Emily Rodda is indisputably one of Australia’s best writers and she is also acclaimed around the globe. Many of her works, of which I have a large collection in my bookshelf, are contemporary classics where she conjures magical worlds based in both reality and fantasy that resonate with all young people and kindle their imaginations.
I can’t overstate her gifts and importance to countless children’s (and adults’) lives and am unbelievably excited that she has agreed to speak to Boomerang Books Blog.
Emily, I have heard you say that some of your characters have been based on your own children. Have you written a character based on yourself? If so, who?
A: It’s fairly common for writers to draw on autobiographical material in their early books, and I was no exception. Lizzie, the mother of the main character in my first book, Something Special, is a light but quite faithful sketch of me—as I was at that time, anyway. Normally I don’t base characters on real people, though. It’s more interesting to let characters grow into themselves as the book develops.
How do you create a magical element in a realist setting? How do you know how much magic to include?
A: I’ve always seen the potential for magic in ordinary things, people and places. Most people have experienced odd things at one time or another—a weird string of coincidences, maybe, or time apparently going faster or slower than usual, or a strange feeling in an old house, or a flicker of shadow seen out of the corner of an eye … I’ve written stories based on all these things. Writing magical reality is just a matter of giving your imagination full play, letting it lead you, allowing yourself to believe, and then writing the story accordingly.
But in fact I actually feel as if I have lived in all my other worlds as well. While I was writing Deltora Quest, part of my mind was living in Deltora all the time. It was the same with Rondo, with the world of the Three Doors, and of course with Rowan of Rin. I know them all as well as I know my home place, and I can revisit them any time I like. Rowan’s world is the one I find the most appealing, I think, but this could be because it was the one I wrote about first.
What is your favourite nursery rhyme or fairy tale and have you included it in your work in any way?
A: I can’t say I have an absolute favourite, really, though Little Red Riding Hood has always appealed to me because I like the idea of the big bad wolf impersonating the Granny. I put legendary, fairytale and nursery rhyme characters into the world of Rondo because I see Rondo is a sort of metaphor for the imagination, and of course the tales we’ve heard and read are part of that, all jumbled up in our minds with the things we’ve thought up for ourselves.
The Shop at Hoopers Bend (Angus&Robertson, HarperCollins) is a transcendent tale that made me cry both times I’ve read it but also lifted my heart.
You’ve named your main character, Quil (from Jonquil). Why have you chosen this name rather than another winter bulb or flower?
A: I always try to give my characters names that somehow suit their personalities. We have a lot of jonquils in our garden. They aren’t flamboyant and bright. They don’t make big, happy, dancing statements, like daffodils. They’re unobtrusive, but when you get close to them you can see their delicate beauty, and you realise that they have the most beautiful scent. So to me the jonquil was a good symbol for a reserved and sensitive person like Quil.
Could you tell us a little about Quil’s game, ‘Stardust’? What type of person are you from this game?
A: Having learned that everything on earth contains the dust of long-dead stars, Quil decides that this is the answer to the vexed question of why we are instantly attracted to some people—even feeling as if we have met them before—but are left unsure or even wary about others, however nice they are, till we know them much better. Quil believes we recognise and feel we ‘know’ people whose stardust most exactly matches our own.
This has been an idea of mine for a long time. It applies to places as well as people. Quil takes the theory further by dividing people she meets into types and giving those types star names of her own invention. This helps her to feel in control of her world, to some extent. Her stardust types are very personal to her. I wouldn’t dare say which type she might decide I am. A bit of a mixture, I suspect.
The setting around the character-filled shop at Hoopers Bend is distinctly Australian. How do you create this or other scenes with a minimum of description?
A: That’s quite a hard question to answer, because when I’m writing I don’t think specifically about which words to use. I just put myself into the scene and say what I’m seeing, hearing and smelling. I don’t like to stop the story dead with great slabs of description, preferring to give the atmosphere and appearance of any setting come out through the eyes of the characters as the story moves on.
A: In early primary school I read all the usual Australian children’s classics, The Wind in the Willows, Alice in Wonderland, Peter Pan and lots of Enid Blyton and LM Montgomery books among many others. By the end of primary school I had discovered the Brontes, and after that I read books for adults almost exclusively.
What have you enjoyed reading recently?
A: I’m just reading Hag-Seed, Margaret Atwood’s take on The Tempest, and am enjoying it immensely. Margaret Atwood never fails to amaze me.
Thank you, Emily, and all the best with your wonderful books and their important legacy.