Australian YA and other fiction in London

I’m just back from a tour of (mostly indie) London bookshops.Children of the King

My visit to the Tower of London was enhanced after seeing Sonya Hartnett’s Children of the King, which alludes to the missing princes held captive by their uncle Richard III in the Tower, in a Notting Hill bookshop.

Australian YA, as well as children’s and adult literature, held its head high with sightings of Amanda Betts’ brilliant Zac and Mia, (which I reviewed here) and works by Kirsty Eagar and Melina Marchetta. I was so pleased to see my favourite Marchetta, On the Jellicoe Road on the shelves there. Watch out for the movie.Jellicoe

Karen Foxlee seems to be appreciated much more in the UK and US than in Australia. I saw Ophelia and the Marvellous Boy (for children) and The Midnight Dress. (I reviewed The Midnight Dress for the Weekend Australian here.)

And Jaclyn Moriarty has had a strong following overseas, which her own country is finally catching up with now she is winning YA awards here. Her sister, Liane’s Big Little Lies, the best seller for adults, was everywhere.

Margo Lanagan’s The Brides of Rollrock Island, published here as Sea Hearts was visible and I also noticed another crossover series, Tales of the Otori by Lian Hearn.Red Queen

It was great to see some of the incomparable Isobelle Carmody’s stunning YA works. Along with many others, I can’t wait for The Red Queen, the final in the Obernewtyn Chronicles, which is being published this November. This series is world class and dearly loved. How will Elspeth Gordie’s story conclude?

Shaun Tan’s Rules of Summer rules the world. It was everywhere, and even featured in bookstore displays.

Marcus Zusak’s The Book Thief still has a high profile but Graeme Simsion’s The Rosie Project and The Rosie Effect for adults seemed to be even more popular. Like Rules of Summer, Rosie was everywhere, which makes me anticipate my upcoming conversation with Graeme at the Brisbane Writers’ Festival in September even more eagerly. It is so difficult to write humour and we spent a car trip recalling anecdotes from his books and laughing aloud.

Australian children’s books were highly visible, particularly multiple titles by Morris Gleitzman, including his holocaust series beginning with Once.

SoonThe latest in the series, the chilling Soon, is now available in Australia, although not quite yet in the UK. Andy Griffiths’ and Terry Denton’s Treehouse series was as ubiquitous as London’s red, double decker buses and John Flanagan’s Ranger’s Apprentice series was also popular. I spied books by Emily Rodda and it was a thrill to see Anna Fienberg’s stand-alone children’s novel, Louis Beside Himself, as well as her Tashi series, illustrated by Kim Gamble.

Some Australian adult authors taking shelf space were Peter Carey (Amnesia), David Malouf, Evie Wyld (All the Birds, Singing), Hannah Kent (Burial Rites), Tim Winton (Breath), Steve Toltz (Quicksand) and Richard Flanagan’s The Narrow Road to the Deep North.

A few standout OS YA authors on the shelves included Mal Peet (who I’ve written about here), Frances Hardinge (Cuckoo Song and Fly By Night) and Patrick Ness, whose latest YA novel, The Rest of Us Just Live Here, will be available in August. It’s one of his best. rest of Us Just Live Here

CHILDREN’S BOOK WEEK: Sandy Fussell

White Crane “…Why don’t you write proper books?” I’m often asked by friends.

I write on the frontier of Australian story telling. It’s a wild and woolly place. A little bit dangerous even. There are Dragonkeepers and Ranger’s Apprentices. A Book Thief and a Bugalugs Bum Thief. You can go Hunting Elephants or into the Teenage Underground. There’s even a Pencil of Doom and my own Samurai Kids.

I’m a children’s author.

We’re raising the imagination stakes, encouraging a love of reading and opening the door to critical thinking. We’re always entertaining, sometimes educating and often making our readers laugh.

Children and young adults are not easy to write for. They won’t tolerate a story that doesn’t immediately engage their attention nor will they read a tale with an overt lesson. Their own ideas rival the most fantastic of storylines. They have widely ranging reading abilities, life experiences and interests. The youngest of readers need to be handled with care and the older readers exposed to new thought. It’s an enormous challenge and a lot of fun.

When I write for children, I get to tell the stories I want to hear. Another children’s author once told me you write for the age you are inside. So I’m somewhere between ten and fourteen on any given day. I think that’s about right. I also enjoy being able to regularly interact with my readers in their classrooms, the library and the wider community. Children want to meet their authors and listen to their stories. There are no barriers or pretensions. I know from experience kids will ask almost anything!

Sometimes I get the big reward. “Your book was the first one I ever liked. I’m going to read another one.” The storytelling frontier is an exciting place where things are growing all the time. As a children’s author, I’m helping to grow enthusiastic readers and maybe writers as well. I love it!

Owl NinjaWant to win copies of the books in Sandy Fussell’s Samurai Kid’s series? All you have to do is email me a review of the last children’s book you read. You could’ve read it last night, last year, or even back when you were a kid. The catch? Your review has to be 20 words or less. In your email’s subject, be sure to write: ‘FICTION NOVELS FOR AGES 10+’