Human beings can be a tenacious breed. Our stubborn ability to cling to optimism often overrides unsolicited fear, which I guess allows us to fit in with the rest of the world’s species and, in short, survive. Brian Falkner artfully cultivates that seed of hope in a choice collection of short stories ideal for mid-grade to YA readers and beyond.
That Stubborn Seed of Hope Stories heralds what I hope is the first of more anthologies for children, depicting concise, gripping stories linked in theme and flavour. The tone of this collection is at times dark and sobering, sorrowful and desperate yet somehow also manages to leave the reader with a yearning to read on, to venture further into their own swamp of fears and to face those disquietudes with the help of another’s story.
Falkner addresses a number of fearful situations and occasions to dread with these stories: the fear of death, embarrassment, rejection, heartbreak to name a few. At times the obvious theme is enshrouded by a veil of less certain anxieties which combine to form complex and rich narratives. Continue reading Review – That Stubborn Seed of Hope
Where are you based and what is your current role, Danielle?
I live in Melbourne, and currently I wear many hats … I’m a young adult and middle grade literary agent with Jacinta di Mase Management. I’m a writer, editor and book blogger – and most recently I edited and contributed to the HarperCollins book Begin, End, Begin: A #LoveOzYA Anthology.
How did something you’ve done in the past help you get this position?
From about the ages of 14–21 I wrote a lot of FanFiction. “FanFic”, if you don’t know, is fiction about characters or settings from an original work of fiction, created by fans of that work rather than by its creator.
I wrote a lot of Buffy the Vampire Slayer, Dawson’s Creek and Twilight fanfic – just because I loved it, and imagining worlds beyond the end of a television season or the last page in a book got my creative synapses firing.
And actually, when I applied for the university course that set me on this path of books – RMIT’s Creative Writing and Editing program – I didn’t have any of my own creative writing to submit for consideration, so I sent through one of my Buffy fanfic pieces. And I got in.
I honestly don’t know that I’d be here today if I hadn’t found a sustaining creative-outlet in FanFiction.
How involved are you in Australia’s enthusiastic YA community?
Very. I’ve had my own personal book review blog – Alpha Reader – since 2009 that I still contribute to today. When I started my book blog, I called it “my solo book club” and I just read the books that I wanted to – which just so happened to be a lot of what I’ve always read and gravitated towards – romance and YA. I’d always write these long, rambling and impassioned reviews of YA books, and eventually that led to me being invited to write about youth literature for the Kill Your Darlings online journal, for about 2 years. I always tried to give YA, and Aussie YA especially, the respect and consideration I didn’t think it was getting from mainstream arts media.
Then in 2015 the #LoveOzYA grassroots movement kicked of and I became a proud supporter of that conversation – until I was eventually elected to help form the inaugural and official #LoveOzYA committee, championing Australian YA.
It’s fantastic that females are writing brilliant Oz YA. Even in the recent past there were outcries about lack of female writers being shortlisted for the Older Reader (YA) category in the CBCA, for example, but this year all 6 shortlisted books are by women. I know there are a few around, and you’ve included two in your book, but where have the males gone?
I think it’s all pretty subjective, really – and balances out in the end.
If you look at younger children’s books in Australia (junior fiction and the 8-12 middle grade readership), that category has mostly been male-dominated, and for a long time. The likes of Paul Jennings, Morris Gleitzman, Shaun Tan, Jack Heath, Tristan Bancks, John Flanagan, Andy Griffiths, Oliver Phommavanh…
Australia and international YA also has no problem spotlighting fine male authors – Markus Zusak, Jay Kristoff, John Marsden, Patrick Ness, John Green, James Dashner, Rick Riordan, David Levithan, Ransom Riggs, Jay Asher … I think the guys are doing okay.
The fact that the #LoveOzYA Anthology doesn’t have more male writers came down to availability – we did query others, but timelines and deadlines didn’t match up, in the end … but we got two of the finest writers – period! – in Will Kostakis and Michael Pryor.
And what we prioritised more was a diversification of story and genres, as opposed to genders.
Could you tell us about Begin, End, Begin, the anthology of Australian YA short stories you’ve edited?
#LoveOzYA was a hashtag that sparked a conversation that created a movement that led to this book … the #LoveOzYA hashtag was created in response to the onslaught of American blockbuster YA that was dominating our bookshelves. And the idea to create an Anthology riffing on that hashtag and grassroots movement was just about showing people all there is to love about Australian YA – and giving us a way to crack open the conversation about supporting local stories and authors.
At the end of the day I think the hashtag, movement and book are all about encouraging Aussie teens to read Australian stories – so they grow into adults who seek out their national literature, and keep our books community alive and thriving.
How was this title selected?
The theme we gave each of the authors to write to was “firsts”. But writing about “firsts” inevitably leads the mind to think about “lasts”. And we found that this second recurring theme emerged in just about all the stories being written – every beginning was an ending too – and we loved that, we wanted to pay tribute to that.
What genres have you included? Was this deliberate, or an outcome of what the authors wrote?
We wanted a big enough theme that all of these eclectic authors could write across multiple genres and really showcase the fact that “Australian stories” are not just set in the outback or small coastal towns …but that Australian stories are ghost stories. And space stories. And anything-else we want them to be! It was very deliberate.
How did you select which authors to invite to contribute to Begin, End, Begin – or did they twist your arm?
Well, when I started approaching authors it was all a very hush-hush secret and embargoed project … but myself and Harper Collins publisher, Chren Byng, started by writing separate lists of – maybe? – 30 authors we’d love to work with. Then we came together and picked out where we had crossovers in our wish-list, and from there it was a matter of going down the line and asking everyone if they were available and would they like to be apart of this amazing project?
I will say that since the Anthology came out, I’ve had a few Aussie YA authors approach me and let it be known that *if* there’s a second, they’d love to be involved.
So. Watch this space.
What brief/guidelines did you give the contributors?
The theme of “Firsts” and a ten thousand-word limit. And that the story had to be original. Then it was a matter of letting their imaginations run wild …
Was there any author you wanted and couldn’t get – and could maybe include in another book? Or an author you want for the future?
Yes. And yes. But I won’t say who, because they may be someone I’d like to approach for Anthology No. 2 and I’d quite like any future line-up to be a surprise. But I’ve been asking readers which Aussie authors they’d like to see appear in any future Anthology … and writing down those suggestions too.
There’s definitely a list I’m holding onto.
What have you learned about any of these authors?
I’ve learned that I was absolutely right to have been fans of all of them before embarking on this project … because every single one just astounded me with their generosity and story.
My advice is; don’t just meet your idols – but work with them. See what magic happens.
Who wrote the most unexpected story? Why?
Oh my gosh, – me! I was the unexpected emerging voice in the Anthology, with my story ‘Last Night at the Mount Solemn Observatory’ and there were times when I thought I would be too crippled by self-doubt and imposter syndrome to get it done … but I did and I’m proud of it. And a bit surprised, to be honest.
Mine is a story about a little sister, saying goodbye to her Deaf big brother on his last night in their small town. It’s inspired by my own family, partly – and when I initially spoke about it with our Harper Collins editor, she told me that she loved the idea because she’s CODA (a child of Deaf adults). So we both spent a lot of time getting it right and focusing especially on the rhythms, beauty and rapidity AusLan (Australian sign-language). So I’m proud and surprised by what I accomplished.
Did anyone surprise you by submitting their work early?
I don’t think so? … Amie Kaufman surprised me by being a day late, only because she was getting her friend (who works at NASA!) to read over her story and give some feedback on the logistics and feasibility of her outer-space setting.
I wasn’t upset in the least; I thought it was SO COOL!
And I’d still quite like to get a “NASA-certified” sticker on the front cover because of it. HA!
How did you sequence the stories?
My publisher, Chren, put is so perfectly when she said choosing the sequence would be like putting together the perfect mix-tape. I took that advice and made sure there was a balance of genres (so sci-fi, followed by contemporary, followed by surrealism, followed by contemporary) just to hit those different peaks. And also that long and short stories were side-by-side, so readers wouldn’t get two 10K stories in a row, and become a little weary with lengths.
Was much editing involved throughout? If so, what type of edits?
There was a bit of editing … structural edits for each story, talking out things like character-development and whether or not the story was hitting the right marks at the right times (trickier to do when you have a shorter word-count, and not the length of a novel to ease into dramatic climaxes or subtle denouments). But everyone got there in the end. And there was certainly nobody who needed more editing than anyone else (myself included!)
What do you hope for OZ YA in the near future?
I certainly don’t think that Australian YA is perfect. I think it needs to be more diverse and inclusive, to honestly portray Australia back to its teen readers.
But that being said – I don’t think the representation in Australian YA will get better by us ignoring our national youth literature. I think it will improve by us investing in it, and that’s certainly the route I’m taking.
I’m now a literary agent, and I’ve made no secret of the fact that I’m actively seeking and prioritising “Own Voices” stories (a term coined by American YA author Corinne Duyvis, to identify books about marginalised protagonists written by authors who share that same identity.)
And I’m really proud of the fact that the first YA manuscript I sold was a sci-fi, eco-thriller called ‘Borderland’ – written by a debut Indigenous writer and poet, Graham Akhurst (coming out with Hachette, in 2018).
I take it as a huge honour, opportunity and responsibility that I’m now in a position to have a say in the Aussie YA of the future … and for my little corner of the books world, I’m going to do all I can to make sure all Australian stories get told, and that as many Aussie teens as possible see themselves in those stories.
Because teenagers who fall in love with their national youth literature, will one day grow up to be adult readers who seek out Australian stories. And everyone has a story worth telling.
Thanks for answering these questions and for all your work in promoting Oz YA literature, Danielle, and all the best with Begin, End, Begin and your other endeavours.
Some of the most beguiling writing for adults features young characters. I touched on this when I reviewed Joan London’s The Golden Agein January. http://blog.boomerangbooks.com.au/the-golden-age-where-children-are-gold/2015/01 This book has recently been awarded the 2015 Kibble Award. Yann Martel’s The Life of Pi also has a young adult protagonist, as does Donna Tartt’s The Goldfinch and Eimear McBride’s winner of the Bailey’s Women’s Prize for Fiction and other prestigious awards, A Girl is a Half-Formed Thing. Many other well-regarded adult books focus on young characters.
It is, however, of concern that some industry professionals and others have a lesser view of YA and children’s books than of those from the adult list. I addressed this in my interview with James Patterson (who has the opposite view) for Magpies Magazine https://www.magpies.net.au/current-issue/ (July 2015):
‘Adult books often receive bigger prize money for book awards than children’s books; adult books are positioned at the front of bookstores while the children’s bookshelves are at the back (there are some exceptions); and publicists from publishing companies tend to accompany adult authors at writers’ festivals (once again, there are exceptions), while most children’s authors and illustrators are expected to fend for themselves, which they do very capably. And, even though blogging about books is growing, there is generally diminishing space in the mainstream media to report on children’s book news and review children’s books, although we must acknowledge those few journalist, editor and media heroes who support children’s literature and literacy.’
It was affirming to view ABC TV’s The Book Club in June where guest Alan Cumming selected Enid Blyton’s Famous Five: Five on a Treasure Islandas the classic book of the month. The discussion was animated, with the panel in positive agreement and revealing surprising depths in this book. So a children’s book was one of The Book Club’s high points. And the writing quality of much children’s and YA literature has improved exponentially since Blyton’s time. http://www.abc.net.au/tv/firsttuesday/s4229132.htm
Two new Australian titles for adults feature young Australians. In Antonia Hayes’s novel, Relativity (Penguin/Viking), Ethan is navigating the end of childhood and adolescence. It is more difficult for him than most due to anomalies in his personality and mind. He is absorbed by science and ostracised by his peers. Although he resembles his father in many ways, they have not seen each other for years until Mark returns to Sydney from WA to see his own father on his deathbed. Something happened in Ethan’s infancy to rupture this family.
Tegan Bennett Daylight’s, Six Bedrooms(Vintage, Random House) is an absorbing volume of short stories. Like Relativity, it also touches on estranged families. The writing is fresh and vulnerable, raising the often-forgotten experiences and memories from youth into crystallised vignettes.
Some sophisticated Australian YA which matches (or exceeds) the quality of our fiction for adults include Girl Defective by Simmone Howell, The Three Loves of Persimmon by Cassandra Golds, The Golden Day by Ursula Dubosarsky, This is Shyness by Leanne Hall, Into White Silence by Anthony Eaton, Wildlife by Fiona Wood, Liar by Justine Larbelestier, The Incredible Adventures of Cinnamon Girl by Melissa Keil, The Dead I Know by Scott Gardner, The Betrayal of Bindy Mackenzie by Jaclyn Moriarty, Graffiti Moon by Cath Crowley and The Midnight Dress by Karen Foxlee. These are a mere sample of our YA treasures (and I dread to think what’s I’ve missed after listing these off the top of my head).
To find more of our best recent YA, explore the 2015 CBCA winners and honour books, which are announced on Friday 21st August at midday. The Books for Older Readers are a phenomenally strong group this year .