Meet the Author: Ky Garvey

Ky Garvey is a mother to two boys who are both diagnosed with Autistic Spectrum Disorder and ADHD. Through her experiences with her boys, she has been inspired to write fun and engaging stories that turn challenges into triumphs. Ky aims to share supportive, inclusive and empowering stories for children.

Ky also writes and hosts the podcast Totally Lit! a monthly podcast celebrating reading, writing and creating literature. The podcast features writers, illustrators and all types of creators of books and stories.

Author Insight

What’s the story behind your debut picture book Easy Peasy? How did it come about? I sat down at my laptop, and I closed my eyes. I took a deep breath and tried to reconnect with little Kylie. What were the things that she really loved when she was a little girl? Then I remembered how much I loved to roller skate and the story started to take shape from there. I always love to include things from my real life in my stories, so Ruby sleeping with her roller skates was inspired by my son sleeping with his skateboard when he was a little guy. Ruby going to the roller rink with her dad was inspired by my dad taking me to the roller rink on a Saturday morning. It was something we could do together that we both enjoyed and kept us fit and healthy too.

What is about writing for children that draws you to work in that genre? I loved to read from a very young age, and I hope to write engaging and inclusive stories for those children out there just like me that love adventure and imagination. Also writing for kids is so much fun!

Where do you find the inspiration for your stories? Usually, I am inspired by my family and loved ones or things that have happened in my life. I have some other stories on inclusion and diversity I’d love to get published which are inspired by my sons’ experiences growing up with ASD and ADHD.  

Walk us through your creative process. Once you have a story idea, what’s your next step? As soon as I have an idea, I write it down. I’m a bit of a pantser – that is, a writer who doesn’t plot or plan. I just write it all down in one go. Once the story is written, then I go back and look at the plotting and planning. I then paginate it, which means breaking up the story and sentences up into the pages where I think they should belong. This also helps me visualise where the illustrator will be putting their illustrations. If you have sentences in a picture book that an Illustrator can’t draw a picture of, it probably means the sentence is unnecessary. Then I ask my husband to read it. My greatest critiquer and my greatest supporter.  After I get his feedback, it may go through several drafts and then I will reach out to an editor to help me polish it to a point that it ready for submission.

How has your childhood influenced the writer you’ve become? I’ve been very lucky to have had an adventurous childhood and have lived in interesting places in North Queensland and on Christmas Island for a brief time. I am hoping some of my future manuscripts will contain some of my childhood adventures. I was also a voracious reader as a child, and I believe this prepared me to be the writer I am today.  Every year for my birthday my mum would give me a hardcover book as a present. This gave me the chance to read all the classics and lots of other amazing books. I am very grateful to my mum for encouraging my love of reading.

How closely were you involved in the creation of the illustrations for Easy Peasy? The very talented Amy Calautti did the illustrations for Easy Peasy. The only way I was involved was by inspiring Amy with my story. She did all the wonderful illustrations; I was so inspired by how beautiful they were. She really brought my words to life, and I would be very proud for her to illustrate my books if we ever had the opportunity to work together again.

Are they what you envisioned for this story? Amy’s illustrations were beyond my expectations. Her work really made me fall in love with Easy Peasy on another level. It is one thing to see your words in print but then to see someone create such beautiful illustrations with such love and care, it really is beyond my wildest dreams. Even special little touches like the lovely little duck Amy has illustrated throughout the book just made the book just that much more amazing.

What do you hope readers will take away from this book? I hope readers see that there are many things we do in life that we don’t get right the first time and that’s OK. When we are learning something new it is OK to admit that we might need some help and that the people around us who love us are there to teach us and guide us.  I also hope that readers see how much fun there can be in life if you persevere and keep trying even when it seems too hard.

Do you experience ‘writer’s block’ and if so, how do you overcome it? I do sometimes feel like I don’t have any ideas. I’m not sure if it is really writer’s block, or more just the feeling that I don’t have an idea that someone else would want to read. Then other days my head is popping with so many ideas that I don’t know how I would find time to write all the stories in one lifetime. I think the key is to sit at your laptop and just write to overcome ‘writer’s block’.

What are you working on at the moment? I’m working on two stories about ASD and also one on Australian animals. I also am bouncing around an idea for an early chapter book about a little girl who has the most unlikely adventures and always accidentally comes out on top.

What’s the best aspect of your creative life? I love writing so that is the best aspect. But also meeting and talking to other talented and interesting authors. It is always very inspiring to have a great chat with another creative.

—the worst? Rejection. It’s hard when you are submitting work and it doesn’t get accepted. But it is part of the process and sometimes it just means you need to go back to your manuscript and write better. Other times it is just not the right time for your story to be out in the world. Learning patience is a big part of becoming a writer.

How important is social media to you as an author?  Social media is a great way to connect with your readers and fellow authors. There are times though where I get FOMO or feel a bit down from the socials. I think it is important to sometimes give yourself a break from social media and connect with people at a more human level.  I do always love to get an email or DM from a Totally Lit podcast listener or someone who likes a piece of my writing though and I always try to write back as soon as I can.

What’s the best advice you were ever given? Keep writing.

What’s your top tip for aspiring authors? Don’t give up! Writing is hard and getting published is hard. But we can do hard things. And ask advice from those who are excelling in their speciality. I believe that you should surround yourself with the people you aspire to be like. So, if you ask your mum if she likes your writing she will always say yes because she loves you. But if you ask a seasoned author or editor who knows their stuff, they will give you an honest critique on your work. It might sting initially but this is the way to make your work better.

In three words, how would you describe your writing? Adventurous, Curious, Resilient.

If you had the chance to spend an hour with any writer of your choice, living or dead, who would it be and what would you most like them to tell you about living a writing life?  I would love to spend an hour with Agatha Christie. I’d love to find out where she got all her ideas and inspiration from and the continued motivation to be so prolific in her writing. I’d also like to tell her good on her for restarting her life after her divorce and finding a wonderful archaeologist husband to love and live a life of adventure with.

Now for a little light relief – If you were going to be stuck in a stalled lift for several hours who would you choose to share the experience with you and why? It’s not so trendy to love Friends these days, however I am a ’90s chick, so I would choose Chandler from Friends, the way he was stuck in the ATM cubicle with Jill Goodacre, the super model. I don’t think I would have the same effect on him as a supermodel, but he would definitely give me a laugh to pass the time until we are rescued from the lift. Maybe even offer me some gum. ‘Could he BE more funny?’

Book Byte

Ruby loves her shiny new red roller skates. She’s never roller skated before, but she’s sure it will be easy peasy! So when her dad offers to help her learn to skate, Ruby says no. But things don’t go as planned…

Embracing themes of independence, perseverance, and family relationships, this is a fun, engaging story for children learning how to do something for the first time.

Buy the book here.

Teachers’ notes are to be found here

Meet the Author: Tim Symonds

It’s relatively simple to continue typing words into a computer until you’ve got 50,000 or 60,000 words down but then commences the most important task in authorship, rewriting, honing the paragraphs until you’re completely satisfied.

Tim Symonds

Tim Symonds was born in London. He grew up in Somerset, Dorset and the British Crown Dependency of Guernsey. After several years farming on the slopes of Mt Kenya and working on the Zambezi River in Central Africa, he emigrated to the United States. He studied at Göttingen, in Germany, and the University of California, Los Angeles, graduating Phi Beta Kappa. He is a Fellow of the Royal Geographical Society and the Society of Authors.

Check out his website at http://tim-symonds.co.uk/

Author Insight

You came to writing later in life. What inspired you to pick up the pen? I did come to getting my novels published well into later life, it’s true, but I hankered after becoming a novelist when I was about 12. An aunt of mine married an impecunious but ambitious would-be author by the name of Elleston Trevor. Everyone really did think he should get a proper job but he persisted. And he made it on a grand scale. In the midpoint of his career he wrote The Flight of the Phoenix which became a Hollywood movie starring James Stewart, Richard Attenborough and Peter Finch. After an oil company plane crashes in the Sahara, the survivors are buoyed with hope by one of the passengers, an airplane designer who plans for them to build a flyable plane from the wreckage.

Elleston and my aunt Iris aka Jonquil ended up with a house high in the mountains of New Mexico where the movie was filmed.  I thought, ‘I’ll have some of that’.

Did you draw on any skills in your previous employment or was writing a novel a new experience entirely?  A new experience. When I was 21 I found myself in the Caribbean, mostly Jamaica. I rented a bungalow in the Blue Mountains (coffee-growing country) and made my first attempt at writing a novel, a Cold War spy story with a protagonist remarkably like me. I think it could have been good enough to get published but I had no idea how to go about it. In the end it found its way to a drawer in my mother’s house in St Peter Port and when she passed away it was probably thrown out with all the rest of mementos the house-clearing people thought of no value.

How would you describe yourself as a writer? Are you a careful planner, what is known in the industry as a ‘pantser’ who writes the story ‘by the seat of your pants’ and finds out what happens as you go, or a combination of both?

I had not heard the amusing term ‘pantser’ before but I am definitely at that end of the spectrum. I’m certainly not a writer who has to have almost the entire plot secure in mind before I turn on the computer and start. For example, I have just begun to work on a new Holmes-and-Watson novel which – going by my first seven or eight novels and short-story collections – will take me well through this winter and next summer and probably up to my birthday in September. If I have any claim to fame in the future it would be because I do a tremendous amount of research, often as much as a university course in, say, the history of the Balkans or China or Bulgaria, where I have set some of my novels, such as Sherlock Holmes And The Mystery of Einstein’s Daughter (Serbia), and Sherlock Holmes And The Nine-Dragon Sigil (Peking).

Please share a little of your writing process. Do you have a daily routine?  I do write for at least an hour or two each day. In winter this is done in a small room in the old oast house in ‘Rudyard Kipling Country’ where my partner Lesley Abdela and I live, in the depths of the Sussex High Weald. Lesley is the first to read the typescript and in doing so she gives me really useful ideas. In summer I take a laptop to one of four favourite hide-outs in the extensive forest surrounding the house where I’ve stashed a couple of canvas folding chairs. Depending on the time of day at least one of them is bathed in the sun’s rays, filtering down through the trees.  The moment I turn my laptop on I’m transported to other lands. As I mentioned earlier, in Sherlock Holmes And The Mystery of Einstein’s Daughter that was Serbia around 1905; in Sherlock Holmes And The Nine-Dragon Sigil it was a lot lot farther, to Peking’s Forbidden City and the equally forbidding Empress Dowager Cixi of the Manchu Yehe Nara clan. The research as well as the writing is escapism at its very best!

What was your path to publication?  About 12 years ago, impressed by the worldwide renewed interest in Sherlock Holmes and Dr Watson (and dear rat-faced Inspector Lestrade of Scotland Yard, and the evil Napoleon of Crime, Professor James Moriarty), I decided to try my hand at writing a Holmes-and-Watson adventure which became a typescript I titled Sherlock Holmes And The Dead Boer at Scotney Castle

Now what to do?  I googled ‘Sherlock Holmes publishers’ and up came MX Publishing described as ‘With over 400 books it’s the largest catalogue of new Sherlock Holmes books in the world’. Out of the wild blue yonder I sent the typescript to them.  An email came saying the typescript had been sent to an editor for evaluation. A second email came a week or two later saying MX would publish it. The cover would portray the ancient mill and pond at the real Scotney Castle in Kent.

Since then I’ve published about one novel a year, the latest being Sherlock Holmes And The Strange Death of Brigadier-General Delves.  A trial for murder is held in the Royal Courts of Guernsey in the Channel Islands. This really did delve a bit into my own past – I was brought up in Guernsey with very happy memories of that quite isolated little island off the Normandy coast before I left school and went to Africa and continents beyond.

As far as titles are concerned, I was advised by people who understood how to catch the electronic world’s eye that I should start a novel’s title with ‘Sherlock Holmes And…’, advice I have mostly followed – except for my new book coming out this December which I have titled The Torso At Highgate Cemetery And Other Sherlock Holmes Stories.  In my London days I rented a flat not far from Waterlow Park and Highgate Cemetery, and almost every day my routine was to walk to the park and then go out the far side straight into the wonderful cemetery. With its umpteen graves going back to the 1830s and a large part left almost to nature, overgrown graves and tumbledown Victorian gravestones, it’s a ‘must visit’ for anyone going to North London, including all the Russians and Chinese who go to stand in silent awe at Karl Marx’s grave with its immense bronze head.

How involved have you been in the development of your books?  A lot. Although MX Publishing have about 140 authors in their ‘stable’ they are a registered charity, profits going to help support a school for children with special mental and physical needs located in Arthur Conan Doyle’s old home ‘Undershaw’, and an orphanage in Nairobi for babies literally left on the streets of Kenya’s capital. The authors therefore get a modest amount from sales but are happy to see money going to those good causes. It also means everything the authors themselves can do to publicise their novels is very welcome, in addition to professional online promotion of the books by MX.

What do you wish you’d been told before you set out to become an author? Not so much told as being reminded!  It’s relatively simple to continue typing words into a computer until you’ve got 50,000 or 60,000 words down but then commences the most important task in authorship, rewriting, honing the paragraphs until you’re completely satisfied. This may mean rewriting perhaps 10 times, but if you don’t you may find a publisher just sends it back with a soulless but legally-advised ‘thank you but no thanks’ slip attached.   

What’s the best aspect of your writing life? Choosing how to divide up your day. And people who’ve read one of your novels being nice. And doing the research. Research may take two or three hours a day, require reading perhaps 15 books on the subject of your novel, and transport you to faraway places into a faraway time, in my case mostly the Edwardian or Victorian era when Holmes and Watson were riding in fast Hansom carriages, Watson’s trusty service revolver in a pocket, almost yelling out ‘Hooray! The game’s afoot!’. 

What’s the best advice you were ever given? Remember, you only live once. Ie. don’t keep on doing what you’re doing if you really don’t like it.  

What’s your top tip for aspiring authors? Obvious as it may seem, to become a novelist you really do have to write a novel. (Then you really do have to get a publisher to publish it.)

How important is social media to you as an author? I need to learn a great deal more about it and how utilising it could expand coverage of my novels. Two of my novels are included in Amazon UK Top 100 Amazon Best Sellers in Sherlock Holmes Mysteries. (https://www.amazon.co.uk/Best-Sellers-Sherlock-Holmes-Mysteries/zgbs/books/270416). I’ll bet my old walking boots getting known via social media would be extremely favourable to sales.

Do you experience ‘writer’s block’ and if so, how do you overcome it? I have never experienced this tricky state of affairs. I’m a chatter-box and I wonder if that means I have a brain which doesn’t freeze when the PC’s screen comes on, blank and perhaps a bit forbidding!

Reviews are important to attract readers. What has been the response to your book? It’s been wonderful.

How would you describe your writing? Simply conjuring up adventures I’d have liked to have been party to, ones most certainly not likely to win the Booker Prize! 

If you had the chance to spend an hour with any writer of your choice, living or dead, who would it be and what would you most like them to tell you about living a writing life? It has to be Ernest Hemingway. He combined writing his stories with making sure he was seeing the world, pity that included all that Big Game hunting, but those were the times.

I’d like to know how he came up with some of his works, such as The Old Man and the Sea, often cited as Hemingway’s best novel.  I myself set off for a similar adventurous life, leaving Guernsey at 16, working on a large farm high up on the slopes of Mt Kenya, hiking down through Africa, spending a year in deepest Mexico in the shadow of another great mountain, Popocatapetl, emigrating to California and becoming an undergrad and graduate at UCLA before returning often to every quarter of my favourite continent, Africa. I never met Hemingway though I must have walked over his footsteps when I walked up Mt Kilimanjaro. My writing style doesn’t copy his – he was the master of the short sentence – but through my twenties I usually had one of his novels with me at all times, for example his first novel, The Sun Also Rises.

Book Byte

Sherlock Holmes and the Strange Death of Brigadier-General Delves

It’s 1898. Kismet brings about a chance reunion at a London club between Dr. Watson and Colonel “Maiwand Mike” Fenlon, former military comrades from their Northwest Frontier days and the desperate Battle of Maiwand. A week later an urgent cable seeking Sherlock Holmes’s help arrives from the Bailiwick of Guernsey, a British Crown Dependency 30 miles off the coast of Normandy. A retired high-ranking British Indian Army officer who commanded the troops at Maiwand has dropped dead. Colonel Fenlon is in a holding cell awaiting trial for his murder.

What role in the Brigadier-General’s death was played by a phial of patent medicine developed in India to treat cholera? Why are Colonel Fenlon’s forefinger and thumbprint on the neck of the phial when he swears he has never seen it before?

Above all, why is Fenlon refusing to enter a plea or even to tell his Defence counsel what took place the evening the Brigadier-General dropped dead?

This tightly crafted tale about Watson shows that war is a tool for the rich and powerful; less about glory than self-interest.

Professor Vincent Golphin

Due for release December 2022. Buy the book here.

Meet the Author: Angela Meyer

Read a lot. Read everything. Read deeply (take notes, analyse what you’re reading: how does that author produce that effect? What is the structure of the piece? Why do you care about the characters?) The more you read and think about other people’s writing, the more you learn about writing.

Angela Meyer

Angela is an award-winning writer and editor. Her debut novel, A Superior Spectre (Ventura/Saraband), was shortlisted for an Aurealis Award, the MUD Literary Prize, an Australian Book Industry Award, the Readings Prize for New Australian Writing and a Saltire Literary Society Award (Scotland). She is also the author of a novella, Joan Smokes, which won the inaugural Mslexia Novella Award (UK), and a book of flash fiction, Captives. Her work has been widely published in magazines, journals and newspapers, including Island, The Big Issue, Best Australian Stories and Kill Your Darlings. She has worked in bookstores, as a book reviewer, in a whisky bar, as a commissioning editor and publisher, a teacher of writing and publishing, and a freelance editor and consultant. She grew up in Northern NSW and lives in Melbourne, Australia.
Find out more about Angela here.

Author Insight

Why do you write? I don’t know how not to write. It’s love and it’s compulsion. It’s a part of who I am and a way that I filter the world and my experiences within it. It’s also a way I connect and communicate with others.

What would you be doing if you weren’t a writer? I’m lucky that being a writer has folded in with other paths: being an editor, a teacher; working with other writers. In some alternate life I may be a scientist; I would love to better understand the world as its components, at the quantum level.

What was your toughest obstacle to becoming published? Firstly, not being good enough and not being ready – that was the first couple of manuscripts. With the books that have been published, the main obstacle was that I cross genres. I don’t write in a way that fits into a neat (marketing) box, and that’s natural to me and that’s okay, but it does limit the number of mainstream publishers that will consider your work.

How involved have you been in the development of your book? Did you have input into the cover? Yes, I was lucky to have some input. I gave initial ideas and then was guided by the publisher and designer, of course! But I love Josh Durham’s work and am pleased he’s done the cover of both my novels. They’re quite the pair. For Moon Sugar, dark, psychedelic, Marlene Dietrich emerging from lichen – it’s perfect.

What’s the best aspect of your writing life? The richness that writing brings to life, and the time I actually get to put words down (only a few hours a week at the moment). I also enjoy being part of the Australian writing community and getting to interact with other writers.

—the worst? Not getting enough time (or general head space) to write!

What would you do differently if you were starting out now as a writer? Not much. I’m a ‘no regrets’ kind of person in general. You learn from everything you do and experience, good or bad. And there are no wasted words, when you’re learning to write, when you’re practising.

What do you wish you’d been told before you set out to become an author? I’m sure people did tell me about working in the arts and living in a city and how expensive and difficult it would be at times, but I’ve always been independent and will follow my nose. It might have taken a bit longer to feel somewhat financially secure and I understand I’ll always work (and soon, parent) around my writing, but that’s just the way it is.

What’s the best advice you were ever given? To always try to understand things from another person’s point of view. That was a strong lesson in my childhood. It’s life advice but writing also stems from it – from empathy towards and curiosity about others (and about your own psyche and how it’s been shaped by perceiving and interacting with the world and with others).

How important is social media to you as an author? I’ve used social media since I began publishing my writing and it was a huge part of my early success (as a blogger!). Now, I see it as a way to be in touch with peers and colleagues, learn about their publications, and chat about writing, personal stuff, the industry and the world at large. Anyone who uses social media just to advertise is using it badly. There has to be a balance. Sometimes I spend a week off it and no one would notice. Many writers never use it. You have to only use it if it works for you, if you enjoy it and find it fairly natural.

Do you experience ‘writer’s block’ and if so, how do you overcome it? I would have said no until this year! The first trimester of pregnancy, I was capable of just doing my work and sustaining the life inside me. That was about it…! I needed to eat and sleep. I had elaborate fantasies about my next meal. I did have a bit of a personality crisis as it was the first time I remembered not having the desire to write, or even read much. And writing and reading is who I am. Even through a major grief, and through the lockdowns, I did not lose the desire and ability to write. But the second trimester came and I felt completely myself again. Sometimes these big life shifts and accompanying hormones or mental states – you have to take a breath and understand it’s likely not permanent. You have to take care of yourself, be in touch with yourself on a different level, and be present and patient.

How do you deal with rejection? I might feel sad for a couple of days, talk to a few friends and my partner about it, and then I never reopen the email. I try to move on, keep writing, keep submitting. Sometimes I retire a piece if I realise it’s being rejected because it’s not ready after all, or not good enough.

In three words, how would you describe your writing? Intimate, visual, emotive.

If you had the chance to spend an hour with any writer of your choice, living or dead, who would it be and what would you most like them to tell you about living a writing life? Franz Kafka. Not necessarily to tell me what he knows about writing (we can read that in his diaries and make interpretations from his work) but just to be in his presence for an hour, preferably in his serene phase with Dora Diamant. It would be such a privilege.

Book Byte

Mila can’t shake her grief for the life she thought she’d have. She’s broke, childless, and single. But her developing relationship with Josh, a ‘sugar baby’, opens her eyes to new possibilities. Then Josh goes missing on a trip to Europe – a presumed suicide. Mila, and Josh’s best friend Kyle, are devastated, yet they suspect something is amiss. Together, they feel compelled to trace Josh’s steps across Budapest, Prague and Berlin, seeking clues in his last posts online. Yet is there one mysterious factor Mila hasn’t considered? Is running toward danger the only way for Mila to meet her true capacity? Or will it mean yet more loss?
This genre-defying stunner asks how we might make the most of our power in the face of fear, loss, and the unknown. It celebrates our ability, despite great challenges, to be intimate with others and with the world.

Buy the book here.

Meet the Author: Alan Fyfe

Alan Fyfe is a Jewish writer originally from Mandurah, the unceded country of the Binjareb People, whose verse and prose can be found in Westerly, Overland, Australian Poetry Journal, and Cottonmouth.  He was an inaugural editor of UWA creative writing journal, Trove, and a prose editor for American web journal, Unlikely Stories

  Alan is a winner of the Karl Popper Philosophy Award, was shortlisted for the Judith Wright Poetry Prize, was commended in the Tom Collins Poetry Prize, and has been selected as a WA Poets’ Inc Emerging Poet for 2022 / 23.  His first novel, T, received shortlistings for both the T.A.G Hungerford Prize (Australia) and the Chaffinch Press Aware Prize (Ireland).  T is published by Transit Lounge.  Most recently, Alan’s poetry collection, G-d, Sleep, and Chaos, was shortlisted for the Flying Islands unpublished manuscript award. He is currently writing his second novel, The Cross Thieves, a prequel to T in ring composition, as part of a doctorate in creative writing at UWA and is also teaching poetry.

Author Insight

Why do you write?

I don’t have an inspirational answer for that. I invested so much time getting good at writing, in knowing about poetics and the structures of story, that I’m not much good at many other things now. Most of my other skills are trivial – fire twirling is one of them, for example. I might have had a more directed answer earlier in my life, but those answers have all been said and have become cliché. No one needs to hear another writer playing out their messiah complex in an interview, or saying what benefits writing has for them personally. There are good things and bad things about it. At this point, it has just become an irrational belief for me, like a religion. I feel impulses to structure thoughts into poems and stories that I can’t explain except as a form of faith in literature itself, with all the attendant ecstasy and terrors that having faith brings.

What would you be doing if you weren’t a writer?

Trying to find fulfilment with some other thing, probably. Or just doing some other job and looking forward to holidays. No one’s forcing me to write, it’s a choice I take full responsibility for.

What was your toughest obstacle to becoming published?

I’m going to talk about my novel, T, here because I’ve published many different things, each with their own gates to pass. It was money, really. I mean, I didn’t self-publish (which would have required me to pay for it), I looked for a good publisher and eventually found a very good one. But I was out of work when I wrote T, it was hard to live and look after my son, never mind the huge task of editing the novel to the millimetre and nursing it through to publication. Living without money is an extreme challenge; and making art while that’s happening is even harder. Other obstacles were about the kind of story I told.

Methamphetamine is a big issue in WA, and it’s not an issue everyone here is particularly keen to talk about. I didn’t want to tell a false redemption story, that’s not exactly what’s going on with my novel, so there was some resistance to the way I told the story, and some resistance from me to compromising the story too much. I’m all for good editing, in fact I love working with editors to make the art better, but there are certain compromises I wasn’t willing to make. T is a fiction novel, but a lot of it is close to my own experiences. There are also real humans, who are not me, that go through this stuff and I had to honour them. There were many more obstacles, probably a novel worth of obstacles – but probably not a very interesting novel.

How involved have you been in the development of your book? Did you have input into the cover?

I did have input into the cover. I have to give my publisher a plug here, Transit Lounge were fantastic to work with and I didn’t feel alienated from the process at any stage. I’ve had some friends who had the opposite experience with their own publishers, they were just told what would happen with their books. I got a big PDF full of draft designs for covers, a lot of work went into it, and I got to workshop cover ideas with my little writing family and get their opinions. Two thirds of my friends wanted to date that guy on the cover. He sort of looks like a character from the book and gives the thing a human face, and there’s a wing for the Icarus theme. In editing T, it was the same, I felt like I was co-working the thing with a really clued up and creative team. I was well consulted and never pressured to do anything I was uncomfortable with. It was a great experience.

What’s the best aspect of your writing life?

Feeling like I put something complex and accomplished in the world that wasn’t there before and, if I’m very lucky, that will still be about after I’m gone. Hah, that’s me being religious about it again – a poet’s afterlife.

—the worst?

There’s a lot of anxiety about getting ahead. Like any creative industry, it’s very tough to excel. You’ll spend months and years waiting to hear back about things that might step you up a bit, even change your life. And the answer is never guaranteed to be one you’ll like.

What would you do differently if you were starting out now as a writer?

Nothing. I don’t devote much energy to regret. It’s a waste of time. If I have wronged someone, that’s something to regret. That energy can be devoted to fixing things though, rather than the useless activity of wishing the past was different – you know we can’t make it different, yeah? If I’ve done anything good in writing now, it’s a product of what happened before.

What do you wish you’d been told before you set out to become an author?

Again, I’ve been told all the things I needed to land me wherever the hell this is. Some of them were wrong, but wrong things teach a person to think critically.

What’s the best advice you were ever given?

I went to a weird lecture John Kinsella gave when I was an undergrad at UWA at some point in the neolithic past. I can’t remember what the unit was and I’m pretty certain he didn’t talk much about the unit. It was, none the less, a fantastic and incredibly honest lecture; and some of it was about the work of publishing your own writing. He said, “Let’s face it, who gets published depends on who goes to which dinner parties with who.” And that put a pretty bourgeois face on it – I’m not sure I’ve ever been to a dinner party.

I think it was only six months later, I found myself in Brenda Walker’s writing class and I repeated Kinsella’s assertion to her, and she said it might be generally right but there seemed to be some artists who that doesn’t apply to, who “look neither left nor right.” The combination of those two ideas was a good thing to keep me going. It can be a depressing situation for an artist in the times when you’re not getting listened to much, and it was a consolation for me to think that I just didn’t have the network for it. But it was also great to think the pure practice and study of the art was a thing that could win through eventually.

Both Kinsella and Walker were right in their ways. Moving from the Peel Region to the city has helped me with a lot of connections and those connections sometimes throw me good chances at things in writing. But then again, when I published my first piece in a major Australian journal, I didn’t know anyone there, they just loved the story and the way it was written – they thought it was important to publish. It was the same with Transit Lounge, who are a Melbourne publisher outside my usual beat, Barry Scott and the team read the manuscript and thought it was worthy. You need some psychic defences in writing, and you (possibly) need some ideals too, the balance of those two pieces of advice were excellent examples of both.

What’s your top tip for aspiring authors?

Practise a lot, most things can be improved with practice. Make some friends who also write, not just networks or people who can advance you, but actual friends you like to be around and enjoy talking to about more than writing. Learn as much as you can access from wherever you are. Finish some projects. Finish projects that seem hard to make work and be honest with yourself about whether the final product works or not. Practise mostly though. Stay at the task until your work becomes undeniable.

How important is social media to you as an author?

I love social media, genuinely. I love being able to share thoughts and entertain people, make them laugh. Social media gives me instant access to that. In a sense, it’s the same as any other canvas to create on. I’ve run an activist campaign on social media and the speed and reach of it was incredible. The campaign worked, in the end, and we saved the thing we were trying to save. But there’s a moment in an author’s life where it can become work too. I was mostly restricted to one platform in the past and I was happy with it, I felt a small friend group to communicate with was a pleasure. But then the professionalisation of the platforms entered my life and that’s a different thing entirely. There’s a lot of pressure on a modern author to promote across the platforms, to find big crowds there. It is an opportunity. We shouldn’t see that access as an entirely bad thing, it has certainly helped poetry sales in a major way, which helps a more niche art like poetry to reach its crowd.  But it can change from fun and connection to cynical hard work real quick. There’s a balance between being professional and having fun that I’m still trying to work out.

Do you experience ‘writer’s block’ and if so, how do you overcome it?

Not exactly. I always have something I want to do, some project on or some fully worked out story, or prompt for a poem, that just needs to be wrangled into a nice structure of words. I have exhaustion sometimes, or some other project that seems more fun than the thing I’m absolutely supposed to be doing. I sometimes have to fight myself to concentrate on the thing in front of me and not deliberately procrastinate. I can get very involved in binging a show I like, for example. And there’s depression, which can sometimes stunt my productivity for months. During a bout of depression, I will feel like utter shit and think anything I complete is worthless dust.

But the idea of a blockage, as such, seems strange to me. I don’t actually know what that means. Does it mean that the writer has nothing to write about? This might sound horrible, but if you don’t have a good idea what to write about, maybe don’t write. Writing is an activity, not a condition of being. I sort of plan to give up writing one day. And I expect that’ll happen when I can’t think of what to write next.

If I’m exhausted, that’s not blockage, it’s the same as wearing yourself out doing anything else. The answer is to rest for a while or to force myself to do it if I have a deadline. Forcing myself is something I seem to be able to do quite a bit, I have a good work ethic and I know the basics of turning out a competent piece, so I sit in front of the laptop and write during a time where it may not be a pleasure to write. I experience not wanting to work hard sometimes because it’s fun to lie around eating cake or whatever, but less than in other jobs I’ve done.

How do you deal with rejection?

Humour, bitching, psychic defences (as previously mentioned). Being truthful with myself that either the pool is huge and hard to stand out in, or that I didn’t make the best work I could have. I used to get complimentary rejection letters sometimes, with a little positive feedback in them. I liked those, it was good for the psychic defence to think I did something great but there wasn’t enough space or bigger writers were on offer, encouragement from people you don’t know can be a surprisingly good motivator in the early stages. Mostly the way to deal with rejection is just keep going or give up. That’s the bare bones of it. A writer can do either, whichever way the writer decides to absorb rejection into their ego. It’s good to have some friends who are on the same path as you. It makes the experience lighter when you feel like it’s shared and, believe me, it is shared.

In three words, how would you describe your writing?

Cooked yet poetic.

If you had the chance to spend an hour with any writer of your choice, living or dead, who would it be and what would you most like them to tell you about living a writing life?

That’s a hard question. So many people who have written things I admire turn out to be irredeemable scumbags; and I think a lot of things said about the “writing life” are either personal to the writer or useless tropes.

I guess I’m going to have to say Emily Dickinson. I got a line of hers tattooed on my arm to celebrate my first book contract. I don’t think Emily could give me much certain advice judging from the way she used words, but to just hear anything she had to say would likely be mind-blowing. You can see in her letters, even her mundane communications were often abstract masterworks. She could talk to me about baking if she wanted to. Seems like she shared the same passion for baking that I do.

Book Byte

Chilling to read, cut with powerful energy and strong feeling.

T or Timothy lives on the economic margins, both using and selling methamphetamine in Mandurah. When a friend, Gulp, tragically dies and T grows close to Lori-Bird his life promises to become more centred. But he moves between loving and leaving her.

This is a lyrical and arresting portrait of characters who crave love but struggle with addiction and the tenuous yet intimate community connections it gives them. The spirit of the Peel landscape informs both T’s identity and the lives of the people he encounters and offers a way out.

Intimate with suffering and beauty, T is also at times transcendent. A contemporary novel with the urgency of what Davies’ Candy, Kerouac’s On the Road, and Garner’s Monkey Grip were to their own times. 

Shortlisted for the TAG Hungerford Manuscript Award 2018

Shortlisted for the International Chaffinch Press Manuscript Award (Ireland).

‘Confronting and discomfiting, with small moments of redemption –T is very much a story for our times.’ Kate Noske and Richard Rossiter (Hungerford Award Judges).

‘There is nothing else currently being written that is quite as exciting. Its blend of realism, grittiness, pared back lyricism and magical realism is unique and hasn’t been seen since the work of a powerful novelist of regional life like Tom Flood. T works the margins, both in terms of place and subject of the culture around meth use, in utterly compelling ways. This story needs to be told.’  Lucy Dougan, Premier’s Award winner and Westerly editor.

By the book here.

Meet the Author: Adriane Howell

Adriane’s top tip for aspiring authors: Consider whom you allow to read your work-in-progress; not all opinions are created equal.

Adriane Howell is a Melbourne-based arts worker and writer who has lived in Paris and Johannesburg. In 2013 she graduated from the University of Melbourne with a Master of Creative Writing, Publishing and Editing. She is co-founder of the literary journal Gargouille. Hydra is her debut novel.

AUTHOR WEBSITE: https://www.adrianehowell.com

AUTHOR INSTAGRAM: @felinefelttip

Author Insight

Why do you write? It’s a compulsion.

What would you be doing if you weren’t a writer? Another form of storytelling, film perhaps.

What was your toughest obstacle to becoming published? Battles with the Self.

How involved have you been in the development of your book? Did you have input into the cover? All stages of the process were transparent and collaborative. When working on the cover, Barry and I went back and forth dissecting images and moods. Some mock-ups were too masculine, others too sexual. There was also the matter of acquiring rights. I’m delighted with the final product.

What’s the best aspect of your writing life? When I’m lost in the words and, failing that, when I close my notebook for the evening.

—the worst? The sense of having exposed myself.

What would you do differently if you were starting out now as a writer? I would have found my therapist earlier.

What do you wish you’d been told before you set out to become an author? I need to experience things for myself, make my own mistakes, so it’s unlikely I would have heeded any form of warning.

What’s the best advice you were ever given? D.B.C. Pierre writes of the novel’s structure as an exercise in breathing: dialogue and conflict are short sharp inhalations, dream sequences and philosophising are more meditative breaths. It’s about finding a balance between the two. You don’t want your reader hyperventilating nor falling asleep.

How important is social media to you as an author? It’s a distraction, sometimes much needed but mostly not.

Do you experience ‘writer’s block’ and if so, how do you overcome it? It’s rare that I give into ‘writer’s block’. I’ve found some of my best writing has occurred hours into writing mindless, nonsensical bullshit. Writing is rarely visited by the muse, it’s mostly about the hours invested. There are, however, tricks to make my writing flow: walks, coffee, not over eating, keeping warm (I’m like a cat gravitating towards any slither of sun), reading and art exhibitions.

How do you deal with rejection? Get back to work. There’s a reason for rejection but you’ll go mad trying to find it.

If you had the chance to spend an hour with any writer of your choice, living or dead, who would it be and what would you most like them to tell you about living a writing life? Vladimir Nabokov and my question would remain between us.

Book Byte

Anja is a young, ambitious antiquarian, passionate for the clean and balanced lines of mid-century furniture. She is intent on classifying objects based on emotional response and when her career goes awry, Anja finds herself adrift. Like a close friend, she confesses her intimacies and rage to us with candour, tenderness, and humour.

Cast out from the world of antiques, she stumbles upon a beachside cottage that the neighbouring naval base is offering for a 100-year lease. The property is derelict, isolated, and surrounded by scrub. Despite of, or because of, its wildness and solitude, Anja uses the last of the inheritance from her mother to lease the property. Yet a presence – human, ghost, other – seemingly inhabits the grounds. 

Hydra is a novel of dark suspense and mental disquiet, struck through with black humour. Adriane Howell beguilingly explores notions of moral culpability, revenge, memory, and narrative – all through the female lens of freedom and constraint. She holds us captive to the last page.

SALE SITE: https://www.readings.com.au/products/35320891/hydra

Meet the Author: Brendan Colley

Brendan’s top tip for authors: Diversify. Write short fiction. Write poetry. Seek to get published in smaller outlets. If you’re writing novels, allocate time in your week/month/year to explore other forms. Publishing shorter work not only broadens your skills, but gives you the encouragement to persist, and stay the course.

Brendan Colley was born in South Africa. After graduating with a degree in education, he taught in the UK and Japan for 11 years before settling down in Australia in 2007. He lives in Hobart with his bookseller wife.

His debut novel The Signal Line won the Unpublished Manuscript Prize in the Tasmanian Premier’s Literary Awards.

@brendancolley

Author Insight

Why do you write?

My reasons for writing have changed over time. Essentially, it’s something I must do at the end of every day. I had a passion for scribbling words on paper, so I started writing stories. That evolved into a wish to be read, then to be published, and after many fruitless years, a desire to create something I loved. These days, the act of fetching something down is organic to who I am. I’d write if nobody read what I wrote. There’s a pay-off in the discipline, and that’s the thing I learned after 25 years of rejection. Writing is its own reward, and I couldn’t have known that if I’d been published earlier.

What would you be doing if you weren’t a writer?

I have a day job, so writing occupies that extra time that might otherwise be spent on a serious hobby. If I didn’t write, I’d probably learn a musical instrument (piano). My wife also writes, and if we both didn’t write I’m sure we’d do something together, like learn a language (Japanese). We met in Japan, where we were both working as English teachers. We never became fluent, as we spent all our free time on our creative projects. That’s always been a regret.

What was your toughest obstacle to becoming published?

My passion for writing is greater than my talent for writing. The imagination and ideas were there from the beginning, but the craft took a long time to develop. Fortunately, I can outsit anyone if I love something enough J

How involved have you been in the development of your book? Did you have input into the cover?

Transit Lounge, my publisher, has been a true gift to me. My novel has received so much love and careful attention. At every point of the process I had an active voice: but the team that helped bring this novel into the world understood what it needed, and I tried hard to let go of my preconceptions and defer to their judgment as much as I could.

What’s the best aspect of your writing life?

That I can depend on it. My wife writes in the early morning, and tends to retire early; I write in the evenings. Regardless of what the day has been, writing is there waiting for me at 9 p.m. All I need to do is have the discipline to sit in the chair, and things will arrive that entertain me, mystify me, heal me, or make me suffer (in a beautiful way). It’s the surprise gift I get to interact with at the end of every day; and I need it.

—the worst?

I say ‘no’ a lot. I could have travelled more, seen more, met more people, socialised more. My wife and I live in a TV free house, and prioritise reading as much for our writing as we do for the pleasure of reading. I treat my 9 p.m. writing start time as seriously as I do the start time to my working day. I’ve lost count of the social invitations I’ve turned down over the years. It’s not something I’m proud of; and it isn’t useful. The well needs to be filling to have something meaningful to write about, and the tension between having the discipline to cut yourself from the world to write, and releasing yourself from the chair to make connections and have experiences, is a constant struggle for me.

What’s your top tip for aspiring authors?

Diversify. Write short fiction. Write poetry. Seek to get published in smaller outlets. If you’re writing novels, allocate time in your week/month/year to explore other forms. I’ve always been drawn to the longer form: feature length screenplays in the early years; and the novel. As such, I only got to test the quality of my work every 4-6 years. Two decades can pass with a room plastered in rejection slips from less than a half-dozen projects. Publishing shorter work not only broadens your skills, but gives you the encouragement to persist, and stay the course. Importantly, it will add detail for the bio paragraph in your query letter when you produce something that is ready.

How important is social media to you as an author?

I’m only recently published, so I’ve never thought of social media in terms of publicity. On the other hand, it’s great for sharing my writing journey with friends and family.

Do you experience ‘writer’s block’ and if so, how do you overcome it?

I don’t know if I believe in writer’s block; although I certainly experience stretches of time where a scene or a project feels like it’s at a standstill. My way of pushing through these moments is to stay in the act of creating. If I can’t commit words to my work-in-progress, I’ll spend the session writing something else: a poem; a typed letter to a friend; a shorter piece; or play around with an idea I’ve been collecting notes for. In this way, I’m keeping the channel open. Like anything worthwhile, writing is hard, requiring a significant output of energy, so there’s an expectation at the start of any session that there’s a pain barrier of sorts to push through. But though it’s challenging, there’s a satisfaction to be gained; and if there’s none, that’s usually a sign for me to write something else for a bit.

How do you deal with rejection?

Over the years I’ve developed a habit of starting my next project on the same day I finish my current one. I always know what I’m working on next; so there’s an excitement for that first session. It involves A4 sheets of paper, index cards, coloured pens, and the sketching of schematics. That first session – though I may have been collecting notes on the project for years – is momentous. Everything’s possible, there are no mistakes to be made, and it hasn’t started to hurt yet. It builds anticipation for the second, third, and fourth sessions. In this way, as I go through the heart-wrenching process of querying my manuscript, I’m bit-by-bit gifting my creative spirit to something else. It doesn’t soften the blow of rejection, but by drawing life from another inspiration, I’m reminded that the act of creating something is the thing I need most.  

In three words, how would you describe your writing?

Quirky, strange, heartfelt.

If you had the chance to spend an hour with any writer of your choice, living or dead, who would it be and what would you most like them to tell you about living a writing life?

Diane Samuels is an author and playwright. I only learned of her last year, on a podcast in which she was in conversation with Paul Kalburgi on The Writer’s Toolkit. The way she approaches creativity, and how she articulates it, resonated deeply with me. She writes with a spirit and an attitude that is a true example. I’d love to with talk with her about it. One jewel she shared was a question someone put to her early in her journey:

Do you want a writing career; or a writing life?

I wish someone had challenged me with this question when I was starting out. For so many years I wrote with an angst that was counter-productive to the spirit of creating; when all along I had what I was looking for.

Book Byte

Brothers Geo and Wes are testing their relationship now that their parents have passed away. Geo and Wes rarely agree on anything, especially not the sale of the Hobart family home. Geo needs the money to finance his musical career in Italy. For Wes the house represents the memory of their father, and what it means to live an honest, working life.
But then a ghost train appears in Hobart, often on the tram tracks that once existed, along with the Swedish man who
has been pursuing it for 40 years. Everyone it seems is chasing their dreams. Or are they running from the truth?
The Signal Line is a warm-hearted, unforgettable novel about what we are all searching for, even when our personal dreams and aspirations have collapsed: love and acceptance.

You can buy the book here.

Off the page with Amra Pajalic

I’ve always been interested in learning how other writers work and what they do when they aren’t focusing on what’s happening on the page of their latest novel. Today it’s my pleasure to introduce AMRA PAJALIC, an award-winning author whose latest book is a short story collection, The Cuckoo’s Song.

I am constantly tweaking and updating my writing routine to fit in with my changing life. The first few years as a full-time high school teacher I squeezed my writing into the edge of my life, on weekends and school holidays, fighting to keep a foothold in my writing world as the demands of teaching pressed in on me. I used my writing group and sought mentorships to give me much-needed deadlines and accountability.

As I adapted to my teaching load I realised I needed my writing life to have a larger portion of my life. I needed to write every day to remain tethered to my work in progress and to have it flow quicker, so I began waking up at 5.30 am to write for an hour and a half before I had to get ready for work.

I write listening to music soundtracks that act like white noise, shutting of my editorial brain, as I immerse myself in a stream of consciousness state. Some days I woke up with no inspiration and would write song lyrics or diary entries, until my muse was nudged awake and the words flowed. Each day became easier with the novel unfurling before me. The only issue was that as a pantser I kept overwriting, my drafts extending longer and longer, to 140K that I then had to fight to trim down.

I discovered that I had to focus on getting a first draft complete before embarking on any edits. That when I hit the 20K mark the novel began writing itself, and that no matter how long I took to write a book, I would always return to the ending that I had first imagined.

Now I had to work on refining my structure and realised that when I hit the 20K mark I had to develop the rest of the novel so that I didn’t get caught up in overwriting. I experimented with various books on structure, Save the Cat, The Breakout Novel, and each one added to my toolbox. I now know to write a synopsis when I hit the 20K marks and to keep referring to that as I go.

I use Scrivener to write my work in progress and find it helps me with refining the structure as it is easy to move chapters around and have a synopsis of each. I love the feature to insert my research notes and websites I am using so that I can always go back and re-check facts. I use the  Character sheets to insert images of my characters and develop their profiles, and Setting sheets to find photos of my settings and record notes about description. I also like colour coding sections that might be in different points of view or timelines to help me visualise the structure.

One of my character sheets in Scrivener.

I am now working part time and have one day off to prioritise my writing and no longer need to have a rigid writing routine. When I am developing my first draft I write every day, at least 1000 words, and this can be in the morning or afternoon. When the draft is complete I seek feedback from my critique partner and refine it.

At my standing desk.

I am now also using a standing desk and move around the house to write around my household routine. With much needed time I don’t have to fight so hard to prioritise writing and find myself fitting in writing sessions multiple times a day. Each draft is getting quicker and my hope is that I can keep prioritising my writing life as I reduce my teaching life.

You can find Amra online at the following links:

http://www.amrapajalic.com/

https://www.instagram.com/amrapajalicauthor/

https://www.tiktok.com/@amrapajalic

https://www.facebook.com/AmraPajalicAuthor/https://www.bookbub.com/authors/amra-pajalic

Amra’s short story collection The Cuckoo’s Song features previously published and prize-winning stories. It features stories she has written over the past two decades and are the map that reveal her growth and evolution as an author. Delving into familiar themes of family dissolution, deprivation of war, tenderness of family and the heart-rending experiences of mental illness, Amra also moves into new territory with previously unpublished thriller stories.
Many stories are extracts of her previously published novels such as Suicide Watch which features her protagonist Sabiha in a scene cut from her award-winning debut novel The Good Daughter. Also included are previously published
stand-alone pieces that became her memoir Things Nobody Knows But Me, that was shortlisted for the 2020 National Biography Award.

You can buy the book here.

Meet the Author: Dimity Powell

It might take decades to be an overnight success. Persistence, patience and consistency are key.

Dimity Powell

Dimity Powell loves to fill every spare moment with words. She writes and reviews exclusively for children with over 30 published stories and is the Managing Editor for Kids’ Book Review. Her word webs appear in anthologies, school magazines, junior novels, and as creative digital content, but picture books are her jam. Her latest titles include, This is My Dad (2022), Oswald Messweather (2021), Pippa (2019), the SCBWI Crystal Kite 2019 award-winning At the End of Holyrood Lane (2018), and critically acclaimed, The Fix-It Man (2017) also in simplified Chinese. 

Dimity is a useless tweeter, sensational pasta maker, semi-professional chook wrangler, Border collie lover, seasoned presenter and dedicated Books in Homes Australia Volunteer Role Model, Story City Community Mentor and G.A.T.EWAYS presenter who can’t surf despite living on the Gold Coast, Australia. Visit her anytime at: www.dimitypowell.com

Author Insight

Why do you write and what is about writing for children that keeps you producing stories for young readers?

The magic of experiencing a story unfold both as a reader and writer is something I don’t think I’ll ever grow tired of. Stories were one of my whole reasons for being as a kid and while not all kids these days love reading as much as I did and still do, I hope know there is a story out there for them that provides that same mystifying personal connection; maybe it just hasn’t been written yet or in a way that resonates with them. This is part of what compels me to write on.

What would you be doing if you weren’t an author?

My sister and I still have aspirations of running a tea and book shop together; she’d drink and bake and nibble all day. I would hide in some corner and read, naturally. I’ve always wanted to be a Vet too, so I reckon I’d be in the country somewhere running an animal practice (and possibly writing in between birthing calves!).

What do you wish you’d been told before you decided to become an author?

Birthing calves might be slightly more lucrative than making stuff up.

Where do you find the inspiration for your stories?

I truly think the best stories come from life – and simply living it. That said, many of my picture book story lines are promoted by a casual suggestion or request for something. I welcome story prompts as they are often the green-go buttons that set my creative thought processes in progress.

Walk us through your creative process. Once you have a story idea, what’s your next step?

Once the seed of an idea or story is planted, I normally allow it to germinate organically, in other words, I sit and think and ruminate on a number of possibilities, characters, names, outcomes. Then I’ll often draft these initial ruminations in long hand in a note book. I prefer to ‘hear’ my characters’ stories and let them tell them to me in my head before committing them to paper. Time, quiet and space are the best fertilisers for this part. Once the rough outline is captured on paper, I then switch to recording everything online: editing, exploring language, researching statistics, endings, character arcs, more editing … I normally get a trusted crit buddy to eye over the manuscript as well before even thinking about submitting.

How has your childhood influenced the writer you’ve become?

I think it’s more about the books I read and how they made me feel as a young reader that I still hold on to. I try to remember that when penning a story for a particular age group. No matter what happened to me in my own childhood, it’s how I reacted to it or felt about that experience that provides the most useful and authentic elements in my storytelling today.

Share a little about your path to publication.

After completing a creative children’s writing course while my child was still in Kindy, I promptly set up a spread sheet to record my rejections! This wasn’t for lack of confidence in my abilities rather simply an expectation as the norm. Fortunately, I didn’t have to use it for a while as the first short story I ever submitted to the NSW School Magazine was accepted.

After that I won a publishing competition which resulted in my junior novel, PS Who Stole Santa’s Mail? (2012) and really launched my notoriety as an emerging children’s author. My ambition to publish a picture book was realised in 2017 with, The Fix-It Man after a long and arduous period of ups and downs. My publication apprenticeship continues to this very day.

How closely were you involved in the creation of the illustrations for your beautiful book This is My Dad? Are they what you envisioned for this story?

Nicky’s illustrations are again, 100% spot on for this story. We collaborate effortlessly but this time there was little involvement or back and forth necessary, possibly because this is our third book together and I have immense and implicit trust in her ability to ‘get’ my narrative intent.

What do you hope readers will take away from your stories?

I hope readers both young and old feel a genuine connection with my characters that transcends simple entertainment. I hope they are moved to feel and ponder on the experiences those characters endure and are better able to understand their own situations and the world around them because of their stories. And ultimately, to appreciate that everyone’s story matters.

Do you experience ‘writer’s block’ and if so, how do you overcome it?

Not usually. If a particular narrative has too many road humps, I simply write around it, invite a bit of that precious ‘quiet’ time and wait for the solution to present itself. It always does. Walking my demanding dogs helps too. Never underestimate the cleansing, rejuvenating power of nature.

Is there an area of writing that you still find challenging?

Endings. And reaching them. So really, most areas! Honestly, though, when something ‘writes itself’, it’s awesome however without the challenge of the odd struggle, not only would my job be less interesting but my stories more pedestrian.

What are you working on at the moment?

There’s a second, Pippa picture book in the works for publication this year or next and I currently have a few other picture book scripts in various stages of development that I absolutely love.

What’s the best aspect of your creative life? —the worst?

Best: I get to learn something new each and every day. EVERY day. I love that.

Worst: Hmm, not having a functioning Time Turner necklace thingy like Hermione had.

How important is social media to you as an author?

I’ve known successful authors who lived without it but for sheer visibility and accessibility, I think it’s pretty vital. If nothing else, it gives creatives a chance to preen and self-pontificate a bit, right! SM does provide platforms to celebrate each tiny baby step forward too, which is important in this business as not all wins are colossal to begin with. The key is finding the platform you are most comfortable with and represents, ‘you’ the best, then be consistent.

What’s the best advice you were ever given?

It takes decades to be an overnight success.

What’s your top tip for aspiring authors?

It might take decades to be an overnight success. Persistence, patience and consistency are key.

In three words, how would you describe your writing?

Are you kidding? I can’t describe anything in three words! Here goes: mellifluous, satirical, pure-hearted.

If you had the chance to spend an hour with any writer of your choice, living or dead, who would it be and what would you most like them to tell you about living a writing life?

Stephen Fry. He’s like every Shakespearean play rolled into one; tragic, comic, historically brilliant and desperately poetic. He could tell me anything he wants; I’m sure I’d find it illuminating.

Now for a little light relief – If you were going to be stuck in a stalled lift for several hours who would you choose to share the experience with you and why?

Ryan Reynolds. Because I’d really like to visit Canada one day and I need to know more about Deadpool 3.

Book Byte

Leo lives with his monster-battling, world creating, children’s author mother, and has never known a father figure. So when his teacher announces Tell Us About Your Dad Day, Leo’s tummy flip-flops; he worries that he won’t have anything to present to his class. Then he remembers that he already knows someone cool, courageous and clever – someone who’s not his dad, but is his everything. A heart-warming celebration of families of all shapes and sizes that will resonate with millions of children.

Available from EK Books:

Or

Dimity Powell: https://dimitypowell.com/this-is-my-dad/ – signed copies

Amazon Books:

Boomerang Books:

Booktopia:

Dymocks Books:

Readings Books:

Barnes and Noble:

Indigo Books:  

This Is My Dad Book Trailer: https://www.youtube.com/watch?v=NgWxDgJnHpY

 

Meet the Author: Dominique Wilson

Don’t wait for the muse, she’s too flighty to be relied upon – just write. Be professional – ie: put in the work, accept criticism, meet deadlines. And lastly, read. Read constantly, in the genre you want to write and in other genres as well, because they all have something to teach you.

Dominique Wilson

Dominique Wilson was born of French parents in Algiers, Algeria. She grew up in a country torn by civil war, until she and her family fled to Australia.

Dominique holds both a BA [Professional Writing and Communications] and a Bachelor of Visual Communication [Illustration and Design] from the University of South Australia and, from the University of Adelaide, a Masters [Creative Writing] and a PhD, for which she was awarded the University Doctoral Research Medal.

In 2005 she was founding Managing Editor of Wet Ink: the magazine of new writing, a position she held until she resigned in 2012. From 2007 to 2010 Dominique was Chair of the Adelaide branch of International PEN.

Dominique’s short stories have been published nationally and read on ABC Radio. Her debut novel The Yellow Papers [Transit Lounge, 2014] and her second novel That Devil’s Madness [Transit Lounge, 2016] were both published to critical acclaim. Her most recent work, Orphan Rock, published by Transit Lounge, came out this month.

Author Insight

Why do you write? I have always been an avid reader, reading across many genres. Then when my daughters were born, I not only read to them every day, but also started making up stories for them. Going on to write for adults seemed the next natural step. I write because I’m interested in the human condition – why do people behave as they do? Why is it that some can withstand the most horrific conditions, whilst others collapse at the smallest upset? What makes a ‘good’ person? A ‘bad’ person? And is anyone truly all ‘good’ or ‘bad’? These are issues I explored in my previous book – The Yellow Papers and That Devil’s Madness – and in Orphan Rock, my latest publication, out in March 2022.

What would you be doing if you weren’t a writer? Probably trying to become a children’s book illustrator. I actually have a degree in illustration, but have let that fall by the wayside.

What was your toughest obstacle to becoming published? Myself – the self-doubt is very real. Even with two undergraduate degrees under my belt, a Masters and a PhD, I still question whether my writing is good enough. It’s not a case of false modesty or imposter syndrome – there really are some fabulous writers out there, and reading their work is a humbling experience.

How involved have you been in the development of your book? Did you have input into the cover? Very much involved. From tossing around ideas with Barry Scott [my publisher at Transit Lounge], to working with Angela Meyers, who edited the book, to working with Scott Eathorne [of Quikmark Media] for publicity.

And yes, I did have input in the cover. To begin with, I asked Barry to please get Peter Lo to design this cover – Peter had done the covers of The Yellow Papers and of That Devil’s Madness, and I really like his work. Then Peter sent me six or seven possible covers for me to pick my favourite, and we went from there.

I may have written the words that became Orphan Rock, but it then took a lot of people to ‘birth’ this book.

What’s the best aspect of your writing life? The creative side can be pretty magical – when you come up with an idea, then a plot and characters, that you just know will work. Then there’s the thrill of having your work accepted for publication, and holding your book for the first time. And once the book is published, having readers email you to say how much they enjoyed the book is very special.

—the worst? The uncertainty – what if no one likes it/think it’s a load of rubbish?

What would you do differently if you were starting out now as a writer? I don’t think I’d do much different. I started out writing short stories, and they were a good training ground, not just for the writing itself, but to learn about sending work out, getting rejections and the importance of not sending work out too early, meeting deadlines when a piece is accepted and so on.

What do you wish you’d been told before you set out to become an author? How long it takes to write a book! I don’t mean just the first draft – I mean all the research beforehand, the actual first draft, the rewriting, the editing and so on. And even once accepted – I never realised it could take up to a year from the time a book is accepted for publication until it hits the shops.

What’s the best advice you were ever given? That the difference between those who make it and those who don’t, is that those who make it try just one more time.

How important is social media to you as an author? I’m something of a hermit by nature, and a very private person. So on the one hand it’s wonderful for connecting with other writers and with readers, but on the other hand I can see how it can be intrusive, and a real time waster. So yes, it is important, but it must be controlled.

Do you experience ‘writer’s block’ and if so, how do you overcome it? Not really – if I cannot go forward in my writing, it’s either a case that there is something serious [and not writing related] that is worrying me or, if there is nothing worrying me, then I haven’t thought the plot through well enough.

How do you deal with rejection? By not becoming obsessed by it. No matter how good you are or you become, there will always be rejections – be it for a piece of writing, a grant you applied for, a competition you hoped to win. Accept it and move on. It’s all you can do, really…

In three words, how would you describe your writing? Historical, engaging, thought-provoking.

If you had the chance to spend an hour with any writer of your choice, living or dead, who would it be and what would you most like them to tell you about living a writing life? Neil Gaiman – I’d pick his brain re his wonderful imagination and wisdom, and Rachel Kadish – how did she learn to write so beautifully?!

Book Byte

Orphan Rock is a complex and richly detailed story of secrets and heartbreak that will take you from the back streets of Sydney’s slums to the wide avenues of the City of Lights.

The late 1800s was a time when women were meant to know their place. But when Bessie starts to work for Louisa Lawson at The Dawn, she comes to realise there’s more to a woman’s place than servitude to a husband.

Years later her daughter Kathleen flees to Paris to escape a secret she cannot accept. But World War One intervenes, exposing her to both the best and the worst of humanity.

 Masterful and epic, this book is both a splendid evocation of early Sydney, and a truly powerful story about how women and minorities fought against being silenced.

Her writing is finely crafted, her prose poetic and subtle, and a joy to read.‘ Monique Mulligan, author of Wildflower and Wherever You Go

‘Dominique Wilson is a wonderful storyteller. The research is impeccable, the realism unforgiving.’ Brian Castro, author of Blindness and Rage and Shanghai Dancing.

Author website: http://dominiquewilson.com.au/

Facebook author’s page: http://www.facebook.com/DominiqueWilson.Author

Twitter a/c: @DominiqueWilsn

Pinterest: http://www.pinterest.com.au/dominique5758/_saved/

Buy the book here.

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Meet the Author: Lorraine Horsley

Books can change the world, and the right book at the right time can change your life.

Lorraine Horsley

Lorraine Horsley writes stories for children and adults along with non-fiction. Her first non-fiction book, You’ve Got This, Tips for the Uncertain Student was published by Dixi Books in October this year. Her first picture book, When You Left, is scheduled to be released by Dixi Books next year. She also has two stories in Don Cronk’s anthology Ghost Stories from Down-Under.

Lorraine has a Bachelor of Arts in English, an Associate Degree in Training and Development, a Masters of Arts in Professional Writing and Literature and is about to embark on another education journey with a Higher Degree by Research.

Lorraine calls Australia home and for most of her life she has worked in the media. For many years she was a presenter and producer with ABC Radio. She’s also spent the last couple of decades teaching and tutoring students at the start of their higher education journeys.

When not teaching or studying, Lorraine spends her time writing. She is a long-time member of the Society of Children’s Book Writers and Illustrators (SCBWI) and is a committee member of the Children’s Book Council of Australia WA Branch (CBCAWA).

Author Insight

Why do you write?  For as long as I can remember I’ve loved stories. I used to bang away on my mum’s old typewriter long before I could actually write. I knew back then that this was what I was born to do. I can’t not write. A day not writing just doesn’t feel right.

You’ve Got This: Tips for the Uncertain Student aims to help students kick-start their higher education and overcome their self-doubt and fear of failure. What inspired you to write it?

I work with Curtin University in their enabling program, helping students get started on their higher education journeys. One of our activities is to get the students to write about how they think they will go at studying and what barriers they might face. I was shocked to see that around a third of them were crippled with anxiety and fear of failure. But when I thought about it, I realised that I too had felt that way when I started my first degree. You’ve Got This is a book for my students and it’s the book that I wish 17-year-old Lorraine had too.

Your focus in the past has been on writing fiction, mainly for younger readers. Was it easy to make the switch?

Actually it was. I had one of those light-bulb moments while I was driving along one day. While I’ve always written fiction, in my day jobs, working in the media, I spent a lot of my life writing non-fiction – I’d just never really thought about that before. I was driving along and thought, what if I wrote a non-fiction book? What would I write about? By the time I pulled up in my driveway I had the whole contents page drafted out in my head.

This book didn’t have a conventional path to publication. How did that come about?

I’d decided I would self-publish this book. I have sent out lots of manuscripts over the years and while the rejections were getting more positive and a couple of books nearly got over the line, I decided that enough was enough and I’d just do it myself. Ironically, one of my picture books was picked up by UK publisher Dixi Books at that time. I couldn’t believe it! They asked what else I was working on. I told them, and about my determination to self-publish. They asked to see it first and this cheery yellow book is the result of me sending it to them. Never say never.

The cover design is eye-catching. Were you involved in that process?

Yes! Ayse from Dixi Books asked me had I thought about the cover. I sure had. I wanted it to be simple with an academic scroll on the front. I also wanted it to be yellow. When I first started working in a library, I noticed there weren’t many yellow books. I said to myself if I ever get a book out there, I want it to be yellow. It turns out that psychologically speaking yellow is a happy colour which fosters thinking and mental activity as well as increased energy levels – all things a student needs!

What do you hope readers will take away from this book?

That they are good enough, that they are smart enough and that they can succeed. For many of my students the biggest hurdle is one they have created in their own minds. As they work through the book, they will be encouraged to challenge their fears and negative self-beliefs. I hope they will see that success really is just a matter of putting one step in front of the other and refusing to quit. There is no magic, just persistence.

What are you working on at the moment?

Ooh, many things! I’ve just finished a first draft of a contemporary women’s fiction. I’m letting that lie fallow for the moment. It’s NaNoWriMo month so I’ve just started a junior fiction mystery book that will be part of a series. It’s called Hannah B Mysteries. Hannah has been living in my head for many years now. She’s been stomping her foot asking to get on the page, she’s a bit happier now I’ve started. And I’m working on another non-fiction title with a colleague of mine, Linda Parkes. We have both worked in the media for many years, so we are writing a book to help people approach and engage with all types of media to get their messages out there.

Walk us through your creative process. Once you have a story idea, what’s your next step?

Story ideas can be little puffs of things so I make sure to write them down as soon as I can, even if it’s just a sentence. I often email myself these ideas to come back to later. Then I usually let the idea roll around in my brain for a bit, Then, when I’m feeling brave enough, I start writing. I’m a pantser so I never know what’s going to happen on the page. That is both wonderful and terrifying!

Do you experience ‘writer’s block’ and if so, how do you overcome it?

Yes and no. I don’t really think there is such a thing as writer’s block, I think there’s a thing called ‘writers procrastinating because they are afraid to commit to the blank page’. I do suffer from that a lot. The only way to overcome it is to put your butt in the chair and write. Trust the process. The words will come. And don’t be too self-critical. The first draft is supposed to be a mess, that’s why it’s called the first draft and not the final.

Is there an area of writing that you find challenging?

I missed a lot of school as a kid so a lot of, as my teacher put it, ‘the more pedestrian aspects of writing’ I missed out on. Commas have been my nemesis for years, but we have a pretty good working relationship now.

How important is social media to you as an author?

I love Facebook and Instagram. I love having the ability to connect with readers and writers all over the world. I’m thrilled when a well-known author notices a post I’ve put up about one of their books. The world is a lot smaller now. When I was kid the idea of ever talking to a real live author seemed a fantasy. I also love being able to share in my friends’ successes. You’ve got to be careful of comparisonitis though!

What’s the best advice you were ever given? Keep showing up.

What’s your top tip for aspiring authors?

Just do it, you’ve got nothing to lose. And don’t delay. I spent years delaying my writing until I had the ‘perfect’ amount of time to write. That would be a day or a half-day – consequently it never happened. I’ve since learned that I can really only write in 40-minute bursts anyway. I drafted a whole junior fiction novel just by writing 20 minutes each day. Just put one word after another and keep going.

In three words, how would you describe your writing? Varied and hopeful.

If you had the chance to spend an hour with any writer of your choice, living or dead, who would it be and what would you most like them to tell you about living a writing life?

It would have to be Enid Blyton. Like so many people I grew up reading her books. I’d love to know how on earth she managed to write so many!

Now for a little light relief – If you were going to be stuck in a stalled lift for several hours who would you choose to share the experience with you and why?

My husband, Geoff Horsley. He puts up with my ramblings and is always the first one to hear of my new story ideas. I could come up with a lot in several hours. You might have to check if he’d be keen on this scenario though!

Book Byte

Want to go onto higher education but you’re afraid of failing? Keen to enrol but just don’t believe you’re smart enough? Then this book has been written just for you.

Author Lorraine Horsley is a tutor at an Australian university and has helped hundreds of students to kick-start their higher education journeys and to overcome their fear of failure. Throughout the book, Lorraine draws on her own experiences and challenges you to assess why you are so afraid and how you can succeed despite the fear.

There are many books out there that teach you how to study. This book isn’t one of them. This book will help you to be brave enough to start studying in the first place. You’ve Got This!

Buy the book here. Visit Lorraine’s FB page here.