and high-stakes romance in regional Australia.

Now this year I’m releasing White Night, and in a few more months, Circus Hearts, a 3-book YA romantic crime series set in a circus – the first book, about a teenage trapeze artist and an apprentice strongman on the run from a terrible crime, will (if all goes to plan!) be out in September.

What is the significance of the title of your new novel White Night?

It refers to a a number of things actually – I’m glad you asked! White Night is the name of the lightshow festival that the students in the book want to stage to raise funds for their local skate park; it’s based on the worldwide festival of lights that has taken off so well in Melbourne. But ‘White Night’ also has darker connotations: in the Jonestown Peoples’ Temple cult, the name was a code for the ‘revolutionary suicide’ practise runs that Jim Jones forced all his followers to perform to prove their loyalty.

But also – and this is a little Easter egg for readers! Because my brain is funny like that – there are a lot of references to the Sleeping Beauty story in White Night. The names of the characters (Bo and Rory – in the old legends, it was Prince Beau and Princess Aurora), the idea of a handsome suitor who rescues a damsel from a tower (in this case, an ideological tower) which is surrounded by greenery… So White Night is a play on the old references to a ‘white knight in shining armour’. I liked threading little bits of the story into the book, and flipping the idea too, with a headstrong princess who sort of rescues herself…

Could you tell us about your major characters, Bo and Rory, including their relationships with their parents?

Bo is sixteen, and focused on footy, friends and family – his dad, Aaron, his pregnant mum, Liz and his younger brother, Connor. Bo’s parents are strict but fair, and he feels like he’s cruising along – except for some nagging concerns about what he’s going to do at the end of high school. Rory, on the other hand, has no plans, because her life isn’t lived in a conventional way – she lives in Garden of Eden, an off-the-grid radical environmentalist commune with a very alternative family arrangement. This is her first attempt at real high school and ‘outside’ life, and when she meets Bo, the two of them rub up against each other in curious, life-changing, spark-creating ways.

I think I’d better leave it there – if I give too much away, I’ll be sharing spoilers!

Which of Bo’s school friends would you like to write about further?

Hm, that’s a hard question! Bo’s best mate, Sprog Hamilton, starts out as a total bogan footy bloke and then evolves to have so many layers – Sprog has a wonderful story arc, and I do love Sprog as a character. But Bo’s other friend, Lozzie D’Onofrio, is equally lovely – and maybe has a lot more backstory to explore… I’d happily write about either one of them!

You’ve mentioned the Great Pacific Garbage Patch in White Night. What environmental messages do you want to share?

When I was researching White Night I read an incredible book: The World Without Us by Alan Weismann – it poses the thought experiment of how would nature recover and go on if all the humans in the world just disappeared overnight? That book was mind-blowing and fascinating, and threw out lots of amazing and terrifying facts about the impact of human beings on the planet. I’d love more young people to think hard about the environment and contribute ideas for solutions to some of the problems – it’s their planet too, and I think young people have much to give on this issue, considering they’re so invested in it. We just need to start listening, and acting on their ideas, before things get too urgent.

How have you incorporated the book The Ruins of Gorlan into White Night?

Oh, that book is so great! Every single one of my sons has read The Ruins of Gorlan by John Flanagan, which is the first book in the Ranger’s Apprentice series. That series… It’s so good! And it seems to really appeal to my kids, especially the idea of being a boy (like Will) with an older male mentor (like Halt) and learning all the survival and craft skills necessary for living on the land. I just thought it was a natural fit for Bo and Connor’s story, with echoes of what it’s like being a young boy growing up and searching for male role models.

What have you been reading recently?

I’ve actually been so immersed in writing I haven’t had much reading time – but when I’ve had a break, I’ve been reading Obsidio by Amie Kaufman and Jay Kristoff (O.M.G. that whole series is so incredible!), LIFEL1K3 by Jay Kristoff (I have an ARC! Yes, it’s just that good, I had to steal it from the Allen & Unwin offices!) and also a few books I’m reading for #LoveOzYAbookclub – Gap Year in Ghost Town by Michael Pryor, and Valentine by Jodi McAlister.

And of course, I often grab a romance read when I’m tired or flat – I love Penny Reid, Sarah Mayberry, Kylie Scott and Sarina Bowen. Those ladies bring all the feels!

Thanks very much, Ellie, and all the best with White Night. It will no doubt find a wide and appreciative readership.

Thanks Joy! I hope people enjoy it, and thank you so much for having me to visit!

Ellie Marney’s website 

See Cait’s great review of White Night on the blog.

Indigo Blue by Jessica Watson

Jessica Watson is well known for sailing non-stop and unassisted around the world as a 16-year-old – the youngest person to achieve this feat. She also captained the youngest crew ever in the Sydney to Hobart yacht race, has been awarded an OAM and was named Young Australian of the Year in 2011.

Her memoir True Spirit (2010) gives further insight into her indomitable character and her latest literary work is a novel, Indigo Blue (Lothian, Hachette Australia). 

Where are you based, Jessica, and how do you spend your time?

These days I’m based in Melbourne, although I consider the entire east coast of Australia to be home. I’ve just finished studying an MBA and love to go sailing on the weekends.

How does writing resemble sailing?

The main way writing resembles sailing is the importance of persistence!

What is the significance of the title of your novel Indigo Blue?

Indigo Blue is the name of the little run-down yacht that the main character Alex buys, and sets about fixing up.

Could you briefly tell us about your major characters, Alex and Sam?

The main character Alex is independent and practical so she’s pretty surprised when she stumbles into an unlikely mystery.

Sam is an apprentice to the local sailmaker, he’s reserved and there’s something a little bit odd about him.

When Alex first starts at her new school in Year Twelve, her experiences are not what she hopes for. Have you had similar experiences and, if so, how did you cope?

Alex’s experiences not feeling very welcome at a new school are partly drawn from my own experience but as I spent so much of my high school years off sailing I did have to lean quite heavily on the experiences of friends and family.

John, who sold Alex her boat, is patronising at first. Has this been part of your own experience?

The character John is based on a lot of experiences I’ve had, as well as my older sister who works on boats. We’ve both come across my older guys like John who just don’t understand how much girls are capable of. But like John and as frustrating as they are, many of these guys aren’t completely terrible just a little narrow minded.

What age-group have you written your novel for?

Indigo Blue is for anyone aged 9 upwards.

Could you describe any significant response from young people when you’ve presented either of your books to them?

The responses that I’ve most enjoyed are those who say that they’ve been inspired to give sailing a go. It’s also been lovely to receive requests for a sequel.

Of all the places you’ve sailed, where would you be least surprised to find a merperson?

It’s so easy to imagine mythical sea creatures when out to sea surrounded in every direction by empty horizons, but whenever I’ve visited Lake Cootharaba I’ve always wondered what might be lurking beneath the mysterious dark tea-tree coloured waters.

As part of solving a mystery, Alex reads Captain Emanuel William Vance’s historical log and comments about him, You should have been a writer rather than a ship’s captain. What do you admire in writing?

I admire beautiful descriptions, but it’s most important to me that writing sparks curiosity and inspires a spirit of adventure.

What have you been reading recently?

Now that I’ve finished study and don’t have a never-ending list of textbooks to read I’m really enjoying having more time for novels again. I like picking up books of all kinds, but at the moment I’m particularly loving stories with a little history that give me a taste for another time and place.

Jessica Watson
(photo Kate Dyer)

Thanks very much, Jessica, and all the best with your future literary and other careers.

No problem, thanks Joy!

Jessica Watson’s website

Understory: A Life with Trees by Inga Simpson

I was fortunate to facilitate a session with Inga Simpson and Tony Birch at the Sydney Writers’ Festival in 2016. I had been following their literary careers by reading their writing as published and have continued to be absorbed by their exemplary work.

Inga Simpson sees the world through trees and hopes to learn the ‘language of trees’. Understory: A Life with Trees (Hachette Australia) is nature writing in the form of a sensory memoir. It traces her life in ten acres of forest in the Sunshine Coast hinterland alone and with N and her two children.

The book is beautifully and aptly structured as parts of the forest. ‘Canopy’ includes chapters on the Cedar, Grey Gum, Rose Gum and Ironbark; ‘Middlestorey’ features Trunk, Limb, She-oak and Wattle; and ‘Understorey’ focuses on Sticks and leaves, Seedlings and Bunya, amongst other natural elements.

Inga Simpson lived in the forest for ten years. As ‘tree women’ and ‘word women’, she and N wanted a ‘writing life’. They referred to themselves as ‘entwives’, a term from Tolkien, and named the writing retreat they established, ‘Olvar Wood’, from Tolkien’s The Simarillion. The retreat was an oasis for writers but, along with financial and other problems, its demise is foreshadowed throughout the memoir. We celebrate and agonise with the author through the refurbishment of her lovely cottage despite ongoing leaks and mould; the acceptance of her debut novel Mr Wigg, the completion of Nest and the winning of the prestigious Eric Rolls prize.

Readers are welcomed into the forest through the author’s words: ‘these small acts of tending … [tell her] story of this place’. Also memorable are the author‘s acts of tending the forest: clearing weeds, cutting timber and replanting. She recognises and absorbs ‘Indigenous concepts of country [which] include a responsibility to care for the land’.

Once her eye becomes attuned, she discovers flame tree seedlings and young cedars that were already in plain view. She learns to take time to look for the ‘details and patterns and signs just waiting for my eye to become sufficiently attuned’. As part of this process the author develops ‘nature sight’, where living creatures such as sea turtles and sea eagles, reveal themselves to her.

Inga Simpson concedes that she may not have achieved her desire to become ‘fluent’ in ‘the language of the forest’ but she has become ‘literate’ and literate enough to share her knowledge and understanding through lyrical, unforgettable words.

Inga Simpson’s website

My review of Tony Birch’s Common People (currently shortlisted for the 2018 NSW Premier’s Literary Awards) is here.

2018 NSW Premier’s Literary Awards – youth shortlists

The 2018 NSW Premier’s Literary Awards shortlists have just been announced. I’m enamoured of literary works across ages but am here featuring the books in the two youth shortlists because I’ve already read them all. And I’ve read them, not just because I chaired the judging panel of the Patricia Wrightson Prize for Children’s Literature with insightful co-judges Robin Morrow and Tohby Riddle, but because these are books worth reading.

Patricia Wrightson Prize for Children’s Literature (follow the link to read the judges’ reports)

The Patchwork Bike by Maxine Beneba Clarke and illustrated by Van T Rudd (Hachette Australia)

The Patchwork Bike is a stunning, ground-breaking picture book; an exuberant fusion of words, colour and texture. It has already won a CBCA Honour book award and I’ve mentioned it several times on the Boomerang Books blog.

 

The Elephant by Peter Carnavas (University of Queensland Press)

The profound theme of a child grieving for a parent is told in finely crafted words and images, with simpatico black and white line drawings.

 

Blossom by Tamsin Janu (Omnibus Books for Scholastic Australia)

Tamsin Janu has been shortlisted twice in the Patricia Wrightson category this year. Blossom is an exciting, original novel set seemingly in the real world but with subtle sci-fi content. It brilliantly alludes to the plight of aliens and refugees.

 

Figgy Takes the City by Tamsin Janu (Omnibus Books for Scholastic Australia)

Even though very young, Tamsin Janu is an old hand at the NSW PLA. Since her first novel Figgy in the World co-won the Patricia Wrightson award a few years ago, her two subsequent Figgy books (all set in Ghana) have also been shortlisted.

Tamsin Janu will be speaking in Strathfield, Sydney, on Saturday 7th April at an IBBY event.

The Sorry Tale of Fox and Bear by Margrete Lamond and illustrated by Heather Vallance (Dirt Lane Press)

 Elegant yet mischievous, this illustrated book is the first publication by Dirt Lane Press. The Sorry Tale of Fox and Bear should become a universal classic.

 

How to Bee by Bren MacDibble (Allen & Unwin)

A timely and thoughtful dystopia set in the near future when bees have become extinct. It is engaging for children as well as being a fine piece of writing. The issue of domestic violence makes it most suitable for older children.

Bren MacDibble is also shortlisted as Cally Black in the Ethel Turner Prize.

 

Ethel Turner Prize for Young People’s Literature  (follow the link to read the judges’ reports)

In the Dark Spaces by Cally Black (Hardie Grant Egmont)

It is fantastic to see sci-fi appear in literature awards that aren’t specifically for spec fiction. In the Dark Places will open your mind and possibly change your views.

Cally Black is shortlisted as Bren MacDibble in the Patricia Wrightson awards also.

 

The Blue Cat by Ursula Dubosarsky (Allen & Unwin)

Ursula Dubosarsky’s creation of atmosphere is always masterful and her portrayal of children warm yet enigmatic. I reviewed The Blue Cat for The Weekend Australian here.

 

The Ones that Disappeared by Zana Fraillon (Hachette Australia)

A consummate thread of magic realism, including a golem creation, runs through this novel to diffuse the horror of the important and harrowing issue of child trafficking. I reviewed it for The Weekend Australian here.

 

A Shadow’s Breath by Nicole Hayes (Penguin Random House Australia)

Lovely writing style by Nicole Hayes unveils a story set in the past and present. I interviewed Nicole for Boomerang Books blog here.

 

Build-Up Season by Megan Jacobson (Penguin Random House Australia)

Megan Jacobson was shortlisted for the 2017 CBCA awards for her impressive debut Yellow. Now she tackles youth domestic violence as the NT ‘build-up’ season ignites.

 

Ballad for a Mad Girl by Vikki Wakefield (Text Publishing)

As always by Vikki Wakefield, this is writing that digs under your skin. The first scene is utterly unforgettable.  I reviewed it for The Weekend Australian here.

 

The winner of each category will be announced on Monday 30th April at the State Library of NSW. I believe tickets may still be available.

YA Psychological Thriller: ‘Neverland’ by Margot McGovern

I hope it is the beginning of a trend but there are a couple of excellent Australian YA psychological thrillers around. It reminds me of former glory days when Victor Kelleher’s inimitable Del Del was published.

Margot McGovern’s Neverland (Penguin Random House Australia) is an invigorating, assured debut which blends fascinating, yet threatening, fantasy tropes; and elements from Peter Pan, into the risk-taking activities of Kit and some of her fellow ‘Lost Ones’.

Thank you for speaking with Boomerang Books Blog, Margot.

My absolute pleasure. Thank you for having me.

Where are you based and what is your background?

I’m from Adelaide and recently moved back after living in Melbourne and Perth for a number of years. I always wanted to be a writer and was accepted into the BCA writing program at Flinders University after finishing school, then continued on to do a creative writing PhD. I moved to Melbourne while finishing my thesis and worked for a (now defunct) cycling magazine. After graduating, I went part-time at the magazine to try my hand at freelancing and start work on Neverland. When my husband’s job then took us to Perth, I switched to writing full-time and also joined the book blogging community (although my blog’s been a tad neglected since my daughter was born last year).

What is the significance of the title Neverland?

My protagonist, Kit, is seeking a way back to the magical childhood of her memory; however, the harder she tries to relive that time, the more distorted and nightmarish her memories become. So with the title, I wanted to evoke the sense of a dream-like place that may or may not be real and remains just beyond reach. The story pays homage to J. M. Barrie’s Peter and Wendy and I was very taken with the way Barrie describes his Never Neverland as a place we forever yearn for but can never return to: ‘On these magic shores children at play are forever beaching their coracles. We too have been there; we can still hear the sound of the surf, though we shall land no more.’

How does the cover hint at the treasures inside?

I’m still pinching myself over the cover! It was designed by Chista Moffitt and the beautiful illustrations are by Eveline Tarunadjaja. Kit’s romanticised childhood memories are based on the stories and myths her dad invented about the island where she grew up and the illustrations represent key symbols in those stories.

Why have you set the story on an island?

There were a few reasons. I wanted to reference to Barrie’s Never Neverland and to give my characters a place where they could take a time out from the wider world. But I also wanted to isolate Kit within a specific geography imprinted with layers of memory and story. And then, because the narrative is about a girl renegotiating her relationship with her past, I wanted a landscape where I could mix in some of my own nostalgia, and being a beach kid, an island seemed a fitting choice.

Could you tell us about Kit, Doc and some of your other characters?

I have a soft spot for so-called ‘unlikeable’ and unreliable narrators, and Kit reflects that; she’s prickly and self-destructive. But she’s also deeply vulnerable—a character in crisis who is trying to figure things out but making mistakes along the way.

Her uncle and guardian, Doc, is almost the opposite. However, he was forced to grow up too quickly and is consequently quite reserved. He and Kit were once very close but there’s been a lot of miscommunication between them and they’re struggling to salvage their relationship.

Doc’s looked after Kit since her parents were drowned in a sailing accident when Kit was ten. He’s also a psychiatrist and has turned their small family island into a boarding school for troubled teens. Among the students at the school are Kit’s two best friends, Alistair and Gypsy, and a new boy named Rohan who shares Kit’s desire for make-believe.

Your main characters are about to leave school. Is this the age group of your intended readers?

The story is very dark in places and and deals with suicide, self-harm, and mental illness, so I was aiming for the upper end of YA.

Neverland has some important underpinning themes and issues. Could you share any of these.

The original idea for the story grew out of a sense of misplaced nostalgia. I was feeling apprehensive about the future and decided to comfort myself by rereading Peter and Wendy, which I’d loved as a kid. However, the book was much darker and more violent than I remembered and I started thinking about how, in times of uncertainty and upheaval, we often yearn for a romanticised version of the past and how this kind of nostalgia can prevent us from finding a way forwards.

I was also interested in the idea of who gets to tell a story, and what is reframed or omitted in the telling—and particularly in the fact that historically, women’s voices have often been silenced or ignored and their roles diminished. So I wanted to write a story where a young woman is forced to question the mythology of her world and her place within it.

How have you paid homage to other authors and literature in your plot, setting or characters? 

In the months before I started working on Neverland and while I was writing, I reread a lot of old favourites—Peter and Wendy, Treasure Island, The Odyssey, The Great Gatsby—and the story, in part, grew out that process of rereading, so it felt important to give those texts a place in the manuscript. They helped inform the story’s key themes, but also gave Kit a library to draw on as she struggles to find her voice and a way to tell her story. Then because nostalgia, and particularly a nostalgia for stories, is such an important part of the narrative, I looked for opportunities to work in little references to other favourites as well.

What have you enjoyed reading recently?

Well, now you’ve opened a can of worms! I’ve been reading some incredible home-grown YA: Tin Heart by Shivaun Plozza, The Centre of My Everything by Allayne Webster, Untidy Towns by Kate O’Donnell and Take Three Girls by Cath Crowley, Simmone Howell and Fiona Wood. Also, The Hazel Wood by Melissa Albert from the US. And for something completely different, I’ve gone back to Daphne du Maurier (an old favourite) to read The House on the Strand and absolutely loved The Radium Girls by Kate Moore, even though I cried most of the way through. 

I can’t wait to get lost in your next work. What are you writing at the moment? Would you write Kit’s dad’s Kingdom by the Sea as a companion piece – perhaps with illustrations?

That’s an interesting idea (especially the illustrations part), but Kit’s world feels closed to me for the time being. That said, I loved working on the thread of magic realism in Neverland, so I’m taking that a giant leap further and currently working on a YA urban fantasy with mythological roots.

Thanks Margot, and all the best with Neverland. Your next books sounds just as fascinating.

Different Ways of Learning: ‘Found in Melbourne’ & ‘Oi Cat!’

In ground-breaking publishing, two versions of a children’s picture book will be published simultaneously in English and Chinese by a mainstream Australian publisher. Found in Melbourne is written by Joanne O’Callaghan, illustrated by Kori Song, and the Chinese edition translated by Kevin Yang. It is published by Allen & Unwin.

The two hardcover books have identical illustrations, but one has a text in English and the other in ‘Simplified Chinese’.  It is set in Melbourne and further afield with locations such as Luna Park, the State Library of Victoria, the Great Ocean Road and Puffing Billy Railway. These places and further information about them is also given at the end of the books.

Beginning or ESL readers are assisted by the simple rhyming text. For example, ‘4 Four bicycles on the path by the bay. A trip to Tasmania sailing away… 10 Ten clocks at the station where we meet for the train. Bring an umbrella, it could start to rain!’

As well as exploring Melbourne, these are counting books. Young readers have the opportunity to learn or practise numerals from 1 to 12, then the big numbers 100, 1000 and 1,000,000.

There are many interesting details such as one of Sidney Nolan’s iconic Ned Kelly paintings which makes an incognito appearance in the scene set at the National Gallery of Victoria. The girl and boy protagonists have red and black hair respectively.

Part of the rationale behind the books is that Victoria recently had almost 600,000 Chinese people visit annually, the Chinese population of Melbourne is increasing and over 75,000 schoolchildren are learning Mandarin in Victoria.

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I was excited to see a new picture book by Essex-based Kes Grey, funny man creator of laugh-out-loud Billy’s Bucket and many other books. Oi Cat! (Hachette) is another picture book where Grey collaborates with illustrator Jim Field. It follows Oi Frog! and Oi Dog! 

 Like Found in Melbourne, Oi Cat! uses a rhyming text that is perfect for young readers. The rhyme, humour and anticipation will keep children reading and their vocabulary and spelling will be extended along the way, particularly by some of the animals’ names such as ‘alpaca’ (which rhymes with ‘cream cracker’), ‘armadillo’ (which rhymes with ‘pillow’), ‘dingoes’ (which rhymes with ‘flamingos’) and ‘gnats’, which cats sit on here instead of on ‘mats’. The narrative follows the dilemma of what cats could alternatively sit on and this creates playful reinforcement of the ‘-at’ *rime. There is also sly discussion about what hogs and mogs sit on: generating many ‘-og’ words such as ‘clog … cog … jog’ and a surprise and somewhat painful-looking ending. 

*rime Separate phonemes in a syllable can normally be broken into two parts. The rime is a vowel and any subsequent consonants (for example, in the word ‘cat’ the rime is /at/). Word families can be constructed using common rimes such as /at/ in ‘cat’, ‘pat’. (from the Australian Curriculum)

Missing by Sue Whiting

Sue Whiting is a stalwart of Australian literature for young people. She writes across categories, including picture books, non-fiction and novels for children and young adults and has had a successful career in publishing for Walker Books Australia. Her most recent work is Missing, a novel for middle grade.

Thanks for speaking with Boomerang Books, Sue.

Where are you based and what is your background? 

I am based in a small coastal village about an hour south of Sydney. I started my working life as a primary school teacher, specialising in literacy education and Reading Recovery. In 2005, I left teaching to pursue a career in publishing and was Publishing Manager and Senior Commissioning Editor at Walker Books for ten years.

What led to your career in children’s books and what are some highlights? 

I developed a passion for children’s books as a young teacher and this eventually led me to want to write my own books. It took me about ten years before I was brave enough to give this writing caper a crack though. Editing, well, I fell into editing by extreme accident – through submitting a manuscript to a small start-up publisher and ending up with the job as editor of their children’s list – but once I started working in this field, I found that I loved this side of the process equally as much as writing. And I learnt a heck of a lot about writing along the way too!

Highlights! Wow, that’s really tricky, because there have been so many. Holding your book baby for the first time is always very special, but the unexpected letter or email or message from someone who has been touched by your work in some way is without doubt the best feeling ever. Just last week, I received a video message from a three-year-old boy telling me how much he loved one of my early novelty books. That was pretty awesome.

In terms of my publishing career, I think nurturing the early careers of wonderful writers such Meg McKinlay, Sandy Fussell and Anna Branford, to name but a few, stands out as a highlight and what I am most proud of.

Could you tell us about some of the books you’ve written? 

I write across many age groups and genres, from picture books through to YA. My bestseller is The Firefighters, illustrated by Donna Rawlins. It celebrates its tenth year in print this year, which is wonderful, as books don’t tend to stay in print for very long these days. My award winner is A Swim in the Sea, illustrated by Meredith Thomas and my last published book was the nonfiction picture book, Platypus, illustrated by Mark Jackson. It was such a joy to write because I was able to write lyrically about this unique Australian animal. The Firefighters, Platypus and my YA novel, Portraits of Celina have all been published in the US and Platypus has just recently been published in Korea. Missing is my first middle grade novel since Get a Grip, Cooper Jones, which was published eight years ago

What genre is your new book Missing and what is the significance of its title?

Missing is a contemporary mystery/suspense novel for readers 10+. The story revolves around the disappearance of the mother of my central character, Mackenzie. So the title refers directly to the fact that Mackenzie’s mother is missing. But the word “missing” has many connotations. I love that it also relates to Mackenzie missing her mother, her missing out on so many things because her mother is missing and also her quest to find the missing pieces in the puzzle of her disappearance.

Could you tell us about your protagonist Mackenzie and some other characters?

Mackenzie is a pretty typical twelve-year-old girl. She lives in southern Sydney and is caught up in the excitement of the last weeks of primary school when her mother goes missing. She loves art, particularly working in black and white.

Maggie da Luca is Mackenzie’s mother. She is a bat biologist and academic who works for a scientific magazine. She often travels to remote corners of the globe to study and photograph bats for the magazine.

Joe is Mackenzie’s father. He is an insurance salesman. He falls to pieces when Maggie goes missing. He is a man with many secrets.

Lois Simpson is Mackenzie’s gran. She is a scientist and academic and is the person who Mackenzie leans on as she tries to deal with this tragic situation. She too has secrets.

At high school, Mackenzie befriends Billie. Billie is lively and impetuous and a great foil to Mackenzie’s grief. In Panama, Mackenzie meets Carlo. Carlo is fourteen and helps his uncle at the hotel Mackenzie and her father is staying at. His indifference infuriates Mackenzie, but she eventually discovers that he is someone she can trust.

Why have you given Mackenzie a gift for art?

I wanted Mackenzie to have a passion that was in opposition to her mother and grandmother’s love of science. Art was the obvious place and very early on I saw Mackenzie, in my mind’s eye, sketching bats. A trip to the NSW Art Gallery where I happened upon a sculpture of fruit bats hanging from a washing line was the moment that sealed the deal.

Much of the story is set in the jungles of Panama. It’s hard to believe you’ve never been there. How did you create such an exciting and authentic-seeming setting? What was your most surprising discovery about Panama?

I have to admit to feeling a tad guilty that I didn’t jump on a plane and spend weeks in the country to ensure I got it right, but truthfully, I just didn’t have the funds to do that. So I resolved to do everything I could to bring Boquete and Panama to life on the page through diligent research from afar. I researched Panama for about a year – mostly through the Internet. Boquete is a tourist town, which also has a large expat community, mostly American retirees. This worked in my favour as there were many blogs and vlogs I could access depicting everyday life in the town.

I also had two really lucky breaks. One was making contact with Dianne Heidke (sister of Australian author Lisa Heidke) who has lived in Boquete for a decade or more. Dianne was able to answer those questions I couldn’t find answers to on the Internet, and was able to give me access to that all-important local knowledge. She also read the final manuscript and acted as my sensitivity reader.

My second lucky break was the discovery that the local council streamed 24-hour feed of Boquete’s main square live on the Internet. I was able to watch the comings and goings across the square day and night. It felt slightly creepy and very stalkerish, but it really helped me to understand the rhythms of the town.

My most surprising discovery was the lack of resources of the police force in Boquete – to the point that sometimes they don’t have enough petrol to run their police car!

Why have you structured the story as ‘then’ and ‘now’?

Initially, I chose to structure the story this way so that I could move the story on from those early days when the family had just learned of the disappearance and when their grief would be too raw and impossible to bear. But as the story idea progressed, I quickly realised that the ‘then’ and ‘now’ structure was allowing me to create suspense and tension in an intriguing way. It was challenging to maintain, but I loved slotting in key information at just the right places.

How have you used bats as a symbol?

I used bats more as a link between Mackenzie and her mother than as a symbol. It was Mackenzie’s way to stay connected with her mother and her mother’s passion. However, bats do symbolise our ability to see our way through even the darkest times. Mackenzie and her family have to navigate through some very dark days through much of the story, but by the end, I hope to show them stepping out into the light. This was a happy accident that gave extra meaning to the final pages in particular.

During the novel you tantalise characters and readers with mention of gelatos. What’s your favourite flavour?

The gelatos were a nod to my time at Walker Books. There was an excellent gelato bar at the bottom of the building and we often had Gelato Fridays. My favourite was definitely salted caramel Greek yoghurt.

You are known for promoting your books in interesting and skilled interactions with children. How will you be promoting Missing?

Thank you for that! I love sharing my books and stories with groups of kids – it’s my favourite part of my job.

I am about to embark on a schools tour of Brisbane and Sydney, so have been busy preparing my presentations. My reasons for writing the story and my research and how I have used it will be the centre of my talks, as well as some scene-setting with a bit drumming, a lot of drama, and concluding with a “breaking news” report. I will also be doing writing workshops in Sydney and Melbourne – exploring how to create suspense in stories.

What have you enjoyed reading recently? 

I have just reread (for the fifth time) A Monster Calls by Patrick Ness. It is one of my favourite books of all time – so beautifully crafted and emotive. I also recently enjoyed The Golden Age by Joan London and All the Light We Cannot See by Anthony Doerr.

What’s next workwise for you?

I am working on a new middle grade novel with the working title of Chance. It too has a core mystery and is about truth and lies and the grey area between the two.

I also have a new picture book Beware the Deep Dark Forest illustrated by Annie White, which is due for release in October.

Thanks for your generous and enlightening answers Sue, and all the best with Missing. It is a gripping and original work with great appeal for young readers.

Small Spaces by Sarah Epstein

Small Spaces is such a riveting, scary story, I was worried that I would still be reading when night fell. I was still reading … but had to keep going even though I knew I would be terrified. Congratulations on your stunning thriller, Sarah, and thanks for speaking with Boomerang Books blog.

Thanks so much! It’s a pleasure to be here.

Where are you based and how are you involved in the YA literary community? 

I live in Melbourne, which has a thriving bookish community. There are always so many fantastic events, book launches and meet-ups happening, and I try to get along to as many as I can because I always come away feeling more connected and inspired. I’ve also been involved with the online YA community for the last decade, which is how I’ve met some wonderful critique partners and writing buddies, as well as participating in online conferences and pitching contests. Facebook groups and Twitter have been a fantastic way for me to connect with other kidlit writers and readers, not just in Australia but internationally.

What is the significance of the title, Small Spaces

For Tash, the protagonist of the story, it’s a very real phobia stemming from incidents that happened to her as a child. But from the opening lines of the novel it’s clear that it also refers to Tash’s psychological state and whether she can trust her own mind – the small space inside her head. In broader terms, it’s a reflection of how we all can sometimes feel isolated, lonely and vulnerable in our own small spaces, and forging connections and trusting others can often be challenging and scary.

You’ve used a distinctly Australian setting. Where is it set and why?

The story is set in two fictional locations – the small coastal town of Port Bellamy, and the rural area of Greenwillow and Willow Creek – which are about an hour’s drive apart on the NSW mid north coast. When I’m brainstorming a novel, I picture scenes very cinematically and start writing before I know exactly where the story is going to be set. Then I have to stop and start researching areas that tick all the boxes of my fictional setting and can feasibly accommodate all the major plot points and any secondary locations that are referenced in the story. I was born in NSW and wanted to set a story there, and having visited the mid north coast a number of times, it really helped me narrow things down, and became the perfect setting for the story.

Could you introduce your major characters to us …

Tash is seventeen and in her final year of school, craving independence and planning her future at an interstate university. But earning her parents’ trust is difficult because of childhood behavioural issues that seem to be cropping up again. Sadie is Tash’s best friend, the one who knows her best and her fiercest ally, trying to help Tash navigate through her phobias and unsettling memories. Two of those unsettling memories return in the form of Morgan and Mallory Fisher, a brother and sister who shared a disturbing day at the carnival with Tash nine years ago during a summer holiday at her Aunt Ally’s house. And then there’s Sparrow, Tash’s imaginary friend from childhood who looms heavily throughout all aspects of the plot, past and present.

Why have you given Tash an interest in photography and Morgan a gift in the visual arts?

This stems from my own creative background and the design degree I completed at university which included both visual arts and photography. I knew I wanted Tash and Morgan to collaborate on a project that played into the themes of the novel, and art was such a huge part of my life when I was a teen. It came very naturally to give Tash, Morgan and other characters in the story a creative outlet to express themselves.

Could you tell us about the ‘Now’ and ‘Then’ structure?

As soon as I started writing, I knew a large number of flashbacks would be required to properly explain what happened in Tash’s past. But I didn’t want to tell all of these in the passive past-tense voice of Tash recollecting them, because I felt this would dilute the tension and affect the pacing. Instead, I wrote these chapters in present tense using Tash’s childhood voice so the reader can see how things played out in real-time through her eyes. I also introduced therapy session transcripts and newspaper articles written in a clinical tone, so readers can form their own theories about what happened based on other evidence that isn’t skewed by Tash’s point of view.

As you wrote, how were you able to lay out the plot without giving too much away?

It wasn’t easy! I really had to think about the order I wanted snippets of information revealed because of how the past and present chapters feed into one another. There was a lot of shifting scenes and chapters around, and I had a large colour-coded plot outline which I’d lay out across my desk to give me a clear overview of what was happening and where. I had to pare back scenes and dialogue in revisions so as not to be too obvious, but at the same time reveal enough so that readers wouldn’t become frustrated about the storyline being too vague. It’s a real balancing act, and some days I cursed myself for choosing such a complicated narrative structure.

Without causing you to give away spoilers, which part of the plot, characterisation or symbolism was difficult to resolve?

I found the climax the most challenging part to write – I wanted it to do so many things while at the same time be fast-paced and absolutely gripping. I think endings are always tricky – they need to feel completely satisfying for the reader while tying up all the loose threads and illuminating the story’s themes. I never start writing a story until I know how the ending is going to play out. Then my challenge is figuring out how I’m going to get my characters there.

Carnivals and funfairs are some of my favourite locations in literature. They’re supposed to be fun but often are the opposite. What is so creepy about these places and what gives them (particularly derelict ones) such potential for horror?

I think for me the crowds and bustle of a busy carnival always poses the threat of a lost child, or the potential for someone to be swallowed up by it all before their companions even notice they’re missing. There are so many nooks and crannies to lurk and hide in! The noisy rides and all the squealing is so distracting and jarring, and there’s always exaggerated character art leering at you everywhere you turn. Carnivals are a bit too much of everything all at once, which makes us feel a bit queasy and disorientated. Derelict places add a whole other layer of creepiness because they conjure up ideas about ghosts and dead things. Plus, they’re deserted, so if anything bad happens, nobody’s coming to help!

What sort of movies do you watch?

I don’t read a huge amount of science fiction, but I absolutely love watching sci-fi movies! I also love anything with zombies, ghosts or aliens. I’m a big fan of bingeing a good Netflix series, and mostly enjoy intriguing supernatural shows like Stranger Things and The OA. I also love Nordic crime thrillers. I have a tendency to lean towards darker content.

Who have you written this book for?

It might be a cliché, but I definitely wrote this book for teenaged me. This is exactly the sort of story I was craving when I was a teen but had difficulty finding – something twisty and gripping, but with characters my age and themes I could relate to. I loved Christopher Pike’s books but struggled to find them in my school library and local bookshops (which was my whole world since the internet and online shopping didn’t yet exist), so I read a lot of adult crime and horror novels in my teens. But many of those stories were a hard slog with themes and situations that were very adult. I wrote this novel for teen readers who enjoy thrillers and creepy stories, but want characters and situations they can see themselves in.

What books are you reading at the moment (or recently)? 

I recently finished The Dry by Jane Harper and Wimmera by Mark Brandi, both of which I thoroughly enjoyed, especially since I am working on another suspenseful mystery set in a small Australian town. I’m currently reading two #LoveOzYA novels: The Fall by Tristan Bancks and Untidy Towns by Kate O’Donnell. My favourite genres to read are contemporaries, thrillers and domestic noir, and I have Sarah Bailey’s Dark Lake and A.J. Finn’s The Woman in the Window next up on my reading pile.

Thanks for your illuminating answers, Sarah and all the best with Small Spaces (Walker Books Australia) and your next book.

Thanks so much, Joy. Great questions! I’ve really enjoyed answering them.

Tennis & The Harper Effect

The Harper Effect has caused even a non-tennis aficionado such as myself to develop an interest in tennis, particularly in the lives and commitment of tennis players. The Harper Effect (Pan Macmillan Australia) is Taryn Bashford’s debut YA novel. It has already had an ‘effect’, I can’t get it out of my head …

Thanks for speaking with Boomerang Books blog, Taryn.

Thank you very much for having me 😊

As a debut novelist, how were you able to acquire a publishing contract?

My book deal came about after I had a few fingers in pies, and a couple of them came up with plums 😉 I had entered the Varuna House Publishing Introduction Program which was run in conjunction with Pan Macmillan. I was one of the winners which meant I got to stay at Varuna House for a week and work on my manuscript with a mentor. However, at the same time, Curtis Brown, a literary agent in Sydney, took me on board. I had submitted my novel to them some months before, following a meeting at the CYA Conference in Brisbane. They sped up the process so that I didn’t have to wait for the residency before knowing if Pan Macmillan would publish my novel. I got to use that residency for the second book instead, as Pan Macmillan offered a two-book deal.

Where are you based and how are you involved in the YA literary community?

I’m based on the Sunshine Coast in Queensland. Although we’re far from Brisbane, I belong to the SCBWI and attend meetings down there whenever I can. I enjoy meeting people there, and particularly sharing what I’ve learnt on the road to publishing. I also attend meetings of the SCBWI sub-branch on the Sunshine Coast for similar reasons. It’s great to share experiences, stories and talk all things books. I also put together a writing group after meeting various writers at Varuna House or at conferences like Brisbane’s CYA Conference. We all live in the local area, so it was meant to be! We meet regularly to critique each other’s work and we also support each other in all aspects of the publishing and writing process.

Which well-known professional tennis player do you most admire and why?

I’d have to say Serena Williams because her recent media activity about sport being a way of empowering girls is very close to my heart. Research shows this to be true, and it also shows that girls in sport have much better self-esteem and better body images of themselves. This is so important now that our teens are exposed to photoshopped images of movie stars, actresses and singers – and can never hope to be that perfect.

What tip to playing better tennis can you give us?

You’re probably better off asking my brother that question. He’s the tennis star in our family. However, having been a part of his journey, I believe the key differentiator to being a great tennis player and being a brilliant champion tennis player is how you play the mind game. This is evident in The Harper Effect too when Harper falters, but put simply, if you don’t believe in yourself, and if you don’t have that instinct to win whatever it takes, or have mental tools to help you deal with losing a point, then you’ll often choke when the pressure turns up.

Why have you written a YA novel about tennis? Why tennis rather than another sport?

The Harper Effect was first written when I was 14 and my brother had recently won Nationals at Wimbledon and then won a scholarship to the Nick Bollettierri Academy in Florida. At the time, tennis was a big deal in our house. Obviously, I’ve re-drafted the novel several times since then, and my focus was on highlighting teens that go above and beyond the norm, and contrasting that with the fact that they’re still teens. This means they’re making mistakes, still wrangling with teen issues like boyfriends and sibling rivalry and school, but they’re on a world stage so the consequences of bad choices are often greater.

I’m really impressed with how you incorporated this into the novel, but could you also tell us here something readers should know about the lives of professional athletes, particularly tennis players. It sounds like such a struggle and sacrifice.

I’m glad you got that message. The world of any professional athlete is not glamorous, even if it seems that way on TV. If you read Andre Agassi’s biography, Open, this is again highlighted. The training, sacrifices, focus and hard work are all needed every day and that’s tough, but then the rewards if you make it big are massive. I’m talking specifically of tennis when I say that. Some sports are not as lucrative, but I believe the highs of winning, of travelling, of breaking records and proving yourself, are worth the hard work and having to sacrifice that beef burger 😊

What is the significance of the title, The Harper Effect?

The effect that Harper has on Colt is an important part of the plot. She draws him out of himself so that he’s less robotic in his tennis and he becomes more ‘human’ in his personal life. This in turn helps his game. The effect she has on him is also that his ‘mental game’ improves – he’s able to stay strong and face the pressure head on. Harper’s effect on Jacob and Aria are less admirable, but her actions do result in Aria spreading her wings and going on to bigger and better things in Rome, and to Jacob having a wake-up call about his drinking and the need to grow up and leave behind his childhood.

Could you introduce your major characters to us …

Harper Hunter is a 16-year-old tennis player who’s just turned professional and is struggling with the extra pressure that puts on her game. This results in her coach of 5 years dumping her, and telling her she doesn’t have what it takes. Harper has been on the junior circuit for five years by now. As a result, she’s missed a lot of her childhood and it’s meant her sister and best friend, Jacob, someone she’d fallen in love with, have become romantically involved. It’s this situation that shows Harper at her weakest, because she’s yet to learn how to deal with the situation in a mature way and so she makes some bad choices. It’s through her understanding of Colt and his life, and through helping him, that she grows up enough to eventually make the right choices in her life.

Aria Hunter is her sister. She’s another high achieving teen but in the music arena. Her dream is to go to the Sydney Conservatorium with her boyfriend, Jacob. I don’t want to give any spoilers, but ultimately, she gives up her dream after Harper betrays her. Luckily, she finds a bigger dream to chase.

Colt is the 17 year old tennis pro who becomes Harper’s mixed doubles partner and training partner. He appears to be a cold, closed-off person at first, but we learn that it’s because he’s hiding some family secrets in order to make it in the world of tennis. His personal issues affect his game, but it’s Harper who helps him to the other side of an ocean of choices.

Jacob is Harper and Aria’s next-door neighbour. They’ve been friends since kindergarten. With Harper on tour from a young age, their friendship trio was tested, and he becomes romantically involved with Aria. Then he realises he is with her in an attempt to get back a piece of Harper, the girl he’s truly in love with. He’s also somewhat spoilt by his neglectful parents who tend to buy his happiness with money and gifts. This impacts his personality as he’s used to getting what he wants. When he can’t have Harper, he truly goes off the rails.

How could Harper and Aria’s parents have predicted their passions when they named them?

The girl’s names are more an extension of the parent’s interests and loves before they were born. Their mum is a music buff, and so she got her choice for their first child. Their dad was a high achieving tennis player and was keen to name his child after his tennis idol. In my mind, he got his choice since he’d not got it for the first child.  In the end, the girls reflected their namesakes – I guess I could’ve swapped them over to confuse things!

What’s your favourite colour and what is the significance of purple in the novel?

My favourite colour is cerulean blue. It’s just so pretty and makes me feel relaxed when I see it. Purple is significant in the novel because it represents different things as the characters grow up. At first, it represents their childhood and that’s represented by the Purple Woods where they spent most of the childhood playing games and just being kids. The Purple Woods then become part of what helps Harper deal with her on-court pressure. She’s told by her coach, Milo, to go somewhere in her mind where she feels relaxed and happy and somewhere that has a calming effect on her. Purple Time is then born. It helps Harper to win. But when she loses Purple Time, after everything back home goes wrong and the woods no longer represent that happy and safe place, it shows that she’s grown as a player as she no longer needs Purple Time to win. She is able to find the resources within herself to deal with the pressure.  As we near the climax of the novel, we find Jacob is still lost in the Purple Woods, unable to leave them behind. He’s got a way to go before he grows up. Harper, on the other hand, no longer wishes to be there. She understands it’s time to leave them behind and face the world as an adult. Aria has spread her wings and flown to Rome, so she has also let go of her childhood.

What happened at the launch of The Harper Effect? 

Launch of The Harper Effect (Noosa News)

I had an amazing time at the official launch of The Harper Effect on the Sunshine Coast. One of my hopes for my book is that teens and in fact people of all ages are inspired to both chase their dreams (sporting or not), but to also stay in sport and even achieve professional levels in sport. So I put together a panel of young elite athletes as examples of real life Harpers. I wanted the audience to see that no matter their dream, these girls were living proof that with hard work and dedication, self-motivation and focus, you can achieve what you set out to. I’m also very keen to give our teens new role models in our literature. Instead of giving them images of beauty to live up to, let’s give them sporty, confident and successful heroines in books to look up to. The panel were living and breathing role models too.

For whom have you written this book?

The book was dedicated to my brother. He played the professional circuit before becoming a professional tennis coach. He coached young players like Amelie Mauresmo and Marcos Baghdatis, who were at the time in their teens. While The Harper Effect is not based on him or his experiences, as the story is completely fictional, the facts and details that I learnt from him are an important part of the authenticity of the setting of the novel.

I know it’s only just been published but have you received any responses that have particularly resonated with you from readers?

Yes, the main ones being that everyone loves Colt and Milo and that the tennis part of the book surprised them. Many readers found the setting of the world of professional tennis to be very interesting. They reported that they looked at the play at the recent Australian Open through new eyes. That was very gratifying. They also felt inspired to follow their dreams or meet their goals.

What books are you reading at the moment (or recently)? 

I’m currently re-reading Jandy Nelson’s I’ll Give You The Sun. She is one of my favourite American YA writers. The book before that was Margaret Atwood’s The Robber Bride. I’ve not come across a Margaret Atwood book I don’t love 😊 Looking at my list (I keep a list that highlights my thoughts on the books I’ve read, and I also make a note of the publisher), the book before that was Markus Zusak’s The Book Thief – also a re-read because his writing is so dense you need to re-read it so you don’t miss any of his gorgeous phrasing!

Thanks for your thoughtful responses, Taryn and all the best with The Harper Effect.

Thank you very much. And all the very best to you too.

Taryn’s YouTube channel

Between Us by Clare Atkins

Thanks very much for speaking to Boomerang Books blog, Clare. Your two YA novels Nona and Me and Between Us are memorable, thought-provoking and ‘uncomfortable’ in the best way. I learn and am changed by them.

Thank you! I don’t think I could ask for any better feedback than that as an author.

Where are you based and how are you involved in the YA literary community?

I’m based in Darwin. There are a few YA writers up here who I see at events and workshops. I also travel to Sydney fairly regularly, mostly for TV scriptwriting work. There’s a YA author meet-up there, which I attend when I can. I’ve also met lots of YA writers through speaking at writing festivals. I can’t speak highly enough of the supportive, fun and vibrant community – YA authors are the best!

How has your television scriptwriting enhanced your novel writing?

TV writing has taught me a lot about structure, flow, characterisation and weaving multiple story strands together. I wrote both my novels as a kind of hybrid, in which each segment or chapter is really a scene that needs to move the action forward. And I am very comfortable writing dialogue – my books probably have slightly more than average.

Your first novel, Nona & Me (Black Inc), achieved critical acclaim. I reviewed it for the Weekend Australian here.  How were you able to describe this Aboriginal experience in the Northern Territory with such authority?

I don’t know about authority but I definitely did thorough research and consultation over a couple of years. I was also living in Yirrkala, the community in the novel, at the time. I interviewed many community members, both in the mining town and Aboriginal community, and worked closed with a wonderful Yolngu cultural advisor and teacher called Merrkiyawuy Ganambarr-Stubbs. Without her advice and feedback I don’t think I could’ve written the novel.

To what does your title, Between Us (Black Inc), refer? Which came first, your title, the story or something else?

I am interested in the spaces between people and how, in the absence of knowledge, fear or love can fill the void. I liked that the title had a number of interpretations. Between who – Ana and Jono? Or Jono and Kenny? Or Kenny and Ana? And is what is ‘between us’ holding us together or pushing us apart? The characters came first – I wanted to explore characters representing different eras of immigration in Australia and was excited about having a character – Jono – with my own cultural background.

What is the significance of the cover? 

The cover is based on some photos I took in Darwin during the wet season. The moody skies up here during storms are breathtaking, both beautiful and ominous at the same time, as I hoped the novel would be too. I sent the photos to the publisher who forwarded them to the cover designer. I liked the phone lines as a visual reference to both connection and distance; one of the ways Jono and Ana are able to connect is on the phone. And birds are a repeated motif in the novel – a symbol of freedom, a point of connection and a link to memories for Jono, Kenny and Ana.

How does Between Us differ from Nona & Me? Are there any similarities?

I think I’ve experimented a lot more in Between Us. I wanted to push myself as a writer. Nona & Me was my first novel and whilst I played with structure it was still in prose from a single point of view. Between Us is from three different cultural perspectives and incorporates sections of verse. And whilst Nona & Me was a personal exploration of Indigenous politics, Between Us focuses more on immigration and multiculturalism.

Clare Atkins

How were you able to access information about life inside a detention centre and then form it into fiction?

Weaving real life stories into fiction is my favourite thing to do. It takes a lot of research – this time around three years worth. A lot of the interviews had to be ‘off the table’; people were happy to talk but didn’t want their name attached to the book in case it caused trouble for their jobs or visa applications. I have spent time inside Villawood as a volunteer helping to run activities for kids, and visited asylum seekers in Wickham Point. I also worked with an Iranian cultural advisor, Shokufeh Kavani.

You’ve written from several different viewpoints in Between Us, even from an adult character’s perspective. Could you introduce us to your major characters?

How have you differentiated between their voices?

Jono is a half-Vietnamese, half-Australian sixteen year old boy, who has had a rough time lately. His mum walked out, he got dumped by his first real girlfriend and his older sister has just moved away to Uni. He feels like he’s been left behind with his Vietnamese father Kenny; the two of them have a volatile relationship at best. Jono starts the novel in verse – he’s in a depressed state and can only take in the bare minimum. Then he meets Ana…

Ana is a fifteen year old Iranian asylum seeker who is only allowed out of detention to attend school. She desperately wants to be a ‘normal’ teenage girl, but her life inside is far from standard. Her mum is pregnant, her little brother is desperate to get out and run, and her mum’s boyfriend is stuck on Nauru. Ana’s voice is initially curious and passionate and determined.

Kenny is Jono’s father. He was sponsored out to Australia by his older sister, Minh, who arrived with the first boatloads of Vietnamese refugees. Kenny has just started work as a guard at the detention centre where Ana lives. Kenny is confused by the various thoughts and feelings swirling around the issue of asylum seekers. His voice is informed by his Vietnamese culture and his insider’s perspective as both a guard and as Jono’s father.

Which character would you like to write more about?

I’d like to write more about Kenny. He’s such a multifaceted character who has access to so many different worlds. He’s Vietnamese but has now spent almost half his life in Australia. He’s a father but is still working out life himself. He’s the brother of a boat person who now guards asylum seekers. I love that he is complex and confused and flawed but very real.

I was excited by your changing use of verse in the novel. Could you share what you’ve done?

I wanted to use verse to convey emotional state. When you’re depressed it is hard to communicate or connect to the outer world in more than short bursts or impressions. It was a bit of an experiment – I’m excited that you liked it.

You mention Australian hip-hop band The Hilltop Hoods. Why this band?

I spoke to some Iranian young people who talked about Iranian rap and hip-hop and how political and dangerous it can be. I looked for an Australian equivalent as a point of connection for Jono and Ana. Hilltop Hoods takes me back to my early twenties so I suppose I had an existing affection for them. I liked that they are sometimes political but can also be playful – they have a freedom that Iranian hip-hop artists don’t have.

In the novel you’ve referred to other literary texts such as The Outsiders, The Rabbits, The Simple Gift and Home in the Sky. Why these books?

They are all books and authors I love and admire. They also feed into the central themes of the novel about insiders and outsiders, culture and colonisation, connection and distance, freedom and belonging.

Why is the novel a powerful forum to alert people to the plight of refugees and those in detention centres? What would you encourage your readers to do next?

I think the best stories in any medium are the ones that start a conversation. I hope that the novel allows readers to gain a new perspective through vicariously experiencing life behind the barbed wire fence. Empathy and understanding are the foundation of social change. What readers do after that is of course up to them, but I’d be thrilled if they discussed it, attended a rally, wrote to a politician, visited someone in detention, volunteered, talked to someone they otherwise might not, or voted differently…every bit contributes to reframing an ‘issue’ as something human and personal and important…

What books are you reading at the moment (or recently)?

Books that I’ve enjoyed lately include Kirsty Eagar’s Summer Skin, a smart YA romance that looks at modern hook-up culture with a feminist slant, and The Good Girl of China Town, a bravely honest cross-cultural memoir about Jenevieve Chang’s experiences as a dancer in Shanghai’s first burlesque club.

Thanks for your insightful answers, Clare. I’ve learned even more! All the best with Between Us.

Thank you!

Cosplay & Cinderella in Geekerella

Geekerella by Ashley Poston (Penguin Random House) is a contemporary Cinderella story told by both Danielle (Elle) as the Cinderella character and 18-year-old actor, Darien Freeman as her potential love interest.

Elle’s father had established ExcelsiCon cosplay before he died. Elle now lives with her stepmother, a wedding planner, and stepsister twins Chloe (who is nasty) and Calliope (whose attitude towards Elle may be softening). Elle works part-time at the Magic Pumpkin food truck with Sage, who also makes costumes.

Darien is a former soap actor who is now starring as Prince Carmindor in Starfield, the new movie version of a cult sci-fi show. He is actually a fan of the show and wants to ‘do the fandom justice’ even though Jessica, his female co-star is really only using it for publicity and as a stepping stone to an academy award career. Jess thinks that Daren is cute, ‘equal parts dorky and sexy’. They are supposed to be dating.

Darien wants to do his own stunts, is a ‘pretty boy’ swamped by fans, but is actually vulnerable and a bit shy. His overbearing but distant father is his manager; Gail, is his slightly older, inept but caring minder; and Lonny his new bodyguard.

Without having met him, Elle despises Darien. She doesn’t realise that he is the person who contacted her through the phone she inherited from her father and is now texting constantly. At the same time, her blog posts against Darien playing the role of Carmindor go viral. When they meet in person they despise each other.

The plot builds to the cosplay convention and ExcelsiCon ball. Elle’s parents had been the king and queen of cosplay – her father dressed as the Federation Prince, Carmindor, and her mother as beautiful Amara. Elle decides to attend the ball and Sage alters her father’s costume for her. But Chloe, as ugly-natured stepsister, steps in and steals the Amara silk dress and glass shoes for Cal to wear to the ball and ruins Carmindor’s coat.

Subplots about leaked details about the Starfield movie, Darien’s stalker and interference in Darien and Elle’s texts add intrigue.

This reimagined fairy tale about hidden and mistaken identities is great fun. Its premise of the famous guy yearning for an unknown girl is also explored in the equally engaging Unrequited by Sydney writer Emma Grey about a girl pursued by the famous lead singer in boy band.

Common People by Tony Birch

‘Common’ in Tony Birch’s new collection of short stories, Common People (University of Queensland Press) could allude to the commonality – shared traits and unity – of people, or the working-class roots of many of his characters. Either way, these stories are unflinching accounts of Aboriginal, poor, vulnerable, victimised or depraved characters. Many have fine hearts despite their disadvantaged circumstances.

Birch employs recurring symbols and themes such as stars; drugs and drug dealing; unwell, collapsing men and positive girl figures throughout the tales. He tells stories through the eyes of young or child narrators here – and across much of his fiction.

The first story, ‘The Ghost Train’ is a memorable, seemingly despairing account of two women who work their first night shift at a meat packing factory. And yet the word “HOPE” is inscribed on Maria’s T-shirt, albeit on a picture of Barack Obama’s face.

‘Harmless’ is one of several stories featuring a positive, proactive, young girl. An old hermit-like man living alone in a hut helps the girl narrator – who has a certain freedom and agency from riding her bike – care for another young female, abused 14-year-old Rita. This tale evokes the roaming boys in Birch’s Ghost River and their encounters with a group of old men. (I have previously blogged about Ghost River.)

‘Death Star’ integrates two of Birch’s prevalent concerns in this collection – drugs and stars as a symbol. Young Dominic doesn’t go to his older brother’s funeral. His brother was a car thief and died in a car accident. He also loved stars.

‘Liam’ is a powerful recount about Liam who was locked up at the age of 16 for robbery. The young narrator’s religious Catholic family took him in and, as a charismatic storyteller, Liam became a loved family member. However, his pet dog, Sally Ann, became aggressive when something terrible happened.

‘Sissy’ also appears in The Best Australian Stories 2017, edited by Maxine Beneba Clarke. Sissy is chosen by the nuns to have a holiday with another family. She becomes uneasy after her friend Betty tells her of a girl she knows in a similar situation who didn’t return from her holiday.

Viola, a Madam, breaks her own rules to care for young Gabriel when he is brought to her brothel in the eviscerating ‘Frank Slim’.

A company tries to return cremated remains to their next of kin in ‘Raven & Sons’; a reformed (or not) alcoholic grandmother looks after her grandson for the first time in ‘Worship’; grown men are ailing in ‘Paper Moon’, ‘Joe Roberts’ and ‘Painted Glass’; and Aboriginal characters feature in ‘The White Girl’ and ‘Colours’.

Australia Day by Melanie Cheng

Australia Day (Text Publishing) by Melanie Cheng is worth highlighting as the 26th January draws near. The celebration of Australia Day is currently under fire and this work explores life in Australian society and on Australia Day itself from the viewpoints of characters from a range of backgrounds and beliefs. It is perhaps shaped more as a commentary than a criticism of Australia and Australia Day, although its smooth yet sharp edges niggle the reader to ponder about the diverse lives of those who live in Australia and what Australia Day may mean to those of non-Anglo (particularly Asian-Australian) heritage.

This book of short stories was the Winner of the Victorian Premier’s Literary Award for an Unpublished Manuscript. It was then shortlisted for the Victorian Premier’s Literary Awards for Fiction in 2017 and is currently longlisted for the Indie Book Award for Debut Fiction. Australia Day is Chinese-Australian Melanie Cheng’s debut literary publication. She lives in Melbourne where she works as a general practitioner.

The first story is ‘Australia Day’, a sweltering account of Stanley Chu’s uncomfortable visit to fellow medical student Jess’s family home. Hong Kong-born Stanley is out of place amongst the family’s form of celebration, epitomised by Jess’s father’s ignorant racism.

Syrian au pair, Leila, visits the Northern Territory in ‘Big Problems’. South African woman, Ellen, repeats that there are “big problems” caused by non-White races, without seeming to notice or recognise Leila’s heritage.

Tania carries capsicum spray, expecting abuse as she works at the car registry in ‘Ticket-Holders Number 5’ and Deepak, a doctor, is victimised in ‘Fracture’, giving another side to this issue.

My favourite story is ‘Muse’, about old Evan whose wife Lola has died, and his bossy daughter Bea who keeps an eye on him. Evan’s life changes when Bea brings her partner, Edwina, to dinner. Edwina is an artist who was “highly commended in the Archibald” art awards. Edwina introduces Evan to life-drawing and he becomes obsessed with the model. As the narrative moves forward, the author also offers glimpses into Evan’s past, particularly his affair with Ana from the milk bar, who wasn’t beautiful like Lola, but “didn’t slip out of my hands like silk when I held her”. A grandson completes Evan’s transformation.

‘Mrs Chan’ encapsulates the book with a tender portrayal of an old woman from Hong Kong cooking for her grandson’s twentieth birthday on Australia Day. This completes a thought-provoking cycle.

Books for Boys with Felice Arena & Tristan Bancks

Felice Arena and Tristan Bancks have both written extremely exciting, atmospheric books for boys this year (and girls like them too).

I’ve interviewed them both for the blog and here are Felice’s replies. (Tristan features in the next post)

You both have distinctive first names. Where are they from?

I was named after my grandfather – a longstanding tradition for many first-born sons in Italian families. Felice is pronounced Feh-LEE-che. Imagine growing up with that name in Country Victoria! Felice actually means ‘happy’ in Italian. And it pretty much reflects who I am – happy by name, happy by nature. My family and friends these days just call me ‘Fleech’ for short. Occasionally I get Felix, which is the English version of Felice (but that just makes me think of the cartoon cat).

Where are you based at the moment?

Melbourne.

You have both written an enviable backlist of books for boys. Could you mention some of these titles? 

The Specky Magee series, Sporty Kids, the Andy Roid series, Whippersnapper, and The Boy and the Spy.

I really enjoyed your gripping books published this year. Could you tell us about them – Felice about The Boy and the Spy and Tristan about The Fall (in the next post)?

The Boy and the Spy is a fast-paced WW2 adventure set in Sicily. A twelve year-old Antonio, an orphaned boy, has a chance meeting with an injured American spy hiding out in a grotto, the story launches into a heart-stopping story with action aplenty. Readers are kept in suspense as Antonio helps the spy evade German soldiers and gangsters, make contact with the Allies, and try to find a way to escape the island alive. An important theme carried throughout the story is the notion of family and how we define it.

What genre are they?

Historical-action novel.

Where are they set and how did you create the sense of place?

Wartime Sicily. My mother comes from that Italian isle and I still have relatives there. I’ve been to Sicily several times so I have a real sense of the terrain, which helped when writing the story. As far as the specific time period goes, that took a little more research, but I was able to consult with some family members to help authenticate the tone and settings in the book, and to capture 1943 in the dialogue, details from everyday life, and conditions related to the war.

How do you hook readers quickly into your story?

I love writing movement and action in my stories. A fast pace from the outset can engage some young reader who might not have the patience or attention span to read a slower unfolding plotline weighted down in meandering development. Adding a little movement with a sense of jeopardy or obstacles to overcome early on in the story is a good way to hook young readers quickly. Once they’ve connected with the characters in this way they’re more willing to pay attention to the deeper undercurrents of the story as they emerge farther along in the narrative.

Who are the major characters and why are they in this predicament?

There’s Antonio, an orphaned boy who is frowned upon and pretty much invisible in his seaside town. WW2 is the backdrop to his story, but for Antonio his daily battle is with prejudice. So when he meets a man who has literally dropped from the sky and talks to him as an equal and is desperate for his help, Antonio’s sees a chance to prove himself and deepen his own sense of self-worth. But with this unlikely alliance comes danger – the man is technically the enemy and Antonio is putting his life at risk to help him.

How is the writing style different from some of your other work?

This book heralds a new writing path for me. I’m known for writing contemporary sports-themed stories, and usually in third person. This book and my next book are written in first person and play out in a specific historical time and setting. I’ve wanted to write in this style for a long time, and I’m happy that it’s resonating with readers.

What do you think about each other’s book?

 I loved it. And I’m not just saying that because I know Tristan. What I admire about Tristan’s writing in this story, The Fall, (and Two Wolves) is that he never talks down to his reader. He doesn’t dumb it down. It’s smart and sharp writing, and it’s visual. I think Tristan and I share a love of cinematic storytelling. We both come from TV/film backgrounds, and I think this definitely comes through in our writing.

These books are both published by Penguin Random House. Do you cross paths because of that? Share editors? Go to meetings together?

We don’t share editors or go to the same meetings but we’ve attended the same events and festivals  – and have also shared the stage. Last year for PRH we gave a reading performance of Roald Dahl’s Fantastic Mr Fox at Federation Square in Melbourne. We’ve talked about doing more events together. 

What other books for boys would you recommend – recent and older?

Anything written by Michael Morpurgo, Neil Gaiman, Frank Cottrell Boyce, John Flanagan, David Almond, Gary Paulsen, Brian Selznick, Morris Gleitzman, Robert Newton, Adrian Beck, and… Tristan Bancks.

What are you writing about now or next?

I’m putting the final touches to another historical action story set in Paris in 1910 called Fearless Frederic. It’s about friendship, adventure, and what it means to have courage. It’s due to be published by Penguin Random House Australia April 2nd 2018.

What is significant to you about meeting your readers – as individuals or in a large group setting?

It’s incredibly significant. There’s no other joy like watching young readers hang onto every word you say as you read aloud to them. I would never pass up the opportunity to help jumpstart a love of reading in our next generation of book lovers. It’s also a chance for me to garner feedback and test out ideas – kids are brutally honest and will let you know if they like something or not.

Anything else you’d like to add?

I’d like to say thanks to those who have read any of my books and have reached out to me to say how much they’ve enjoyed them. This means a great deal to me. And if you’re just discovering my books for the first time, I hope you’ll also enjoy them.  Oh, and feel free to let me know over at instagram.com/fleech or www.felicearena.com

Thanks Felice, and all the best with The Boy and the Spy and your other books.

Books for Boys with Tristan Bancks & Felice Arena

Tristan Bancks and Felice Arena have both written extremely exciting, atmospheric books for boys this year (girls like them too).

I’ve interviewed them both for the blog and here are Tristan’s replies. (Felice features in the next post)

You both have distinctive first names. Where are they from?

Tristan was one of the knights of the round table. It can mean ‘noise’ or ‘boldness’ or ‘sorrow’. Certainly, there are notes of boldness and sorrow in my novels and my teachers always told me I was unnecessarily noisy.

 Where are you based at the moment?

Northern NSW.

You have both written an enviable backlist of books for boys. Could you mention some of these titles? 

My first book in stores was MAC SLATER, COOLHUNTER in 2008. The MY LIFE / TOM WEEKLY series of funny semi-autobiographical short stories has been released from 2012 till now. And I have two crime-mystery novels for late primary / early high-schoolers TWO WOLVES and THE FALL

I really enjoyed your gripping books published this year. Could you tell us about them – Tristan about The Fall and Felice (in the next post) about The Boy and the Spy

THE FALL is inspired by a crime scene I visited doing work experience with a news crew when I was in high school. A man had stolen a woman’s handbag, run through a park, jumped over a fence at the back of the park and didn’t realise that the park was built on top of a multi-storey carpark which was built into the hillside. This and my love of the Hitchcock thriller REAR WINDOW collided to inspire the story.

What genre are they?

THE FALL is a kind of crime, mystery, suspense, thriller. But it’s not just characters servicing plot. I try to write characters that you care about and I want to explore big ideas that are relevant to middle-grade readers. THE FALL touches on mortality, rites of passage for kids and what it means to be a good human and family member, to make good choices.

Where are they set and how did you create the sense of place?

Most of the book is set in a single apartment building over the space of twenty-four hours. I set myself that challenge and it makes the book quite intense. The building is in Sydney, very much like a building a friend of mine lives in, which is only about 100 metres from the crime scene that I visited back when I was sixteen years-old. It’s also influenced by the apartments I stayed in while travelling in England and Europe for four months during the writing of the second draft.

How do you hook readers quickly into your story?

THE FALL begins at 2.08am in a fifth-floor apartment with Sam waking to hear two men arguing in the apartment overhead. Moments later he witnesses a crime. The perpetrator of that crime realises that Sam is the sole witness and comes after him. This sets the drama in motion, with Sam becoming increasingly entwined in the crime as the story progresses.

Books need to start with a bang but, when they do, as an author you need to ensure that the rest of the story lives up to the opening and that the end is even better.

Who are the major characters and why are they in this predicament?

Sam Garner is twelve-going-on-thirteen. He has never met his father before this week. He grew up in the Blue Mountains (not unlike myself) and his father left before he was born. His mother has never wanted him to see his father and his dad hasn’t exactly been breaking his neck to get in touch either. But, after having an operation on his knee (as I did when I was thirteen), Sam’s Mum has to work and she finally allows Sam to go and stay with his father, Harry, a newspaper crime reporter, for a week while he recuperates. On his second-last night, he witnesses the crime.

How is the writing style different from some of your other work?

It’s very different to my younger, funnier illustrated short stories in the Tom Weekly books. There is humour in THE FALL but it’s darker, more thrilling and it explores bigger ideas. It’s more in the vein of TWO WOLVES.

What do you think about each other’s book?

I hate Fleech’s book. Kidding. It’s actually my favourite book he’s written. I really like SPECKY MAGEE but I think ‘THE BOY AND THE SPY’ is another step up. It has a thrilling opening scene but the book isn’t just about action. The characters are rich and believable and it’s told against the backdrop of an important and exciting historical moment. My fourteen year-old son just devoured it a few days ago, too.

These books are both published by Penguin Random House. Do you cross paths because of that? Share editors? Go to meetings together?

We see each other a few times a year at dinners and festivals and when I’m in Melbourne I’ll see if Fleech is around for a catch-up. We have a shared history in that we both started out as TV actors, both lived in the U.K. for a few years. In fact I interviewed Felice when I was presenting a TV series in the U.K. and he was performing in a musical. He is a super-energetic entertainer and we both like the idea of using video and performance to bring books to life for kids.

What other books for boys would you recommend – recent and older?

Hatchet – Gary Paulsen

Runner – Robert Newton

Okay For Now – Gary D Schmidt

Joey Pigza Loses Control – Jack Gantos

Once series – Morris Gleitzman

What are you writing about now or next?

I’ve just finished the next book of short stories in the TOM WEEKLY series and Gus Gordon is illustrating it now. It’s out in 2018 and features stories in which Tom tries to eat a car, his guinea pig is taken hostage, his grandmother involves him in a plot to steal a prize fruitcake, he is attacked by a gang of killer possums and he believes that he and his bum have the potential to save the world.

I’m also writing a new crime-thriller called DETENTION about a kid involved in a school lockdown who comes face-to-face with the threat. I imagine it’ll be out either 2019 or 2020. I like to let the novels breathe so they take a few years to evolve.

What is significant to you about meeting your readers – as individuals or in a large group setting?

It’s a great complement to the writing work. Writing is intensely personal and sometimes lonely. I love going out and trying new stories and ideas on readers. I love visualising the stories and bringing them to life with anecdotes and images and video and music. It’s fun mucking around with ideas, hearing what readers respond to and hopefully inspiring kids to pick up a book or create their own stories.

Anything else you’d like to add?

Thanks Joy. Hi Fleech. Fun chatting to you. And don’t forget to put a book into your child / grandchild / niece or nephew / brother / sister / friend / random kid in the street’s Santa sack this Crimbo. 😉

Thanks Tristan and all the best with The Fall and your other books.

Exchange of Heart by Darren Groth

Darren Groth‘s new novel is Exchange of Heart (Penguin Random House Australia). This is the second of Darren’s wonderful YA novels I’ve read.

Where are you based and what is your current role, Darren?

I live in Vancouver. My current role is husband, father, provider and fiction scribbler.

How involved are you in the YA community?

Not as much as I used to be when I was a teacher. My 16 year old twins keep me connected to today’s kids, though.

Could you tell us a little about your early books?

Well, they’ve all disappeared, sad to say. However, I’m proud of them and each one was notable in its own way. My first novel, The Procrastinator, got my first personal, positive rejection (still one of the very best feelings I’ve ever had in my career); my second novel, Most Valuable Potential, was shortlisted in the Queensland Premier’s Literary Awards; my third novel, The Umbilical Word, secured my wonderful literary agent; and my fourth novel, Kindling, picked up my first contract with a major trade publishing house (Hachette).   

I reviewed your excellent previous novel, Are You Seeing Me? for the Weekend Australian http://www.theaustralian.com.au/arts/review/misfits-and-misadventures-abound-in-latest-young-adult-fiction-books/news-story/12de0e5706bdc33fc03255e5660b2231. Could you briefly describe the two major characters and reveal who appears in your new novel?

Thank you for your kind words, Joy. The protagonists of AYSM are twins, Justine and Perry Richter. Justine is smart, well read, neurotypical and the sole carer of her brother. Perry is smart, sensitive, neurodiverse and hopeful of “freeing” his sister. Perry makes three appearances in the new novel, Exchange of Heart. It was a real treat to connect with him again.  

What is the significance of the clever title of your powerful new novel Exchange of Heart?

Exchange of Heart captures what this novel is all about, both literally and thematically. There’s a lot to unpack; it makes sense at a surface level then becomes deeper and richer the further you delve into the story.

Why is this book important?

Like all good fiction, I need to have told a good tale in order for the work to be assigned any importance. If readers feel I’ve told a good tale then there is some food-for-thought that can be discussed. PTSD in young adults, treatment of the intellectually disabled, use of the R-word, mental health of refugees, among others. In some ways, Exchange of Heart is a political YA novel. I embrace that label.   

Could you tell us about your complex major character, Munro Maddux?

I love Munro. I think he’s the best character I’ve ever put down on the page. So many qualities about him that I admire – his honour, his tenacity, his nuance, his care. I love his wounded heart. Unlike many other characters I’ve written, he’s not an open book. He’s not ‘all the feels’. That’s very commendable in this day and age.

Who is the Coyote?

The Coyote is less a ‘who’ and more a ‘what’. It’s a voice in Munro’s head that’s constantly at him and it’s the most debilitating symptom of his PTSD-infused grief over the loss of his younger sister, Evie. Why Coyote? In North American First Nations/Aboriginal lore, Coyote represents ‘trickster’ medicine; it is a deceiver, not to be trusted. It was the perfect motif for Munro’s nemesis.     

What is the significance of the “-er” words?

I was actually looking to create something self help-ish that was a bit cheesy. And the students of Sussex High, Rowan in particular, see it that way. In Munro’s case, though, his ‘er’ word – ‘better’ – was right on the money.   

You have a cast of minor characters who help create the assisted-living community setting. Who most pulls at your heart and why?

It changes every day! Today, I’ll say Bernie because she seeks to protect her fellow Fair Go residents from discrimination and oppression. We need more Bernies in the world!    

What would you like to see change or improve for those in assisted-living communities in the near future?

The programs that served as inspiration for my fictional Fair Go – Youngcare in Australia and Bittersweet Farms in the US – are wonderful examples of what is possible with assisted living. If there is one thing I would like to see in all situations of supported care, it is residents having a say in their work, their play, their passion, their collaboration. Generally, having agency in their lives. 

Having lived and been flooded in Brisbane myself, your descriptions of place such as Walter Taylor Bridge and South Bank resonated strongly. Where is a significant place in Brisbane for you?

There’s a few. Mum and Dad’s house in Mitchelton. Milpera State High, where I taught for almost ten years. Lang Park (I still can’t call it Suncorp Stadium). My grandmother’s house in Hawthorne which, sadly, no longer exists.

Why the quote from Leo Tolstoy and why did you incorporate the novel Picnic at Hanging Rock into the novel?

The Tolstoy quote, I felt, summed up Exchange of Heart perfectly. The love of others is the catalyst for Munro to forgive himself and heal. Picnic at Hanging Rock is a fascinating story for me, not the least of which for its commentary about the treatment of the intellectually disabled. 

What have you been reading recently?

I’ve got a number of books on the slow-go. Will Kostakis’ The Sidekicks (great guy, marvellous book), Strange Magic by Syd Moore, who just happens to be my quite brilliant sister-in-law; George Saunders’ Lincoln in the Bardo; Justin Cronin’s City of Mirrors; and, as a nod to my recent trip back to Bris-Vegas after seven years, I just finished Three Crooked Kings by the mighty Matt Condon.

Thanks very much, Darren, and all the best with Exchange of Heart and your next book.

Thank you, Joy! 

Mighty Magabala Books

Magabala is a Broome-based Indigenous publisher. It publishes Bruce Pascoe, the award-winning author of Black Emu (for adults) and Fog a Dox, Seahorse and Mrs Whitlam for children. Magabala’s Greg Dreise’s Mad Magpie has just won the Indigenous category of the national Speech Pathology awards. Deadly D and Justice Jones by David Hartley and Scott Prince is an appealing series which I’ve reviewed for the blog previously and Brenton McKenna’s graphic novels, Ubby’s Underdogs are full of appeal.

And one of the most beautiful picture books I’ve ever seen is published by Magabala – Once There Was a Boy by Dub Leffler.

Big Fella Rain 

A suburb new picture book is Big Fella Rain by Beryl Webber. It traces the natural world’s wait for rain in northern Australia. The illustrations by Fern Martins are impressive and one appears above as the feature image for this post. They are lovely, evocative works of art.

Mrs White and the Red Desert 

The red cover of Mrs White and the Red Desert by Josie Boyle, illustrated by Maggie Prewett, represents the overshadowing power of the desert sand to explain in an amusing way why the children’s homework is always smudged with red. This is a highlight in Magabala’s list.

On the Way to Nana’s

Red ochre colour also sets the scene of On the Way to Nana’s by Frances and Lindsay Haji-Ali, illustrated by animator David Hardy. This is an accomplished, extremely appealing, tale of travelling to Nana’s house. Things the family see on the way, from flowers to anthills, goannas, brumbies and boabs, are counted backwards from 15 to 1, which is very useful for children who are learning to count. The numbers are shown as numerals and in words. Some of the text is repetitive, “I’m on the way to Nana’s house. What will I see?”

Molly the Pirate 

The first picture book from Magabala’s Indigenous Creator Scholarship is Molly the Pirate by Lorraine Teece, illustrated by Paul Seden. Molly lives far from the sea but imagines she is a pirate. Paul Seden takes the challenge modelled by the lively text to create vibrant, gloriously-coloured illustrations. He also does a great job with camera angles, particularly from above and below the hills hoist clothes lines.

Free Diving

Based on the song by Lorrae Coffin, Free Diving looks at the role of Indigenous free divers. It is a poignant insight into history, illustrated by Bronwyn Houston.

At the Zoo I See 

At the Beach I See

 Two board books for the very young from the new “Young Art” series are At the Zoo I See by Joshua Button and Robyn Wells (the team behind Steve Goes to Carnival) and At the Beach I See by Kamsani Bin Salleh, who uses black linework with wash backgrounds. 

Art and Music in Picture Books

Art and music feature in some recommended picture books and Christmas gifts.

Wonderlands: The Illustration Art of Robert Ingpen published by the National Library of Australia

Robert Ingpen was born in 1936 and is the only Australian illustrator to have won the prestigious international Hans Christian Andersen award. He is a virtuoso of painterly artwork and has illustrated Australian stories such as Storm Boy by Colin Thiele, Mustara by Rosanne Hawke, Ziba Came on a Boat written by Liz Lofthouse, The Poppykettle series and The Afternoon Treehouse and a long list of children’s classics such as Alice’s Adventures in Wonderland (hence the title of this tribute to his work), Peter Pan and Wendy, The Wind in the Willows and The Secret Garden. The Nutcracker, The Night Before Christmas and A Christmas Carol will be perfect books for Christmas. Ingpen has also designed Australian postage stamps.

His most recent books include the awarded outback-based Tea and Sugar Christmas and Radio Rescue! (both written by Jane Jolly). Wonderlands gives a generous insight into these books and others. It is a must-have celebration of children’s literature through the lens of our maestro, Robert Ingpen.

The School of Music by Meurig and Rachel Bowen, illustrated by Daniel Frost (Wide Eyed Editions, Allen & Unwin)

Music is important for the pleasure it gives and because it’s good for the brain and can lead to unexpected friendships and opportunities. Enjoyable and useful to use in homes, schools and music schools, The School of Music is a lavish compendium of music, musicians and instruments in picture book form.

Musician characters (such as Diva Venus, a star singer, Ronny ‘Beethoven’ O’Reilly, a composer and Roxy Mojo, a percussion specialist) are introduced at the beginning of the book and feature strategically throughout to explain concepts. Section 1 looks at different types of music and instruments and how music connects with film, maths, architecture and other disciplines. Section 2 offers a musical toolbox, which enables children to write music, beginning with fun graphic scores using pictures and symbols. Section 3 is about children making music themselves. The book suggests diverse ways such as making a kitchen orchestra as well as playing a conventional instrument or singing. It concludes with tips on performing and composing.

There are bonus music samples accessed by the QR code at the end of the book and children could dip in and out of this book or use it as a Christmas holiday music appreciation and education course, ideally even alongside learning a musical instrument. 

Dance to Dream in Picture books

Four picture books I’ve enjoyed and admired this year range in subject from dance to dreams. Interestingly, they all feature a limited colour palette.

Swan Lake by Anne Spudvilas

Illustrator-icon Anne Spudvilas is known for The Peasant Prince by Li Cunxin (my teacher notes are on the Reading Australia site), Woolvs in the Sitee (written by Margaret Wild) and her first book The Race by Christobel Mattingley which won the Crichton Award for Illustration and was a CBCA Honour Book. Her new interpretation of Swan Lake (Allen & Unwin) is a sumptuous gift book. It is a retelling of Tchaikovsky’s ballet set on the Murray-Darling. The lavish illustrations are textured and allusive. Spudvilas features black and white with occasional  limited shades of yellow, and red for a few sparse dramatic and accentuated moments.

Stepping Stones: A Refugee Family’s Journey by Margriet Ruurs, artwork by Nizar Ali Badr

Stepping Stones (UQP) was published earlier in the year but remains timely with the ongoing issues in caring for and resettling refugees. Margriet Ruurs saw Syrian, Nizar Ali Badr’s stone and pebble artwork online and worked hard and inventively to contact him and gain permission to use his art to highlight the plight of those escaping the horrors of war. The text is written in Arabic and English.

Drawn Onward by Meg McKinlay, illustrated by Andrew Frazer

Another unusual and fascinating picture book is Drawn Onward (Fremantle Press), a palindromic text which can be read forwards and backwards . Meg McKinlay, who is most well-known for her multiple awarded dystopian novel, A Single Stone, uses the palindrome form to rephrase negative phrases and thoughts into positive. She calls it “optimism training for our kids”. The design is appropriately subtle and enigmatic.

Danny Blue’s Really Excellent Dream by Max Landra

Like the other books reviewed here, colour is used efficaciously in Danny Blue’s Really Excellent Dream (Lothian Children’s Books, Hachette). The story begins “Once in a blue moon, everyone has a really, really excellent dream.” Danny’s world is coloured blue and his father’s factory makes every hue of blue paint. After Danny’s dessert of blueberries one night, he dreams, not in blue, but of a red whale. Blue continues to dominate his life until he decides to create his dream colour in paint. It takes until Day 99 when “Not – Blue” appears and, even though people are suspicious, Not-Blue starts showing up where it’s not expected. This is a wonderful book about being different, dreaming and persistence in creativity.

The Grand, Genius Summer of Henry Hoobler & Lisa Shanahan

Thank you for speaking to Boomerang Blog, Lisa and congratulations on your recent win for The Grand, Genius Summer of Henry Hoobler at the Queensland Literary Awards. We’ll talk more about that soon.

Thank you, Joy! And many thanks for having me on the blog.

But first, where are you based and what is your background?

I live in Sydney, with my husband and our three sons, not far from where I grew up as a kid. I initially studied Communications straight out of high school at UTS, where I majored in writing and media theory, before then going on to train as an actor at Theatre Nepean, UWS. Towards the end of my acting training, I taught drama to a group of kids out at Mount Pleasant and I wrote them a play. It was then that it finally dawned on me that I didn’t want to be an actor after all, that in fact I wanted to be a writer but for young people, rather than adults. So not long after, I enrolled in a writing course with the acclaimed children’s author Libby Gleeson. That course felt both like a complete revelation and a homecoming. It was there that I workshopped a picture text I had written on my honeymoon of all places, about a little boy and his ice cream van driving dad. Libby Gleeson was a wonderful teacher and she instinctively knew how to draw out the possibilities of both a writer and a text and because of that early encouragement, here I am sixteen books later.

Do you give many presentations to children? How do you make them interesting?  Have there been any particularly memorable responses?

I’ve spoken to thousands of kids over the years, presenting talks and writing workshops. In my general talks, I’ll often share funny stories about my life, what kind of kid I was growing up and especially some of the funny stories about bringing up my boys. There’s lots of acting and hilarity, especially when I share the inspiration behind stories like Sleep Tight, My Honey or My Mum Tarzan. I always bring along some of my writing journals and I usually explore the growth of at least one book in detail, from first seed to final story. I’m keen for kids to hear about the writing process but I’m also especially passionate for them to grasp how curiosity about ordinary moments can lead to the creation of juicy stories.

Funnily enough, some of the loveliest moments happen when I’m not speaking at all, when little clusters of kids sidle up at the end of a session to confide about a book they’ve been writing, or how they’re going to go out and buy their own writing journal that very afternoon, so they can write about the idea they have for a funny story about their own crazy mum, grandpa or dog. Because just as much as I want kids to love my books, at the end of the day, I want to inspire them even more so to discover the beauty and worth of their own stories.

I adore your laugh-out-loud YA novel My Big Birkett (it’s one of my all-time favourites) and love reciting parts about the animals that mate for life, The Tempest and gorgeous Raven and the meals he makes using mince; as well as your wonderful picture books. Could you tell us about some of these books?

Thanks Joy! It makes me especially happy to know that you are a Raven fan!

I’m often asked what I prefer to write most and I always say I love writing both picture books and novels and that I couldn’t choose between them. The best part of writing picture books for me is the absolute thrill of collaboration. I’ve been fortunate enough to work with so many brilliant illustrators over the years and each one has taught me so much about the power of the visual text. Some of my picture books that have been especially well-received include the Bear and Chook books, illustrated by Emma Quay, Gordon’s got a Snookie, illustrated by Wayne Harris and Big Pet Day, illustrated by Gus Gordon, who was also on the QLA shortlist too, for his gorgeous picture book, Somewhere Else. My most recent picture book is  Hark, It’s Me, Ruby Lee! illustrated by Binny Talib. This was such a tough text to illustrate, mainly because of the fairly swift juxtaposition of the scenes of school life, with Ruby Lee’s fervent imagination. I’m just so delighted at what a marvellously beautiful job Binny has done.

I will say that one of the unforeseen joys of my writing life has been the steady, heartfelt emails I have received over the years from teen readers regarding My Big Birkett. These emails about Gemma and Raven and the De Head family have been incredibly sincere and poignant and they have often left me with a huge lump in my throat.

I know this is a tricky question but how do you incorporate humour into your writing?

This is a tricky question! As a kid, I looked into books like they were real windows. The books that spoke to me most were always the ones that captured acutely the laugh-out-loud jumbly nature of life, alongside the bittersweet ache. In terms of writing humour, I always keep an ear out for those little things that will make kids laugh. Not so long ago, my sister told me a story about how her four-year old son crept into her bed in the middle of the night and snuggled up tight to her, saying, ‘I love you so much Mummy, I want to shoot you out of a cannon!’ When I tell that story to kids, they roll around on the floor, laughing their heads off. But at the same time I know they recognise the vehemence of that kind of love, because they’ve felt it rocketing around in their own chests. I think humour has this remarkable capacity to encourage true connection and I’m always keen to incorporate it in my work, because it radically paves the way for readers to engage more fully and tenderly not only with a character’s dreams, fears, hopes and sorrows but also perhaps, with their own.

The Grand, Genius Summer of Henry Hoobler (A&U) has just won the QLA Griffith University Children’s Book award. The judge report says:

“The Grand Genius Summer of Henry Hoobler is structured as a quintessential Australian beach camping holiday but the exceptional storytelling soars to welcome the reader into both the setting and young Henry Hoobler’s rites of passage. We are given a heart-warming insight into introspective Henry. He is a genius at noticing things, surprising his fellow campers with his success in board and card games. He is also ‘Mr Worst-Case Scenario’, dreading the bugs, stingers and sharks of the beach but, most of all, dreading learning to ride his new silver bike. The bike is a symbol of fear, but its significance changes as Henry discovers courage and freedom. Courage can be found when friends are ‘straight-up and true’, embodied by free-spirit Cassie. This tale reminds us that everyone is different and everyone has gifts. Some, like Henry, prefer to learn quietly but even extroverts can be fearful.

The writing is literary and metaphorical, encompassing a vast emotional range whilst being utterly engaging for children. It is rare to encounter a novel for mid-primary children characterised by such perception and cadence.”

What was your reaction when you realised you had won? 

Lisa Shanahan, second from right, with judges

I was astonished and delighted. It took quite a few days for it to truly sink in. Then I was just overcome with immense gratitude that the judges had seen something special in Henry.

It was wonderful to meet your young son, Rohan, at the awards presentation in Brisbane (and others there loved seeing him reading The Hobbit as the night wore on). Why was he there and what was your dual experience of the awards evening?

One of the initial nudges for writing Henry Hoobler was watching Rohie develop as a reader. After a slow start, he had a very sudden and rapid acceleration over a single year and I knew he was in this slippery in-between stage, where the books he was capable of reading were still quite a huge stretch for him emotionally. I began to wonder if I could write something that would speak directly to his life. As I wrote Henry, I read chapter after chapter out loud to Rohie. When I had finished the book and before it had been published, he persuaded his class teacher that I should come to school and read some chapters to his whole class as well. I dedicated the novel to Rohan because I wanted to acknowledge just what an incredible gift it was to have his enthusiastic encouragement along the way.

Rohie is an avid bookworm and so hanging out at the QLA awards ceremony for him was suddenly like meeting all of his people, all at once. He was especially touched that I mentioned him in my speech and I was especially touched when Rebe Taylor, the winner of the QLA History Book Award asked him to sign her copy of Henry. I can safely say that if Rohie’s class teacher had seen that handwriting, he would have been granted his official pen licence on the spot!

What is the significance of the title The Grand, Genius Summer of Henry Hoobler?

Early in the novel, Henry discovers that his rather unique talent for noticing things, makes him almost unbeatable when it comes to playing cards and board games. After Henry convincingly and unexpectedly smashes all the men and the older boys at games, Patch, his rather begrudging older brother finally acknowledges that Henry might be bit of a grand genius. It’s the beginning of a radical shift in the way Henry sees himself. Although Henry has replayed every worst case scenario in vivid detail regarding his camping holiday, what he has never considered is all the ways this summer might turn out to be the best one yet, the grand, genius summer of all summers.

Could you tell us about your protagonist Henry and some other characters?

Henry is a sensitive, imaginative and thoughtful nine-year old boy. He is the middle child, slotted right in between his athletically gifted, funny, know-it-all fifteen-year old brother Patch and his rambunctious, My Little Pony obsessed younger sister Lulu. Both Henry and his mum share some anxious traits and tend towards self-reflection and to feeling things deeply. Henry is very keen to please his exuberant dad, who is a real enthusiast for life. But Henry is filled with dread at the idea of learning how to ride his new bike without training wheels, especially in front of prickly Reed Barone, another boy who is close to Henry’s age and who is prone to sneering. Eventually, Henry meets ten-year old Cassie, who lives onsite in a caravan with her Pop. Cassie is a free spirit and alive to the world in ways that astonish Henry. Finally, Cassie’s straight up and true courage rubs off and with an unexpected Lulu intervention, Henry learns how to summon up his own courage and to do a whole series of adventurous things that he never imagined.

For what age-group is this novel intended?

Henry is intended for 7-11 year olds. I’ve been really pleased though by the numbers of reviewers that have also recommended it as a read-aloud for the whole family or the school classroom too.

How did you balance fine literary writing with the other elements of the narrative?

I was keen to write in a way that was hospitable to all kinds of middle grade readers, those that were confidently independent and those newly finding their feet. As a result, the story contains lots of snappy dialogue, which helps to give the text an easy, engaging flow. In terms of metaphoric imagery, I kept in mind some feedback given to me around another novel, regarding the importance of restraint. I was conscious that any poetic moment really had to serve the story and forward the action. At the same time, I wanted the novel to contain a certain richness of vocabulary because something the American writer Madeleine L’Engle once said has stayed with me for years, ‘We think because we have words, not the other way around. The more words we have, the better able we are to think conceptually.’ So balancing all of these elements was challenging, a little like prancing across a highwire tightrope.

As well as being good fun to read, Henry Hoobler has some important underpinning themes. Could you share some of these?

I’m always a little cautious when discussing themes because I know the writer is sometimes the least insightful person on that subject! With Henry though, I was keen to explore the nature of courage, the way one young boy discovers how to be brave over the summer, by learning how to make a tiny bit of room for the worry in his life, without giving it the whole house. The novel examines the transformative nature of unexpected friendship, the contagiousness of courage, the way we need one another in order to learn how to become brave and the way courage always arrives through the actual taking of considered risks. The novel celebrates the importance of family and community and the value of perseverance, forgiveness and kindness. I was keen to write about the beauty of the natural world and how to recognise and treasure the true significance of small ordinary moments.

Which awards have had particular significance for you? 

Whenever a book of mine is either shortlisted or receives an award, I’m always extraordinarily surprised and grateful. I know it’s such a hard job to make those kinds of choices, especially when there are so many equally deserving and beautiful books out in the world. Writing a book does take a significant investment of energy and time and winning an award always means that a book will have a much greater chance of being widely read. I was particularly thrilled in 2010 when Bear and Chook by the Sea won the CBCA’s Book of the Year for Early Childhood, not just because it was a moment I got to share with my good friend the illustrator Emma Quay but also because as a kid, I drew a poster every single year for Oatley Library’s celebrations of the Children’s Book Council’s Book of the Year Awards. I was desperate to win a book prize in that poster competition, never dreaming that I would one day write a book that would win an award from such a long-established and hallowed institution.

What are you writing next?

I’ve been writing a series of picture book texts and I’m just returning now to a novel for teenagers that has been patiently waiting it’s turn.

What have you enjoyed reading recently?

I’ve loved Elizabeth Strout’s Anything is Possible, Karen Foxlee’s A Most Magical Girl, James Rebanks The Shepherd’s Life, Brian Doyle’s collection of essays Leaping: Revelations and Epiphanies and the picture books Oi, Frog by Kez Gray and Jim Field and Once Upon a Small Rhinoceros by Meg McKinlay and Leila Rudge.

Do you have a website?

www.lisashanahan.com

Anything else you’d like to add?

Thanks so much for having me on the blog and for asking such astonishingly good, stretching questions. It was lovely to take the time to reflect and ponder.

Thanks for your very thoughtful and insightful responses, Lisa and all the very best with your excellent novel, The Grand, Genius Summer of Henry Hoobler, and your other works. We greatly look forward to what your imaginative mind will bring us next.

Mind Provoking Prose – MG and YA Reads for the Venturesome

If the prospect of bored minds and restless spirits daunts you, consider these literary excursions for your middle grade and YA readers. Not only are they mind provoking and incisive, they offer experiences for the venturesome reader to revere and ruminate over long after they’ve read the last page.

How to Bee by Bren MacDibble

This is a brave story set in Australia in the not-too-distant future with global implications. Peony lives with her sister and aging grandfather on a fruit farm. Her chief aspiration is to be a Bee – the bravest, most nimble of farm workers who flit from tree to tree pollinating flowers by hand. If this concept sounds slightly askew, it’ll be one you are thoroughly comfortable with by the time you’ve experienced MacDibble’s palpably natural, narrative. Could this be the end of the world as we know it or, as I’d rather believe, just another notable chapter in the history of humans being humans – badly.

Whatever your take on climate change and the way we treat the planet, How to Bee, never wallows in despair or hindsight and neither does Peony who positively radiates tenacity, kindness and sass so loudly, her voice really will be resounding long after you read the last page. When  Peony is taken from her home by a mother who aspires for more than just the meagre country existence the rest of her family and friends endure, her brassy drive and cast-iron determination draw her right back to the home she loves, like a bee to its hive. But not before she spreads a little hope and good sense in the big scary city.

This story will make you grin, cheer, cry just a bit and want to fly with Peony as she Bees. It’s about being true to yourself, to those who love you, about living your dreams wildly and the profound power of friendship. It could also quite possibly change your whole outlook of and appreciation for fruit. More highly recommended than an apple a day for middle grade readers from eight upwards.

Allen and Unwin April 2017

Continue reading Mind Provoking Prose – MG and YA Reads for the Venturesome

Katherine Rundell, Wisher & Explorer

London-based writer Katherine Rundell has sprung into prominence with her children’s novels in recent times. She has just written two more books and one is a sumptuous Christmas picture book, One Christmas Wish, illustrated by Emily Sutton (Bloomsbury). It draws on many nostalgic and loved Christmas images, such as being with family and decorating the tree.

One Christmas Wish begins on Christmas Eve with Theo sorting out the Christmas decorations. He finds four unexpected and dilapidated pieces: a rocking horse, a robin, a tin soldier and an angel. His parents are out working and his new babysitter has fallen asleep with her phone but Theo sees a shooting star and wishes to not be alone. The four decorations seem to come to life and offer to help Theo with whatever he needs. However, the decorations all need something themselves, such as the robin remembering how to sing and the soldier needing someone to love and protect. The heart of Christmas is reached when they find a nativity scene in the town square and Theo’s Christmas wish comes true soon after.

The illustrations invite you into the scenes, particularly those with full bleeds to the pages’ edges such as in Mrs Goodyere’s cosy room where she teaches the robin to sing Away in a Manger and the snowy wood where Theo and the others search for feathers to replenish the angel’s wings.

The Explorer (illustrated by Hannah Horn; published by Bloomsbury) is Katherine Rundell’s other new book and it is a rollicking adventure for primary children set in the Amazon after Fred’s small plane crashes. Two girls about his age, Con and Lila, and five-year-old Max also survive. They rescue a baby sloth, raid a bee-hive, make a raft and find a map. They resolve to venture to where the X on the map is located. Disconcertingly, there are signs that someone else has lived in the jungle too.

There is some depth in the narrative, particularly as the children undergo rites of passage. Even though their existence is difficult, at times Fred seems pleased not to be living a humdrum life: “At school, it’s the same thing, every day. I liked that it might be all right to believe in large, mad, wild things.”

The Explorer is inspired by Eva Ibbotson’s Journey to the River Sea, and these two novels do share a similar sense of adventure and freedom.

Katherine Rundell also wrote Rooftoppers, which was one of my top novels for children in 2013 (along with Kirsty Murray’s The Four Seasons of Lucy McKenzie). Rundell has published a couple of other junior novels, including the acclaimed The Wolf Wilder (Bloomsbury, 2015).

Dr Boogaloo and the Girl Who Lost Her Laughter

Lisa Nicol’s debut children’s novel is Dr Boogaloo and the Girl Who Lost Her Laughter, a charming, unpredictable story about Blue, a girl who can’t laugh and is trying to remedy this.

Thank you for speaking with Boomerang Blog, Lisa.

And thank you for blogging me. It’s blogging exciting to be here.

Where are you based and what is your background?

I’m in Sydney and have a background in documentary and TV. I also do copywriting and write for an educational publisher.

What sort of music do you like and do you play any instruments?

What sort of music don’t I like might be an easier question to answer. There’s not really any types of music I don’t get into. Well except Opera and music that involves men dancing in long socks with bells attached. Struggle with that a little.

Basically I like good music. And a lot of bad music too come to think of it! I just like music.

A lot.

But I don’t play myself.

I think Dr Boogaloo & The Girl Who Lost Her Laughter is my love letter to music. It expresses all my pent up love which I can’t express by playing an instrument. Kitchen dancing keeps it in check most of the time but sometimes it just needs to come out.

What have you learned about the importance of music?

I believe humans are musical beings. It’s an intrinsic part of who we are. We need music.

What led to you writing a children’s novel?

I started writing for children when I had my own. I kept getting ideas for books and when they slept I would rush upstairs to the attic and try to write. Unfortunately all my children were terrible sleepers so my output is hardly prodigious. Hard to write a book in 45 minutes. But I’m on a roll now!

Could you tell us about ten-year-old Blue, her horrible mother and some other characters?

 Ah the lovely Blue. I’m very fond of Blue. She has a quiet strength and she tries to keep her chin up no matter how hard things get. She’s not one to complain – unlike her awful mother. Blue’s mother is somewhat self-obsessed. She thinks having a daughter who can’t laugh is an absolute bummer! It’s ruining her life and simply must be fixed. If not she plans on shipping her off to a boarding school in Switzerland somewhere. One of those ones where they don’t come home in the holidays. Costs a bit more but well worth it obviously, under the circumstances.

Now, let me introduce you to the wonderful Dr Boogaloo and his glorious wife Bessie. They run The Boogaloo Family Clinic of Musical Cures. You may not have ever thought of music as medicine but according to the Boogaloos, music can cure anything!

Of course, you need the right dose of the right music. No point listening to a jive if you’re in need of some boogie-woogie, and you can’t just substitute a hum for a chant, or an opera for a ballad, or a toot for a blow. Absolutely not! Musical medicine is an exact art. And it’s extraordinarily complicated. The way Dr Boogaloo explains it is this – everyone has their own tune but sometimes, for one reason or other, we get all out of tune. We lose the beat, you might say. Unfortunately, your tune is just like your fingerprint. No two are the same. Which is why fixing tunes is SUCH a tricky business!

Dr Boogaloo describes Bessie as the magic in his wand and it’s true they are a great team. Dr Boogaloo reminds me a bit of a brand new pencil – he’s very straight ahead – which is perhaps not what you would expect for a musical doctor. Bessie on the other hand is a little more eccentric. She reminds me of a rainbow caught up inside a tornado. Bessie looks after the Doctor’s instrument collection which is so enormous they keep it in a shed about as big as an A380 aircraft hanger.

I particularly enjoyed Blue’s introduction to the Snorkel Porkel Crumpety Worpel Laughter Clinic. Could you tell us about how people enter it and about some of the Laughter Detection Tests?

Well entry is via a giant slide with a vertical drop that would make your nose bleed – hence the need for padded pants to avoid a really good buttock burn –followed by the the tickle machine which helps sort out the wheat from the chaff in terms of laughter issues. Then, once you get past the lobby guy who has a seriously good aim when it comes to snot olives, you’re off to the testing rooms. They are very thorough at the Snorkel Porkel. There are not many places they won’t venture to ensure an accurate diagnosis. Can we just say, strange animal farts, blooper reels, hula-hooping cats in bikinis, Youtube videos of epic fails and a gentleman called Gassy Gus who can blow up balloons with his bottom! You did ask!

Music is important in your novel but what about colour?

Well Blue’s mother has a thing for colour. She goes through colour ‘phases’. You can probably guess what ‘phase’ she was in when she named Blue ‘Blue’. At this point in time, she’s in a white phase. Phases generally involve a lot of shopping, redecorating and pouring over paint charts. Blue is finding her mother’s white phase particularly challenging. Absolutely everything in the house is white so even finding the fridge can be quite tricky. There’s a lot of falling over the couch, that sort of thing.

Could you tell us about the role of musical imperfection?

Well I can only tell you what I’ve learnt from my time at The Boogaloo Family Clinic of Musical Cures but according to Dr Boogaloo, imperfection is an essential ingredient in any musical cure. One of the many musicians who work’s regularly at the clinic is a Canadian called Neil. He’s famous for the perfect bum note or loose string and exactly when to drop one in. Quite a skill.

Have you paid homage to any other authors in your plot, setting or characters?

Not authors so much but songwriters and songs seem to be scattered about the place. That’s my silly love thing again. You don’t need to get the musical references to enjoy the story – I’m sure most of the kids won’t – but if you’re a music fan reading to your kids, hopefully they might amuse you. Some are obvious, others not. For example, Blue’s globetrotting, game-hunting father sends her a pair of high heels covered in diamonds. There’s even diamonds on the soles! And of course Bessie would name her pet pygmy pocket possums after some of her favourite singers – Dolly & Makeba. Tupelo trees, weeping songs, I’m wearing my musical heart on my sleeve I’m afraid….

Are you planning anything special for the book launch?

Of course. Blue’s mother’s favourite – bubbles. And my favourite – music. We have Gramophone Man coming along to play some very old tunes on his steam-powered turntables. That should give most people’s musical immune systems a jolly good boost before the silly season begins.

What are you writing about now or next?

My next book is called The Crumples of Shambolstown. It’s about some very crumpled folks who live next to some very Crisp folks. A gang of Crumple kids venture into Cripsville and things go very, very wrong. It’s a crumply thriller!

What have you enjoyed reading recently?

The Midnight Gang by David Walliams.

Wonder by R. J. Palacio.

A lot of Peanuts by Charles M. Schulz.

Anything else you’d like to add?

No, I’m pooped.

Thanks Lisa, and all the best with Dr Boogaloo and the Girl Who Lost Her Laughter.

Our Mob: Aboriginal Art

Aboriginal literature and other art forms are transforming Australian culture at the moment. The recent Melbourne and Brisbane Writers’ Festivals were both opened by Aboriginal speakers, including dual Miles Franklin winning author, Kim Scott. Leah Purcell’s play script, The Drover’s Wife, won overall Book of the Year in both the NSW and Victorian Premier’s Literary awards. Other Aboriginal authors are also winning major awards with Bruce Pascoe and Ellen Van Neerven recent stand-outs. The ten-year anniversary of Alexis Wright’s Miles Franklin award win for Carpentaria was celebrated at the Brisbane Writers’ Festival this month.

The new sumptuous coffee table book art book, Our Mob, God’s Story also showcases Indigenous Australians through portrayal of their religious beliefs using their traditional form of story-telling through pictures. It is edited by award-winning Christobel Mattingley, known for championing and sharing Aboriginal stories in Maralinga, the Anangu Story and Maralinga’s Long Shadow: Yvonne’s Story and other books and by Louise Sherman. It is endorsed by Noel Pearson and Boori Monty Pryor, who was the inaugural Children’s Laureate and winner of the Prime Minister’s Literary award (children’s fiction) for Shake a Leg.

The editors spent over four years collecting the artwork, striving to include works from as many language groups as possible. 115 paintings were eventually selected, including two by Yvonne Edwards whose story is told in Maralinga’s Long Shadow.

A glowing range of colours and styles create dynamism throughout the book. The genesis of each artwork is explained and often a brief description of the form and media is included. Some of the Biblical text is also written in language and there is a glossary of symbols.

Creation by Glendora Naden

Creation stories proliferate. They range from Glendora Naden’s earthy, symbolic Creation to Bronwyn Coleman-Sleep’s vibrant Sunflowers (Garden of Eden). Traditional stories from the Old Testament include Kristy Naden’s patterned Noah’s Flood, Rupert Jack’s stunning dot-painting, Abraham (featured image at top), and Gail Naden’s sand and ochre Weilwan Waters II.

Born for You by Julie Dowling

Julie Dowling magnificently uses both Aboriginal iconography and European Renaissance-style portraiture in Born for You and Grace Kumbi employs flowing lines and dot work in Three Hunters.

The aerial perspective of Central Australian artwork is demonstrated in Imiyari Adamson’s Tjulpun Tjulpunpa (Desert Wildflowers)

Tjulpun Tjulpunya (Desert Wildflowers) by Imiyari Adamson

and sinuous symbols show The Greatest Love of All (Bronwyn Coleman-Sleep).

Tree of Life by Amata women

A group of Amata women created the rich, well composed Tree of Life.

As the introduction to the book outlines: “Some narrow-minded missionaries did not seek to understand the culture… Others with a wider vision, sought to learn the heart languages of the people among whom they lived…In this book 66 artists from over 40 First Nations of Australia share their vision of Christ, human and divine.”

Our Mob, God’s Story is a beautiful and significant art book. It is an affirmation and celebration of Australia’s first peoples and those who hold Christian beliefs.

Three Hunters by Grace Kumbi

Hopefully it will also help to achieve its aim of reconciliation between Aboriginal and non-Aboriginal Australians.

From ‘Pilawuk’ to ‘I’m a Dirty Dinosaur’, the works of Janeen Brian

In an illustrious and diverse career in children’s books Australian author Janeen Brian has written across genres and forms. Her books span novels, series, picture books and non-fiction.

Thank you for speaking with Boomerang Blog, Janeen. 

Thank you very much for inviting me.

Where are you based, what is your background and how are you involved in Australia’s children’s literature community?

Home for me is in a seaside town called Glenelg in South Australia, about twenty minutes from Adelaide. Originally a primary and junior primary teacher, who worked for some years in a small school library, I began writing for pleasure some time in my thirties, having not ever considered writing before. My career, although I didn’t know it at the time, began when I was lucky enough to start writing for an educational publisher. Since then, I have written over a hundred books, which include educational titles.

Writing communities and Writers’ Centres were thin on the ground when I began, so when a group of children’s writers, calling themselves Ekidnas, and a Writers’ Centre was formed in Adelaide, I felt lucky to suddenly find myself among like-minded people. It was probably a turning point for me. I am still involved in Ekidnas, and am a member of SA Writers’ Centre, ASA, IBBY, SCWBI, SBCASA Branch and was, up until recently, on the selection panel for The May Gibbs’ Children’s Literature Trust Fellowships in South Australia. I’m also an Ambassador for the Little Big Book Club (Raising Literacy Australia) and the Premier’s Reading Challenge.

How have you been mentored by the Australian book industry? Are you able to mentor others in the industry?

There is no doubt in my mind that any workshop, festival, reading or other type of literature event I’ve ever attended has had an impact on me. And nourished me. So that would be my experience of industry mentoring. Plus I was fortunate to win a Carclew Fellowship (Adelaide Festival Awards for Literature) in 2012, which was a type of financial mentoring!

My own mentoring would be in the form of workshops and author visits to schools or libraries. However, I once mentored a lady who was interested in picture books, in a one-on-one situation.

Who publishes your books and which illustrators have you enjoyed collaborating with?

I am published with a wide variety of publishers, and one reason for that might be that I write across a broad range of genres. My publishers include Penguin Random House Australia, Allen & Unwin, Walker Books, Scholastic, Omnibus Books, National Library of Australia, Little Hare/Hardie Grant Publishing, Five Mile Press/Bonnier Publishing Australia and most recently, Little Book Press (Raising Literacy Australia).

I’ve had the most collaboration with illustrators Ann James (I’m a dirty dinosaur and I’m a hungry dinosaur) and Anne Spudvilas ( Our Village in the Sky and Where’s Jessie?) and enjoyed enormously working with both of them.

Could you give us a retrospective of some of your most important or popular books? (please include novels, series, picture books and non-fiction)

I think PilawukWhen I was Young (published by ERA Publications) is an enduring information books for teachers and in classrooms because at the time of writing it was one of the earliest titles about The Stolen Generation. It also was an Honour Award winner with CBCA.

Another Honour book, published in 2001, was the very popular picture book, Where does Thursday go? (illustrated by Stephen Michael King and published by Margaret Hamilton Books/Scholastic Australia). It’s since been published in UK, translated into 11 other countries and recently enjoyed yet another reprint.

Although now out of print (although I have since had it reprinted and handle distribution), the Honour award winning information book, Hoosh! Camels in Australia was an important book to research and was widely acclaimed. (Since translated into Arabian)

I’m also an award-winning poet. I also enjoy writing verse at times and Silly Galah! (illustrated by Cheryll Johns and published by Omnibus/Scholastic) is still a popular book, featuring humorous, informative verses about Australian animals and birds. Its recent follow-up is Silly Squid! by the same illustrator and publisher, which highlights Australia’s sea life.

My two historic novels, That Boy, Jack  and Yong; the journey of an unworthy son,  have both proved very popular and are also read as class sets in schools.

My two dinosaur picture books, I’m a dirty dinosaur  and  I’m a hungry dinosaur (illustrated by Ann James and published by Penguin Random Australia) have been runaway successes. The former won an Honour Award, was Winner of 2014 Speech Pathology Awards of Australia and is the book selected for many Early Childhood Reading programs, targeting families, nationwide. (eg. First 5 Forever in Queensland) It’s also been published in China. The latter was a Notable Award.

What awards have they been shortlisted for or won?

 I have been shortlisted or won Notable awards for other titles including, Eddie Pipper, Where’s Jessie?  and Little Chicken, chickabee.

How do you keep your non-fiction so interesting?

Thank you for that kind comment.

Because I read less non-fiction than fiction, I’m aware that in order to interest certain readers, I first have to interest myself. Over the years I’ve come to believe, that factual information which is written in a more narrative or story-like style is more accessible and interesting for readers such as me. I also try to include fascinating details, using the child-in-me to help decide which to choose.

I know that good books often inexplicably go out of print. Which of your books have stayed in print for a long time? Which haven’t? How have you tried to keep any of your books in print? Is there anything we can do to keep good books in print (apart from buying them)?

That’s an interesting question and one which is out of the author’s control. A publisher determines the when and why a title will not be reprinted. The bottom line is usually sales figures. Many of my educational titles are out of print, but many also remain in print. Often educational and trade publishers change focus or decide to drop a series. Apart from Hoosh! Camels in Australia, which I now reprint and distribute, all other titles mentioned above are still in print. Constant promotion, seeking out niche markets, looking to digital printing and reprinting through Print on Demand are a few ways to potentially keep good books out in reader-land. The creator must work in collaboration with the publisher or look at alternative publishing ideas to keep their book afloat.

Do you give many presentations to children? How do you make them interesting?  Have there been any particularly memorable responses?

Like many children’s writers who’ve been publishing over a number of years (for me, approximately thirty-five years) I’ve given thousands of presentations. I like to be super-prepared, have lots of artefacts, objects, interactive ideas to get the children involved, puppets, songs, creating rhymes, music or rhythm making, choral chanting, dress-ups, role-play, visual material, and nowadays, powerpoints. It all depends on the age-group of the children I’m presenting to. I ALWAYS read to the children. That is a given. And I include poetry reading too. Often we’ll act out one of my poems as I read it. I believe strongly that when an author reads their own work to an audience, a little bit of magic comes out in the words.

One memorable situation wasn’t a presentation as such, but it has always stayed with me. A Year 7 boy in a co-ed college in Adelaide won a competition for a piece of his writing.

He decided to spend part of his prize-winnings purchasing an extra copy of my book, Where does Thursday go?  for the school library, because it had been his favourite book when he was young.

If that was not enough, the teacher-librarian invited the boy, his family, all the library monitors and me to a beautiful morning tea. And I read the book aloud to the boy, and all who were seated at the table. How I got through the reading without crying, I’ll never know. But there were tears in the librarian’s eyes.

Are you aware of any progression in your books – writing style, intended reader, subjects addressed …

I think the one of the biggest lessons I learned was that if you have the desire, the passion and the tough skin to write, that it is a craft – and therefore can be improved.

The strange thing was that I had never in my wildest dreams set out to be a writer. I loved reading. And I loved reading other people’s books. I enjoyed English at school, but there was never any huge encouragement or spark in me that urged me to become an author. So learning was and still is, a big factor in my writing life.

At first I enjoyed writing picture books, poetry and short fiction. And I’ve written over 200 poems, stories, plays and articles for The School Magazine, but of late, I’ve extended my writing loves to include novels. I have also written several teenage short stories for specific anthologies, and although I enjoy writing short stories, my preferred age group is younger, babies to upper primary.

What are you writing about now or next?

I was overseas for four months of this year, returning in July, and while I was away I wrote several poems. The School Magazine has already accepted one. I have also finished a picture book and the first draft of a children’s novel. I’ve sent the picture book to my agent but the novel is safely under lock and key so I don’t look at it for a month. I have a tendency, or bad habit, to send out texts too early!

What have you enjoyed reading recently?

Lots of lovely books including:

A re-reading of Because of Winn-Dixie  (Kate diCamillo)

A Cardboard Palace ( Allayne Webster)

Fabish: The Horse that Braved a Bushfire (Neridah McMullin)

Running Wild (Michael Morpurgo)

Girl with a Pearl Earring (Tracy Chevalier)

The War that Saved my Life ( Kimberly Brubaker Bradley)

Coraline (Neil Gaiman)

Anything else you’d like to add?

Two things I’ve learned along the way:

Finding your own voice and style takes time, a lot of writing and a lot of rejections.

Everybody has different writing interests.

Everybody writes differently.

Everybody chooses whether to plot OR to free-wheel-write as a ‘pantser’ OR use a combination of both.

Writers often go about writing each book differently.

Thanks Janeen, and all the best with your wonderful books.

Thank you very much!

Qld Literary Awards 2017

The 2017 Queensland Literary awards shortlists have recently been announced. They are a good reflection of the quality of current Australian writing.

The Qld Premier’s Award for a work of State Significance and The Courier-Mail 2017 People’s Choice Queensland Book of the Year show an exciting cross-section of Qld authors. The University of Queensland Fiction Book award category is also notable this year for its Qld authors such as Nick Earls with Vancouver, Ashley Hay with A Hundred Small Lessons and Melissa Ashley with The Birdman’s Wife.

My particular interests are literary fiction, children’s and YA so I’ve read all but 1 of the 15 books in these 3 categories. In the Fiction category, authors Heather Rose and Nick Earls have already been scooping awards in this year’s NSW Premier’s Literary awards. I’ve previously reviewed Hannah Kent’s The Good People for the blog.

Wendy Orr is shortlisted for the Griffith University Children’s Book Award and I learned at the Brisbane Writers Festival this weekend that she also lives in Qld. Dragonfly Song has already been awarded a CBCA Honour prize this year. And I believe that Richard Yaxley, whose YA novel This is My Song is shortlisted, is based in Qld.

In the Griffith University Young Adult Book category, two books in particular have been generating attention in other awards. The Bone Sparrow by Zana Fraillon was shortlisted for two international awards: the Guardian Children’s Fiction Prize; and then it went even higher to win an Honour Book award in the CILIP Carnegie Medal. It has received Australian commendations as well, including an Honour prize in the CBCA awards. I reviewed it for the Weekend Australian.  Words in Deep Blue by Cath Crowley won the Indies award and was also an Honour book for the CBCA. I also reviewed it for the Weekend Australian.

Australian literature for young readers in the past few years has been particularly strong in the YA novel and children’s picture book categories. The QLA Children’s shortlist shows a turnaround towards novels for younger readers. Hopefully this is the beginning of a renaissance in Australian children’s novels.

The 4 Children’s titles nominated are: A Different Dog by Paul Jennings, How to Bee by Bren MacDibble, Dragonfly Song by Wendy Orr and The Grand, Genius Summer of Henry Hoobler by Lisa Shanahan. The fifth book is a picture book, Somewhere Else by Gus Gordon.

There is a ‘sense of silence’ across these children’s titles, with a number featuring introspective and even mute protagonists. These shortlisted books could perhaps be summarised by quotes from two:

  • hold moments ‘like a small, quiet treasure’ (Grand, Genius Summer of Henry Hoobler) and
  • celebrate ‘small silent victories’ (Dragonfly Song

Congratulations to all the shortlisted authors and their publishers.

See the complete shortlist below and follow the links to read more about each book.

2017 Queensland Literary Awards Shortlists

The Queensland Literary Awards congratulates the authors and publishers of all shortlisted nominations for the 2017 Awards.

The winners of each category will be announced at the Award Ceremony on Wednesday 4 October 2017 at State Library of Queensland.

Queensland Premier’s Award for a work of State Significance

Matthew Condon Little Fish Are Sweet (UQP)

Mary-Rose MacColl For a Girl (Allen & Unwin)

Cathy McLennan Saltwater (UQP)

Bill Wilkie The Daintree Blockade: The Battle for Australia’s Tropical Rainforests (Four Mile Books)

Queensland Premier’s Young Publishers and Writers Awards

Lech Blaine

Mindy Gill

Anna Jacobson

Emily O’Grady

Bonnie Stevens

The University of Queensland Fiction Book Award

Melissa Ashley The Birdman’s Wife (Affirm Press)

Nick Earls Vancouver (Inkerman & Blunt)

Ashley Hay A Hundred Small Lessons (Allen & Unwin)

Hannah Kent The Good People (Pan Macmillan)

Heather Rose The Museum of Modern Love (Allen & Unwin)

The University of Queensland Non-fiction Book Award

Deng Adut and Ben Mckelvey Songs of a War Boy (Hachette)

Richard Fidler Ghost Empire (HarperCollins)

Mary-Rose MacColl For a Girl (Allen & Unwin)

Kim Mahood Position Doubtful (Scribe)

Cathy McLennan Saltwater (UQP)

Griffith University Children’s Book Award

Gus Gordon Somewhere Else (Penguin Random House)

Paul Jennings A Different Dog (Allen & Unwin)

Bren MacDibble How to Bee (Allen & Unwin)

Wedy Orr Dragonfly Song (Allen & Unwin)

Lisa Shanahan The Grand, Genius Summer of Henry Hoobler (Allen & Unwin)

Griffith University Young Adult Book Award

Simon Butters The Hounded (Wakefield Press)

Cath Crowley Words in Deep Blue (Pan Macmillan)

Zana Fraillon The Bone Sparrow (Hachette)

Mark Smith The Road to Winter (Text Publishing)

Richard Yaxley This is My Song (Scholastic)

University of Southern Queensland History Book Award

Rebecca Ananian-Welsh, Gabrielle Appleby, Andrew Lynch The Tim Carmody Affair: Australia’s Greatest Judicial Crisis(NewSouth Books)

Paul Irish Hidden in Plain View: The Aboriginal People of Coastal Sydney (NewSouth Books)

John Murphy Evatt: A Life (NewSouth Books)

Rebe Taylor Into the Heart of Tasmania (MUP)

University of Southern Queensland Australian Short Story Collection – Steele Rudd Award

Michelle Cahill Letter to Pessoa (Giramondo)

Kyra Giorgi The Circle and the Equator (UWA Publishing)

Tara June Winch After the Carnage (Penguin)

State Library of Queensland Poetry Collection – Judith Wright Calanthe Award

Jordie Albiston Euclid’s Dog (GloriaSMH Press)

Carmen Leigh Keates Meteorites (Whitmore press)

Antigone Kefala Fragments (Giramondo)

Cassie Lewis The Blue Decodes (Grand Parade Poets)

Omar Sakr These Wild Houses (Cordite Books)

QUT Digital Literature Award

Mez Breeze Inanimate Alice: Perpetual Nomads (Beta)

Pascalle Burton Generation Loss (after Alvin Lucier)

Jason Nelson Nine Billion Branches

David Thomas Henry Wright with Karen Lowry and Julia Lane Paige and Powe

Marianna Shek Limerence

Unpublished Indigenous Writer – David Unaipon Award

Alicia Farmer Mai Stori

Lisa Fuller Mirrored Pieces

Emerging Queensland Writer – Manuscript Award

Anna Jacobson for How to Knit a Human

Janet Lee for The Killing of Louisa

Ben Marshall for The Fox

Siall Waterbright for The Coming

The Courier-Mail 2017 People’s Choice Queensland Book of the Year

Voting closes 5pm Friday 25 September 2017.

Melissa Ashley – The Birdman’s Wife
Nick Earls – Vancouver
Richard Fidler – Ghost Empire
Ashley Hay – A Hundred Small Lessons
Anita Heiss – Barbed Wire and Cherry Blossoms
Joan Katherine Isaacs – To Prey and To Silence
Mary-Rose MacColl – For a Girl
Cathy McLennan – Saltwater

Big Stories at Brisbane Writers Festival 2017

Brisbane Writers Festival has had a new lease of life with the appointment of CEO and Artistic Director, Zoe Pollock for the festival’s 55th anniversary. The festival was about “The big stories – and the little ones in between” and the biggest story of them all was probably the recognition of Indigenous literature and creators, particularly the tenth anniversary of Alexis Wright’s novel Carpentaria, which won the Miles Franklin award. This was uniquely celebrated as an immersive dramatic and visual performance inside “Angel’s Palace”, a specially constructed “art-tent”, designed by Gordon Hookey.

The opening address was given by Alec Doomadgee, who spoke about “Indigenous knowledge creation”. He showed excerpts from his seminal film Zach’s Ceremony. Alec said that “reading books gives you a real history of the country you’re in”. He uses the arts and culture to tell stories and create change and urged us all to go away and do something for change. My family has something planned …

I was fortunate to moderate a panel session about “Connecting to Place” which explored how three authors create place as a character (or not – as we discovered) in their stories.

Melissa Lukashenko spoke about the significance of land in her beautifully written, award-winning novel Mullumbimby. Ashley Hay let us look inside a special Brisbane house, peopled over time by two vulnerable women whose lives interconnect. Her novel, A Hundred Small Lessons, has just been shortlisted for the Queensland Literary awards. Kate Mildenhall’s debut novel, Skylarking, was one of my best books of 2016 for the Weekend Australian. It is set on a windswept, isolated cape and is a fine piece of writing about friendship between two young women. Kate is destined for big things in the literary world if she continues to write at such a high level.

I also attended a session about the Australian book industry, “Published in Oz”. It was exciting to hear how writing and reading is the biggest art form that people engage with in Australia. 20% of Australians attend a book event annually and Australia has the highest per capita attendance at writers’ festivals in the world. Reading books is the number 1 favourite leisure activity of Australians. Double the number of Australians enjoy reading books to attending sporting events, playing video games or other pursuits. Australia also has the world’s top independent bookseller market.

Another enlightening session was a workshop for adults on visual literacy by James Foley. He has illustrated Sigi Cohen’s, My Dead Bunny, The Last Viking by Norman Jorgensen and other books.

The BWF also hosted “Word Play” an outstanding program for young people. My highlight was hearing Wendy Orr, author of the Nim’s Island series (the genesis of the movies), Peeling the Onion and the masterful historical fantasy based on the Minoan myths of bull-dancing, Dragonfly Song. This novel has also just been shortlisted for the Queensland Literary awards.

Thanks to the organisers of the 2017 BWF and to those involved. There was a very special buzz in Brisbane.

Take Three Girls by Cath Crowley, Simmone Howell & Fiona Wood

Take Three Girls (Pan Macmillan Australia) is a brilliant new novel written by three prominent Australian YA authors, Cath Crowley, Simmone Howell and Fiona Wood, each the creator of their own notable, highly acclaimed novels.

Fiona Wood, Simmone Howell, Cath Crowley Photo: Jake Nowakowski Herald Sun Weekend

I’m thrilled that all three authors join us on the blog. 

How did you meet and could you tell us something that surprises you about your co-authors?

CATH: I met Simmone on a road trip to a Lowther Hall writing camp. I didn’t have a car, and she gave me a lift. We talked all the way. I met Fiona when Pan Macmillan published the brilliant Six Impossible Things.

I am not surprised by their talent, but I’m in awe of it. I’m always surprised by their descriptions in writing. I read them and wonder how they came up with such beautiful sentences.

SIMMONE: Fiona and I met when we were both working on TV show The Secret Life of Us. I was Script Coordinator, she was writing an episode. I really liked her episode. Also, she shared her sandwich with me!

FIONA: Simmone introduced me to Cath, and she also suggested I show my manuscript for Six Impossible Things to her publisher, Pan Macmillan. I’m not exactly surprised any more but still impressed that both Cath and Simmone are such lateral creative thinkers. I’m much more inclined to choose a path and stay on it, while Cath and Simmone will more readily take a detour or write a new section of the map – so I love that; I need more of that in my writing practice.

Whose idea was the book and how could you consider putting aside writing time that could have been used for your own books to write Take Three Girls together?

CATH: We all wanted to write together. (At least, that’s how I remember it.) I was thrilled to be writing with two of my favourite authors. Take Three Girls took a long time because we were always able to put aside the joint book to work on our own projects.

SIMMONE: I can’t even remember which of us said we should write the book. I think we all laughed and then had a moment of, wait, YES! It was good to work on the book because it was contracted, and because it was fun. When I’m mid-way through writing a novel (as I always seem to be) any distraction will do. The writing of Take Three Girls was much easier than my current WIP maybe because the investment was split three ways.

FIONA: It was lovely to break from the usual solitude of writing. We agreed that we’d never put pressure on each other to put this project first – it had to fit around our other writing deadlines. If you build that in as a condition of the collaboration, then delays are not a problem. And we also said that our friendship comes first: if it stops being enjoyable, or it causes any friction, then we drop it. You do hear the occasional horror story of collaborations going wrong, but we weren’t going to let that happen.

It seems that this novel has been a long time coming. I first heard of its existence through the Leading Edge Books conference several years ago and have been waiting with great (and completely fulfilled) expectation. Why has it taken until now to reach us?

CATH: It has taken a long time! We agreed to let each other work on individual projects. (So Words in Deep Blue slowed us down!) But also, it takes time to write in collaboration. There’s a lot more talk, planning, juggling, rewriting.

SIMMONE: None of us stopped writing on other projects. It wasn’t like we could rip six months out of the calendar and work exclusively on the book. We refused to let it be a stressful exercise because that would have defeated the purpose, which was in some to give us each some relief from our own personal book hells.

FIONA: It definitely took longer than we had originally anticipated, but that has ended up being a strength. We had longer to develop and live with and get to know our characters, and the story itself evolved in ways it probably wouldn’t have if we’d had a clear run at writing it and finishing it more quickly. It took just as long to write as an individual novel because it’s not just a matter of dividing the work three ways, rather, you are engaging in an extended creative process of listening and responding to two other writers as you shape a world and story and themes together.


Where does the title come from?

SIMMONE: Just a little bit inspired by the 1960s UK TV show. The book was originally called Friends Anonymous, but then we found a dating website with the same name so had a rethink and did a bit of a poll.

Probably like all your readers, I was trying to guess who wrote which character – Clem, Kate and Ady – while I was reading (and I occasionally wondered if you were trying to put us off track by using some of each other’s signature traits). And the warmth and understanding makes me think you also have fallen in love with each other’s characters. Maybe you each wrote one character and then added to the other characters…

How did you collaborate on the writing process? Are you going to reveal who wrote what? 

SIMMONE: Ha! I don’t know about Cath and Fiona but I can’t really write like anyone but myself. I think we are pretty simpatico writers though … I wrote Clem, Cath wrote Kate, Fiona wrote Ady.

FIONA: One of the things that made our process very writer-friendly was that we each created a character – and wrote that character, and did all the plotting together. And we divided up the Wellness work sheets and PSST posts. So we developed an initial overall narrative outline and talked through our character arcs at a weekend away, then we would do further plotting and planning, chapter by chapter, go away and write our own characters, come together and read, talk, rethink, refine, replot. I think our writing styles do sit comfortably together, and we loved spending time with these three characters. And yes, I absolutely fell in love with Clem and Kate.

One of the characters, Kate, plays cello. How do you know so much about cello and loop-based performance?

CATH: I had some help! My niece, Esther, plays the cello. She told me about the double stops. ☺ But I adore Zoe Keating. If I could have any talent, I would be able to play like her. She stops my heart.

Ady is regarded as ‘Queen Bitch, according to school folklore’. She is much more than she seems (like the other girls) and is surprisingly perceptive about others. How do you show this?

FIONA: Because Ady is an artist, it felt natural to give her that perceptive quality: she really looks, really notices. I show that in her thoughts, and we offer the reader a dislocation between what Ady is thinking, and how others perceive her. Because our structure includes Wellness journal entries for each character this allowed me to give readers extra glimpses of how Ady’s understanding of Kate and Clem changes over the course of the narrative, for example.

Clem recognises that most girls are trying to be perfect. Why is she able to step away from looking svelte from swimming?

SIMMONE: I think she has a moment where she realises that she will never look how she wants to look, or how she thinks she’s supposed to look, and that there has to be more to her, and that there is more to her.

I love when the girls talk about their perfect days late in the novel. Kate’s is ‘writing music and playing music’, Ady’s is ‘playing with fabrics, dreaming up clothes that don’t look like other stuff’ and then Max cuts in to say her thousand perfect days ‘all involve books and movies and music’.

What are your perfect days?

CATH: My perfect day is filled with nothing – so there’s space to dream and write.

SIMMONE: My perfect days sees me far away, maybe seeing in real life something I’ve only read about.

FIONA: Mine would include a long sleep-in, a walk, some writing, some reading, some food, some solitude, and some family and friends time.

Thank you all for this wondrous YA novel about surprising friendship.

SIMMONE: You’re welcome!

FIONA: Thanks, Joy.

Homeless in Australia: ‘Because of You’ by Pip Harry

Pip Harry is the author of three Australian YA novels, I’ll Tell You Mine; Head of the River, an unflinching look at elite school rowing, and now, Because of You which gives insight into people living on the streets.

Where are you based and what is your current role, Pip?

Currently I am based in steamy Singapore, where my family has been living for the past 18 months on an expat adventure. I had an earlier stint here when I was six years old … it’s changed a bit since then! I love the warm weather, the proximity to Asia for quick trips to exotic destinations and the food is so good. Satay, noodles, chilli crab, dumplings, I could go on!

How involved are you in Australia’s YA community?

I’m actively and passionately involved in Australia’s YA community, even from my Singapore outpost! Through the #LoveOzYA movement – which aims to promote local content to local readers – I’ve been swept up in support and love for Aussie YA. Wherever possible I review or promote other #LoveOzYA releases. We are one big YA family.

Could you tell us about your earlier books?

In 2012, I released my debut novel, I’ll Tell You Mine, about a goth teenager sent to a strict girl’s boarding school. In 2014, I followed up with Head of the River, about siblings competing in the high stakes annual school rowing race and putting it all on the line to win. 

Why is your new novel Because of You (UQP) important?

It’s important because it offers younger readers the opportunity to understand and emphasise with the daily struggles of street people. Many teenagers have little or no contact with the homeless community, except perhaps walking past them on the street, but this book tells their stories, reminds readers that it could happen to any one of us, and offers hope for change.

Could you tell us about your major characters, Tiny and Nola?

Tiny, 18, is sleeping rough and has fled her rural town for the city. Nola, 17, is drifting through her final year at school, unsure of her path in life or her friendships. When Nola is assigned to do 20 days of mandatory community service at a homeless shelter’s creative writing program, the girls meet and form a friendship that will change both their lives.

You have a cast of minor characters who help create the community setting. Who most pulls at your heart and why?

One of the things I loved most about writing Because of You was the supporting cast of characters. The one who captured my heart was Meredith, who runs the Street Library. I love her belief that “books can save anyone, if they’re the right ones,” and her passion to bring stories to the streets.

My son cooks burgers for the homeless in Sydney. What would you suggest ordinary Australians do for the homeless?

Does he? That’s so fantastic! There is so much ordinary Australian’s can do to lend a hand in the homeless community, from serving food in soup kitchens to supporting creative workshops or offering your time and skills in other ways. Check out govolunteer.com.au for opportunities in your area.

What hope do you see for Australia’s homeless in the near future?

It’s easy to get discouraged about the homeless crisis when tent cities are being dismantled and figures for homelessness are rising. But my hope is that we can take national action to end homelessness in this country through supporting our homeless organisations and investing in affordable, stable and permanent public housing.

Why have you incorporated Marcus Zusak’s The Book Thief and Cath Crowley’s Graffiti Moon into Because of You?

Those books are incredible and they’re written by Australian authors I admire, so I wanted my characters to read and adore them too!

What have you been reading recently?

I’ve been reading the chilling, ghostly Ballad for a Mad Girl by the brilliant Vikki Wakefield and I’m in awe of the backwards narrative in Everything is Changed by Nova Weetman. I really liked the passion and rawness of Milk and Honey by Rupi Kaur. 

Thanks very much, Pip, and all the best with Because of You.

Thanks for having me!

Jules Faber & Stinky Street Stories

Thanks for speaking to Boomerang Books blog, Jules and especially for your amazing bespoke Boomerang blog cartoon featured at the top of this interview.

Have you met Alex Ratt, the author of The Stinky Street Stories (PanMacmillan)? If so, what did Alex smell like?

I have met Alex Ratt and she smelled of success and lollipops.

Your illustrations for The Stinky Street Stories 1 & 2 add lots of wicked fun to Alex Ratt’s (aka Frances Watts) words. Which story did you particularly enjoy illustrating and why?

I think I had the most fun drawing Smelly Birthday To Me because I could draw a lot of animals, which I really like to draw.

How do you describe your style of illustration in these books?

Simplistic cartoons designed to highlight the funniest parts of the text (and there are lots of funniest parts!)

What else have you illustrated? How was your style different in these?

I’ve illustrated David Warner’s Kaboom Kid series, Michael Pryor’s Leo Da Vinci series, Damean Posner’s Helix and the Arrival, Andy Jones’s Awesome Book of Rap, Rhyme and Poetry and the Cat and Dog Stories series of short stories. Sometimes I just draw in my usual style but sometimes, as in the Kaboom Kid series, I re-imagine my style to better suit the story. It’s always important to make lead characters look very different from characters in my other books.

Have you met Anh Do, author of WeirDoanother series you’re illustrating? If so, what was your impression of him?

I’ve met Anh, yeah. He’s great fun and just as funny as he is on TV.

What work did you do for Disney?

I worked on a show called The Proud Family in the Background and Layout Department.

What awards have you won?

We won Book of the Year at the Australian Book Industry Awards for the first Weirdo and we’ve won three Honours Awards for Weirdo, Weirdo 3 and Weirdo 5 at the KOALAs.
I’ve also won three Rotary Cartoon Awards for my comic strip MiBraine.

What books have you enjoyed reading recently?

just re-read a fantastic book called Ready Player One about future life inside a 3D videogame. The movie comes out next year and I’m really looking forward to it.

Could you do a quick drawing for us at Boomerang Books Blog? It could be a sketch of Brian from the Stinky Street Stories encountering Boomerang Books Blog or whatever you wish.

Boomerang Boys

And here it is!

Thank you so much for your answers and cartoon, Jules, and we look forward to seeing more of your inimitable work.

Stinky Street Stories 2 available 12th September 2017.

Winners & Honour Books CBCA 2017

What incredible achievements by our Australian writers and illustrators for young people as shown by this year’s CBCA winning and honour books.

Claire Zorn stands out again with her extraordinary One Would Think the Deep (University of Queensland Press). She won both CBCA Older Readers’ category and the Prime Minister’s Literary Award with her previous novel, The Protected. One Would Think the Deep is set in the 1990s and submerges the music of this era into the struggles of Sam who is suffering from grief and rage after the death of his mother. The authoritative evocations of the ocean and surfing reflect his passion.

Congratulations also to the highly accomplished honour books in this category. They are both also remarkable and world class: Words in Deep Blue by Cath Crowley (Pan Macmillan Australia) and The Bone Sparrow by Zana Fraillon (Hachette Australia). I’ve written more about this impeccable trio of novels previously, as well as about the shortlisted books in this category.

I am also very excited by the Book of the Year: Early Childhood winner, Go Home, Cheeky Animals! (Allen & Unwin) written by Johanna Bell and illustrated by Indigenous man, Dion Beasley. It is such a cheeky, joy-filled story; perfectly structured. The illustrator also sells his work in the form of t-shirts and other merchandise on his website.

The honour books in this category are also excellent examples of texts for young children. Nannie Loves by Kylie Dunstan (Working Title Press) has nostalgic-looking but bright tissue-paper collages and Gary by Leila Rudge (Walker Books) is an ingeniously structured tale about a homing pigeon who can’t fly. I’ve written more about the Early Childhood books for the blog here.

Another picture book with appeal to young readers won Picture Book of the Year. Home in the Rain (Walker Books) is Bob Graham’s seventh CBCA win. He is a maestro and this book equals his magnificent best even though it takes place in the unlikely setting of a car in the rain.

The Picture Book honour books are written by the affable and inventive Lance Balchin with Mechanica (The Five Mile Press) and talented writer for a range of ages and genres, Maxine Beneba Clarke with The Patchwork Bike (Hachette Australia). Van T Rudd has expressed movement and community in his street art inspired illustrations of the bike and its creators. I’ve written more about these books here and elsewhere in the blog, including how to share the books with children.

Book of the Year: Younger Readers has been won by Trace Balla’s entertaining and comprehensive depiction of a trip through the Grampians in Rockhopping (Allen & Unwin). Honour books are Wendy Orr’s masterful, myth-inspired novel Dragonfly Song (Allen & Unwin) and the comical Captain Jimmy Cook Discovers Third Grade written by Kate & Jol Temple and illustrated by John Foye (which completes the A&U triumvirate of winners in this category). I’ve written previously about the books for younger readers here and elsewhere in the blog.

The Eve Pownall Award for Information Books has been won by the informative, traditional Amazing Animals of Australia’s National Parks by Gina M. Newton (NLA Publishing). The honour books are the clear, well-designed A-Z of Endangered Animals by Jennifer Cossins (Red Parka Press) and the fascinating The Gigantic Book of Genes by Lorna Hendry (Wild Dog Books). I’ve written more about these books here and elsewhere in the blog.

Congratulations to all the winners and everyone who was shortlisted this year. Thank you to the judges and all the volunteers involved in the CBCA.