New site for my writing and publishing presentations

Some exciting news: I have a brand-new site, Sophie Masson Presents, focussing on the presentations I can offer to schools, libraries, writers’ centres, writers’ groups, teachers’ and librarians’ associations, and festivals and conferences, amongst others. These range from author talks to workshops on writing and publishing, aimed at different ages and interests. The site features pages on each type of presentation, with sample themes and topics listed, but presentations can also be tailored for individual requirements.

You can book directly through the site or through booking agents I also work with. There’s also a calendar of already-booked events to help with planning schedules.

 

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A favourite Christmas memory…

Last year, at this festive time, I republished a piece I’d written in English and French for a magazine, about my childhood Christmasses. This year, as a favourite Christmas memory, I thought I’d offer instead a magical Christmas story, The Dolls’ First Christmas, which was published in the Random House Australia anthology, Stories for Seven Year Olds(, edited by Linsay Knight, 2014). It was inspired by my very talented friend Fiona McDonald giving me a beautiful handmade doll she’d created–and who I immediately named Esmeralda, after one of my favourite characters in a favourite childhood book of mine, Le Capitaine Fracasse, by Theophile Gautier..

Hope you enjoy–and the very best of wishes to you all for the festive season!

The original Esmeralda

The Dolls’ First Christmas

by Sophie Masson

Christmas Eve in the toyshop. In Miss Jeffries’ toy-shop, the last delivery had just arrived. Teddy-bears and tin toys. Puppets and pull-alongs. Rocking-horses and doll’s houses. And Esmeralda.

She arrived in an ordinary box, like the other dolls:

Sarah and

Donna and

Laura and

Clara and

Gloria.

 

Gloria, haughty queen of the dolls in Miss Jeffries’ toy shop, sat on her glittering throne in the window. Everyone gasped when they saw Gloria and said how beautiful she was. But no-one had bought her yet. She was too special. She cost too much.

Esmeralda was beautiful too, but in a different way. Her hair wasn’t golden, like Gloria’s, but black, in great long curls. Her skin wasn’t peaches and cream, like Gloria’s, but honey and tea. Her eyes weren’t sky blue, but nut-brown. Her stripy dress was splendid—but she did not have elegant satin slippers, like Gloria. Her feet were bare.

Miss Jeffries smiled as she set Esmeralda up on green velvet. ‘There, now, ‘ she said. ‘We’ll have two Queens. A snow queen. And a sun queen. You’ll be friends.’

But can two queens really be friends? Gloria didn’t think so. Esmeralda didn’t think so. Each thought she was better. Each sat in her splendour and looked haughtily away and thought she would be the first to go.

It was a long busy day. Sarah and Clara and Laura and Donna left and two boy dolls and six tin toys and eight teddy-bears and three puppets and two fairy dolls and a mermaid doll and two clowns and four baby dolls, plus a brace of Barbies. But not Gloria. And not Esmeralda, either.

At last, and very late, Miss Jeffries was about to close up. A man rushed in, shouting, ‘I work for Mr Darling, the millionaire. He sent me to buy a Christmas gift for his daughter Cherie. Her mother’s dead and her father has no time. I need your best doll. Your very best doll.’

‘There are two,’ said Miss Jeffries, calmly. ‘Esmeralda, and Gloria. Which one would Cherie like best? Sun queen or snow queen?’

The man stared.  ‘Oh! I have no idea. But I know she’ll have a tantrum if she doesn’t like what I choose. She’s always having tantrums. Blow it. I’ll take the two.’

‘Good choice,’ beamed Miss Jeffries, ‘they belong together, no question.’ She put them in their boxes and tied a pretty ribbon around them and waved a cheerful goodbye as the man hurried out, muttering to himself, ‘After all, if that brat doesn’t like one of them, she can always give it to someone else. Or throw it away. They’re only dolls, after all.’

Poor Gloria and Esmeralda! They had been made with such care. Their dresses were hand-stitched, their hair hand-knotted, their faces hand-painted. They’d been made to be loved. And now here was someone saying they might just be thrown away, like some cheap, broken factory toy.

Dolls may not talk in words and their red satin hearts may not beat but they have other ways of communicating. Gloria and Esmeralda sensed each other’s fear. At first, each thought it didn’t matter. Whichever doll Cherie liked best would be safe. But then– what if Cherie got sick of her? She might be worse off, then. While the other one might have gone to a good home. To a little girl who loved her.

Most dolls are airheads, the space under their pretty china or plastic skulls quite hollow. But Gloria and Esmeralda had cloth faces, pulled tightly over wads of stuffing. In the middle of the stuffing, each had a long, bright pin, left in by mistake. So their thoughts were sharp and they each thought the same thing at the same moment. They were queens. Snow queen, sun queen. They might not be friends, but sometimes queens put rivalry aside for the good of all. They would do something together, not apart. But how?

 

At the Darling mansion, the man gave the boxes to the housekeeper. She took them to a room where a tall, twinkling Christmas tree stood, with piles of presents under it.  The housekeeper shook her head, sadly. ‘More things going to waste on that spoilt child,’ she said.

The dolls lay under the tree for hours. No clever ideas came to them. Soon, they knew, it would be too late.

And then, just after midnight, there was a clatter of hooves on the roof above. Moments later a deep voice grumbled, ‘Why do I come? She has so much already!’

Now all toys, no matter how new, know what happens Christmas night. So Esmeralda and Gloria knew the grumbler wasn’t Mr Darling, or any of his staff. It was that jolly visitor, come from a magical world, whose job is to give every child in the world a present. The humans call him Santa Claus.

The dolls’ red satin hearts swelled and the sharp pin in their heads glittered as they tried to struggle out and beg for his help. They only made a tiny rustle, but Santa Claus’ sharp ears pricked up. And his kind eyes, that see into the heart of every child everywhere, saw right into those two red satin hearts. With a little chuckle, he opened the boxes. He gazed in at Esmeralda and Gloria. ‘A Christmas gift for you, little ones?’ he said. He touched each of them, very gently. A warm, golden stream of light seemed to flow from his fingers, into the dolls’ painted eyes. ‘Very well, then. I give you the power of love. And a very merry Christmas to you both.’

And with that, he was gone. The dolls heard the clatter of his reindeer’s hooves on the roof, then nothing. They waited in the warm piney darkness, filled with hope now.

Soon, it was morning. The dolls heard a man’s voice, trying to be jolly. ‘Well, Cherie, aren’t you going to open your lovely presents? Start with those two boxes.’

‘Yes, Daddy.’  A thin, flat, voice. Gloria and Esmeralda were afraid again. This child would not love them, no matter what Santa Claus said. All was lost.

Next thing, the wrapping-paper was roughly ripped, the lids of the boxes pulled off, so quickly that the dolls flipped helplessly out, onto their faces.

Mr Darling cried, ‘Really, Cherie, be careful! Look how beautiful they are! ‘

‘I don’t like dolls,’ shouted Cherie. ‘They stare and stare and they’re stupid! Stupid!’

‘Oh, nothing’s good enough for you, I’m tired of it, tired, do you hear!’ yelled her father. And he went out, slamming the door.

Cherie glared at the dolls. She picked them up, roughly. Gloria and Esmeralda thought their last hour had come. They would be torn limb from limb, their bodies shredded, their heads wrenched off. But as they helplessly looked up they suddenly saw in the child’s eyes, under the anger,  a sadness that  made their red satin hearts clench and their sharp minds ache. In that instant, something warm and golden and loving flowed from the dolls to the child, seeping into Cherie’s unhappy, lonely eyes.

She stared at them. Her lip trembled. She said, faintly, ‘I don’t like dolls..’ Shyly, she touched Esmeralda’s hair, then Gloria’s. She stroked their clothes. She held a doll in the crook of each arm. She whispered, ‘Most dolls are stupid,’ but then added, ‘not you,’ softly.

That is how Mr Darling found them when he came back, ashamed of shouting at his daughter on Christmas Day, wishing that he’d chosen her present himself, telling himself that he must try and understand, even if she made it hard.

But she smiled at him and said, ‘Daddy, do you know what their names are? Gloria and Esmeralda. I think they must be good friends, don’t you? Oh, Daddy, I love them already.’

And as Mr Darling sat happily with his daughter, Gloria and Esmeralda lay happily in her arms. Can two queens really be good friends? Why not? Anything was possible, on this beautiful Christmas morning.

‘Going over to the other side’ available on open access now

For anyone interested, my book chapter, ‘Going over to the other side-the new breed of author publishers’ which was published in the book ‘Publishing Means Business’ (Monash University Publishing, 2017) is now available through Monash on open access.

The rest of the book is also available, see here. You might also be interested to know that Chapter Two, by Dr Jan Zwar, explores some of the research findings from my 2014 book, The Adaptable Author. 

 

 

Small but beautiful: the myriad possibilities of folk and fairy tales

Today I thought I’d republish an updated piece that  I originally wrote for a presentation a couple of years ago, and which focusses on my love of folk and fairy tales, as a child reader, an adult writer, and a new small publisher!

Small but Beautiful: The Myriad Possibilities of Folk and Fairy Tale

By Sophie Masson

Three is a powerful number in fairy tale and folklore. And so in this piece I’m using it as a motif, to speak to you in three guises: as a young reader, an adult writer and a new publisher.

Once upon a time…

As a child, at my grandmother’s Toulouse apartment.

I dearly loved fairy and folk tales as a child. I was very lucky in that my very first literary mentors were oral, in fact, the very tradition fairy tale comes from: for I was told stories from a very early age. First by my paternal grandmother in Toulouse: as a baby, after I got very sick in Indonesia, where I was born and my parents were working, my parents took me back to France and left me with Mamizou(Marie-Louise), my glamorous, kind grandmother, and my two lovely, and lively, aunts, dark-haired Betty and blond Genevieve.  In that fairytale setting of the ancient city of Toulouse, surrounded by stories held in its very stones, I was nurtured on tales of fairies and witches, monsters and heroes, tricksters and innocents. The tales of Perrault and those of Grimm jostled those from local folklore and those from far away: from the beginning, fairy and folk tales from around the world featured in my imagination. Then, after I’d left my grandmother’s home at five years old, with my parents and siblings and we arrived in Australia, the fairy tale tradition continued, for we had so many illustrated books based around tales from across the world, and my father used to make some up for us too, and give his own(sometimes scary!) retellings of famous ones. Our mother also took us to see Disney animations such as Cinderella and Sleeping Beauty and I still love those Disney films–they are made with such delicate, sparkling artistry, they are little gems in themselves. But of course, given my deep background in the original fairy tale, they were never the be-all and end-all for me, just another way of entering into that enchanted world. And the very first book I read by myself in English, at the age of six or so, was a beautifully illustrated Little Golden Book called The Blue Book of Fairy Tales, which included Rapunzel, Beauty and the Beast, and Toads and Diamonds. I found a copy of that book in a garage sale a few years ago—and as soon as I clapped eyes on it, I was instantly transported back to that childhood reading experience! I knew the stories already, having heard them; but to decipher them for myself, in a language that wasn’t my native tongue, added an extra dimension of magic…Later still, I read more collections of fairy and folk tales from all over the world, both in English and French, in gorgeous illustrated editions. I couldn’t get enough of those sorts of stories. They were both consolation and escape; helped me to disappear into enchanted realms when frequent family melodramas made life difficult and painful; but also helped me to make sense of the world on my return. I loved myth and legend too, but in a different way.

Fairy and folk tales are less grand than myth, and less ‘serious’ than legend, but they are, in a way, more approachable. More human. And yet more magical. More geared towards not the great ones of this world, but the little people. They privilege the world of the village, the cottage, the everyday, transformed by luck, wit, kindness, courage…Most of all, they offer possibility: of escape, of justice, of hope. And of course of adventure. People say sometimes that it’s a pity fairy and folk tales are ‘only’ seen these days as suitable for children. While I understand what they mean, I think that it’s a patronising mistake to imply that something ‘only’ for children has no intrinsic value, in itself. Children understand folk and fairy tales, instinctively, without analysis. They understand without articulating it what it is that is so rich and nourishing in these ancient tales. Going from light to dark and all shades in between, managing all emotions from love to hatred, joy to sorrow, dread to excitement, laughter to grief, they are humble yet powerful, full of meaning yet full of adventure, and all in one concise and distilled package, for the tight framework of folk and fairy tale allows the imagination to run free. They also impart extraordinary and complex truths about human life and human nature in ways that are much more potent than if they were expressed baldly. You understand them with your subconscious, with your imagination, well before you are able to articulate them.

Turning the page, to adulthood…

I’ve never lost that love, that instinctive attraction to fairy tales–to me they are both intoxicating and refreshing, they lodge in your bones and your blood and in your dreams. And for a novelist, they are just a gift! As a writer, I love taking fairy tales and myths from around the world and playing around with them, re-inventing them to create fresh and lively new stories which whilst staying true to their essential core. I’ve explored quite a few fairy tales in my books: Aschenputtel(German form of Cinderella) in Moonlight and Ashes; The Scarlet Flower(Russian form of Beauty and the Beast) in Scarlet in the Snow; Rapunzel in The Crystal Heart; Snow White in Hunter’s Moon; Sleeping Beauty in Clementine; Puss in Boots in Carabas; (Tattercoats(English version of Cinderella) in Cold Iron; Breton fairy tales and the Arthurian fairytale of Dame Ragnell in In Hollow Lands; Celtic stories of underwater realms in The Green Prince; and the Russian story, the Tale of Prince Ivan and the firebird in my novel, The Firebird, as well as the Arabian Nights in my four-volume El Jisal series: Snow, Fire, Sword; The Curse of Zohreh; The Tyrant’s Nephew and The Maharajah’s Ghost. I chose each of those tales as inspiration because I felt they each had wonderful paths to explore, characters I could embroider on, magical backgrounds that were enticing…And so it proved to be!

What to me makes traditional fairytales particularly suitable as a basis for modern fantasy fiction is that in themselves they mix both enchantment and pragmatism, the world of the everyday and a realm of pure magic. And it’s all done in such a matter of fact yet also profound way. You can never get to the end of the meanings of fairytale; and the fairytales of a people reveal their essence, their soul, if you like, in a moving yet also funny and beautiful way.

And it’s not just the folk-based fairytales such as the Arabian Nights, Grimm’s collections and Perrault’s that are so inspirational. Original fairytales can also work this way: think of Hans Christian Andersen and Madame Leprince de Beaumont, who wrote Beauty and the Beast, a story which has inspired countless writers, including me with Scarlet in the Snow!

The biggest challenges of basing your original work on such well-known tales is that, of course, people have certain assumptions about the characters and the way the story goes. But though in my fairytale novels,  I keep to the basic inspiration of the tale, it’s my story I’m creating and I make it  very much my vision of the central character, the story arc etc. In fact the challenges are what makes I think the story so good to write as you are constantly open to the unexpected that will transform familiar territory into surprising discovery. In the classic fairytales of course, things just happen–because they do, and that’s the meaning of them in the tale if you like–but in a novel of course you do need to ask, why? who? what if? And so on. And that is exciting. It’s like following a detective trail, burrowing deeper into the heart of the tale, and finding your own new meanings within them.

And finally:

My love for these traditional tales has led me recently into a wonderful new adventure.

In January 2013, working in partnership with two other creator friends in my home town of Armidale in northern NSW, illustrator David Allan and author/artist/designer/dollmaker Fiona McDonald, I became one of the founders of Christmas Press, a new children’s publishing house. Why did we do that? Well, we all love the gorgeous classic picture books that we grew up with, the kind which featured retold traditional stories and beautiful illustrations, opening children–and their families–to a wealth of wonderful tales from around the world, and we felt that such books were now difficult to find. But rather than complain about it, we decided to do something about it–and so Christmas Press was born! And why Christmas Press as a name? Well, we all remembered the special excitement of getting those beautiful books under the Christmas tree. But our founding motto, ‘Books to cherish every day’, also tells you that these books are certainly not just for special occasions!

Though our first title Two Trickster Tales from Russia featured my retelling of two fabulous Russian folktales, David’s illustrations and Fiona’s design, we only started with our own work as we knew we were taking a risk dipping a toe into the publishing water at all, and it was better to take that risk with our own work than gamble with someone else’s!  The first book was certainly a lot of work and a very steep learning curve. But it was great to work through the process, first of concept, then layout, then design, over many lively working meetings. The printing costs for the first print run were partly funded by an Indiegogo crowdfunding campaign, which received fantastic support from fellow authors, illustrators, librarians, teachers, readers, booksellers—and even other publishers!

Since then, we have published seven other books in the ‘Two Tales’ series. The wonderful authors who have worked with us to create these retellings of classic stories include Ursula Dubosarsky, Kate Forsyth, Duncan Ball, John Heffernan, Adele Geras, Margrete Lamond, and Gabrielle Wang. We were thrilled that they enjoyed working with us, and that they didn’t mind that as a tiny press, our advances are very small—though we pay standard royalties. The opportunity to work in an area they really love but find difficult to interest big publishers in, was often mentioned as a great drawcard by authors. A big plus for us in attracting such talented and well-known creators!

Though most of our illustrations for the Two Tales series were done inhouse by David or Fiona, we also worked with other emerging illustrators: Kate Durack, whose powerful work illustrates John Heffernan’s magisterial retellings of Mesopotamian tales; and Ingrid Kallick, whose magical pictures illustrate Margrete Lamond’s engaging retellings of Norwegian tales.

In just five short years, Christmas Press has acquired a reputation for beauty, fun and high quality, with excellent reviews in national publications, shortlistings for awards, international sales, and even a mention for one of our titles, Kate Forsyth and Fiona McDonald’s beautiful Two Selkie Stories from Scotland, in the most recent edition of the very prestigious Oxford Companion to Fairy Tales.

Christmas Press also publishes anthologies of original Christmas-themed stories, poems and illustrations, and in 2016 we debuted two new imprints: Second Look, for republications in print on demand form of out of print titles by well-known Australian children’s author; and Eagle Books, which concentrates on adventure fiction for readers 11 and up, whose launch title, also in 2016, was the first translation in over a hundred years of Jules Verne’s great classic adventure novel, Mikhail Strogoff, and was followed by, to date, two other fabulous adventure novels by contemporary authors, with more to come.

But although, after eight titles published in the Two Tales series, we have decided to concentrate on other types of books, we are immensely proud to have helped to bring these small but beautiful tales to a new generation of readers. That is truly something to celebrate!

www.christmaspresspicturebooks.com

 

Results of the 2018 New England Thunderbolt Prize for Crime Writing

This year, I’ve had the honour of being the co-ordinator for the New England Thunderbolt Prize for Crime Writing, which in just six years has become one of Australia’s most prestigious awards in the genre, and has launched the careers of several writers, most notably Emma Viskic, multiple award winning author, who was the first winner of the Fiction category in the inaugural(2013) Thunderbolt Prize.

The results of the 2018 Prize have been announced today(Nov 30) and I’m delighted to also be able to publish that announcement here. A full list of winners, highly commended and commended citations, as well as judges’ comments and reports, is available on the New England Writers’ Centre website.

Congratulations to all, and thank you to our wonderful judges and sponsors!

The New England Writers’ Centre is delighted to announce the results of the 2018 New England Thunderbolt Prize for Crime Writing.

The New England Thunderbolt Prize for Crime Writing is a national award for unpublished short-form crime writing in three main categories: Fiction, sponsored by the Faculty of Humanities, Arts, Social Sciences and Education, University of New England; Non-Fiction, sponsored by Moin and Associates, Lawyers; and Poetry, sponsored by the New England Writers’ Centre. There are also three special awards: the New England Award for a writer resident in New England, sponsored by Readers’ Companion Bookshop; the Emerging Author Award, for an unpublished writer over 18, and the Youth Award, for writers under 18, sponsored by Christmas Press and Little Pink Dog Books, children’s publishers based in Armidale.

In its sixth year in 2018, the Prize attracted a strong field of entries from all over Australia, by writers both published and unpublished. New England writers also made a strong showing this year, with several receiving high commendations and commendations, including the winner of the New England Award, Phillipa Trelford, who received a Highly Commended citation in the Poetry category. Other New England writers represented include Linda Brandon, who received a Highly Commended citation in Fiction, Lynne Newberry, who received a Commended citation in Fiction, and Annie Worthing, who received a Highly Commended citation in the Youth Award.

The winners of the 2018 New England Thunderbolt Prize are as follows:

Poetry: Ivy Ireland (NSW), for Grey is not your colour.

Fiction: Nic Lesley (NSW) for Bottom of the harbour scheme.

Non-Fiction: Christopher Ryan(NSW) for Sins of the Fathers.

New England Award: Philippa Trelford(Armidale)for Chiaroscuro, Madgwick. Also Highly Commended, Poetry category.

Emerging Author Award: Nic Lesley(NSW) for Bottom of the harbour scheme. Also Winner, Fiction category.

Youth Award: Eva Mustapic, age 14 (WA) for Laundry Day.

The New England Writers’ Centre warmly congratulates all the winners, as well as all those who received Highly Commended and Commended citations. A full list of winners, as well as those highly commended and commended, plus judges’ comments, is attached.

All entries were blind-read by the judges, with all identifying marks removed, other than title and an assigned number. Judges this year were Jean Kent, Poetry; Sulari Gentill, Fiction; Pip Cummings, Non-Fiction; and Beattie Alvarez. The New England Award and Emerging Author Award were chosen based on judges’ recommendations.  The winning entries will be published on the New England Writers’ Centre website in December.

The New England Writers’ Centre wishes to thank the hard-working and thoughtful judges and all the generous sponsors of the New England Thunderbolt Prize for Crime Writing for helping to make 2018 another successful year for the Prize. And a big thank you to all entrants!

Ho, ho, Hippo–an interview with Hazel Edwards

Today, I have the great pleasure of presenting an interview I did recently with Hazel Edwards, to celebrate the publication of a very special picture book: Ho! Ho! Ho! There’s A Hippopotamus On Our Roof Eating Christmas Cake. It’s the seventh and final title in the well-loved Hippo series, written by Hazel and illustrated by Deborah Niland, which since the publication of the very first Hippo book in 1980 has been a firm favourite with families all over Australia–and well beyond (even royal families, as you’ll find out!)

This book’s as warmly and engagingly written as ever, with the familiar charm of the bold, colourful illustrations and a sparkly Christmassy feel as well. You can also get an activity pack which includes all sorts of fun Christmas activities–and cookie cutters, including one in the shape of Hippo of course, to make gingerbread biscuits just like the little boy does with his grandmother in the book. Indeed, Hazel’s dedication in the book is to her grandson Henry, the third generation to make friends with Hippo, as she explains in the interview. Read on!

First of all, Hazel, congratulations to you and Deborah Niland on the publication of Ho ho ho, there’s a hippopotamus on our roof eating Christmas Cake! It’s the seventh and final book in the much-loved Hippo series which have enchanted generations of children and their parents. Can you tell us a bit about how this new book came about?

Extract from Santa Skylight gift book page

 Grandson Henry Garnet  ( to whom “Ho! Ho! Ho !…is dedicated) inspired this hippo story. Henry had just moved with his parents and big brother to an older house which has two chimneys. He was concerned that his grandparents’ house had only skylights, and the lack of chimneys would mean Santa might miss us on Christmas Eve.  Since I write a story gift of the imagination for him each Christmas, that became his photographic story, with his older brother suggesting a webcam and GPS to redirect Santa.

As with many picture books, the story was later ‘tweaked’  but is still about the logic of fantasy, especially when you have a ‘fantastic’ hippo and a Santa who might co-exist on a roof. And I especially wanted Hippo to strut a cake-walk on the roof , which later became a dance and carols by cake-light. So all ideas are moderated in the creation of a picture book like ‘Ho! Ho! Ho!…’

The hippo biscuit cutters have attracted the attention of reviewers , who are avidly baking gingerbread hippo biscuits.  I feel a bit of a fraud as I’m not a great cook, but the grandkids and I will make hippo biscuits this weekend.

I wanted the emphasis to be upon the ‘giving’ of creativity at Christmas, not a ‘gimme presents’ attitude.  So within the text and illustrations are many ideas which readers and families can create for themselves.

Hazel’s grandson Henry reading Ho Ho

Instead of a ‘launch’, readers are making the other ideas Deborah Niland has hinted at in the visuals.  And hopefully next year will be the touring musical again with Garry Ginivan productions. Last year’s  national ‘Hippo Hippo the Musical’ inspired from the books, was one of the most satisfying aspects for me of this history of the imagination. To sit in the audience with enthralled children who were the third generation of the original readers of the 1980 edition was special.

And they were all reacting to the hippo character on stage as if he were part of their own imaginative world.

Lovely as it is to see a new Hippo book out, it must also feel rather poignant for you and Deborah, as this is to be the last. Tell us a bit about the journey of Hippo, from the start to now. Where did the idea for Hippo originally come from? Did you imagine 38 years ago that Hippo would capture the hearts and imaginations of so many people? And why do you think young readers take so warmly to Hippo?

 Originally our new roof leaked and our then 4 year old thought the workmen fixing it were the cake-eating hippo thumping around.  Now the nephew of the original 4 year old has been concerned about the same roof: only this time , the skylights being a Santa -barrier is the worry.

The original ‘Hippo’ trio in 1978 when Hazel first wrote the story: Kim (Henry’s mother) Lani (neighbour) & Trevelyan (Henry’s uncle)

Because the big friend has all the answers, especially when you are doing something for the first time and are apprehensive, the hippo books are reassuring. Situations like starting school, going to hospital or acquiring a new baby in the family are easily identifiable.  Christmas is also shown as a time of family sharing of traditions and is Australian, rather than snow laden.

I remember you saying in an interview that for the anniversary edition of the first Hippo book (There’s A Hippopotamus on Our Roof Eating Cake) you chose to tweak a couple of things in the text. Can you talk a little about that? And how has the reception of the Hippo books changed over time?

 Food is the sex of children’s books, so the sensual delight of adding a themed food to a book for literary events is on-going.

Most readers enjoy the absurdity of juxtaposing cake with hippos who are actually bad tempered in real life, not cute and cuddly. But across the years I’ve had requests  to make the cake gluten –free or a healthier alternative like celery sticks. Real hippos do eat carrots, so I’ve suggested carrot cake as a compromise, but generally the cake is a chocolate mud one which is apt for muddy hippos. Or even just roof tiles, which are easier to design than the challenging hippo cake shape.

The original ‘smack’ was edited out at the publisher’s suggestion but many readers, especially young dads had firm views on retaining the original wording as a point for discussion with their families. I tend to agree that stories should remain in the cultural context in which they were written and that readers are intelligent enough to discuss interpretations. I do NOT favour child abuse, but ‘smacking is a highly emotive issue for some parents. The publishers changed the wording to ‘Daddy growled’…so earlier editions are now collector items.

Picture books are of course always a collaboration between words and pictures, author and illustrator. Can you tell us a bit about your own collaboration with Deborah Niland over the years?

We live in different states.  Deborah adds her visual interpretations to the text and I’m always willing to change the wording if the picture already conveys the concept. But I keep the rhythm of the reading. I love the ‘joyous’ aspect of the ‘Ho! Ho! Ho!…’ illustrations due to Deborah Niland’s ability to draw so appropriately for this age group. But it’s also a book which can be shared within families and many nostalgic readers love collecting copies, even if they are no longer children.

Hippo has become a classic figure in Australian children’s literature. What are your favourite anecdotes about how readers from 1980 to 2018 have responded to him?

Literary Speed Dating in my memoir ‘Not Just a Piece of Cake; Being an Author’ is where the hippo (via Hazel) answers fan questions  in character.There’s also 100 things which have happened in the history of the cake-eating hippo friend.  Readers’ responses are often poignant. And some children with health issues have responded to the books, using them as a kind of therapy, that if the hippo can cope, so can they.  A book can offer reassurance that others survive, just like the young person in the original book (whose family has grown across the decades) but who is sort of in charge, with the help of hippo.

Here are a dozen memories:

  1. Knock at my front door. Small child. ‘Excuse me. Is this the house where the hippo lives on the roof?’ Answer. ‘Have a look.’
  2. Danish Palace note of thanks (with gold crown) from Princess Mary for autographed Hippo book Australia Government sent as official gift of the imagination for the birth of her daughter.
  3. Fan letter addressed to: The Hippo, Blackburn South, and delivered in person to author by the smiling mailman.
  4. Principal, an ex rugby player, accepted challenge to eat cake on school roof, in hippo costume, and read the book aloud if his students surpassed their reading quotas. They did. And despite being scared of heights, he kept his promise.
  5. Hippopotamuseum created by gifted educator to demonstrate physics principles e.g. falling, related to Hippo character.
  6. Rural prep mother who could not read, but wanted ‘Another easy book like Hippo which I’m learning to read with my 5 year old.’ Brave woman to ask in front of other parents.
  7. Parent’s letter from children’s hospital, thanking for the reassurance of ‘ Hippo on the Hospital Roof’ read in casualty waiting room and in ambulance en route.
  8. In Nepali Montessori School, in Kathmandu reading through interpreter, with hippo music and dancing, and Himalayan mountains as a backdrop.
  9. Feelix suitcase of book and stimulus for blind pre-schoolers. Also had hippo cake tins, an audio and Braille copy. Helped name Feelix project. Felix means happy and ‘feel’ related to the textures felt by blind children.
  10. Collage of memorable fan letters touring as ‘Corridors of Characters’ with Hippo responses by ghost-writer Hazel exhibited at the former Fremantle Maximum Security Jail.
  11. ‘Us mob like your stories. We laugh at the funny bits.’ from an online webchat with a remote outback school.
  12. After a literary festival, the over-loved hippo needed cleaning. Dry cleaners wouldn’t touch it because the head had paper inside. Too big to fit in washing machines, hippo had to be ‘emptied’ of the filling of polystyrene balls and the ‘skin’ washed by hand in baby soap flakes. Experts advised removing the filling either in the carpark or in the bath. …I found out why. The polystyrene balls went everywhere, even clung to our underwear. I handwashed ‘skinny’ hippo in our bath and a visitor freaked on opening the bathroom door to discover hippo hanging from the shower, to dry.

One of the most heart warming aspects of being a long term children’s author is having a three generational readership. ‘Ho!Ho!Ho! There’s a Hippopotamus on our Roof Eating Christmas Cake’ is being shared by the grandparent generation too. And I also have grandchildren who are reading books inspired by their parents when children. And even learning to read from Hippo books.

Henry Facetime-reading with Hazel

Another special moment with grandson Henry was when I gave him the advance copy and he read it through with expression. Earlier we used to read on Facetime each night, (he taught me Facetime and I helped with his reading) but he always chose the books we shared.

The first Hippo book was adapted for a musical recently--what was it like, experiencing your characters on the stage? And will Hippo pop up in other adaptations, whether for stage or screen?

While children’s theatre is my greatest love, I’d like the cake –eating hippo to have his own television program. In that way he could reach more children and also encourage them to pick up the books too. Although there have been translations into Mandarin, Japanese and other languages, the one I value most is the Braille translation in Vision Australia’s ‘Feelix project’ for children who are sight impaired.

Hazel at a performance of ‘Hippo! Hippo!’ the Musical

Note from Sophie: As Hazel’s publisher Penguin Random House kindly sent me the Hippo cookie cutters with a review copy of the book, I had a go at making some biscuits myself, as a trial run for the visit of certain special little people who are coming to see us in a couple of weeks’ time! I didn’t make gingerbread biscuits as I’m not keen on gingerbread., instead making a vanilla butter biscuit mixture which has a similar consistency and is easy to shape and cut out. Here, below, is the result–the biscuits just made, before they went into the oven, and the final, brightly decorated product with some bonus stars! Fun to make and taste pretty nice too–and I know some little people who will love making them too 🙂

 

 

 

 

 

 

 

 

 

More about Hazel Edwards:

Hazel Edwards writes quirky, thought-provoking fiction and fact for adults and children. Coping successfully with being different is a common theme. Co-written ‘junior novel ‘Hijabi Girl’ and YA novel ‘f2m;the boy within’ explore cultural diversity.

Best known for ‘There’s a Hippopotamus on Our Roof Eating Cake’ series, recently touring as a musical, Hazel has grandkids for whom she writes a story each birthday. ‘Outback Ferals’ her YA novel set in Darwin, is a sequel to ‘Antarctica’s Frozen Chosen’, researched during her 2001 Antarctic expedition.

Hazel runs book-linked workshops on ‘Authorpreneurship’ and ‘Writing a Non Boring Family History’.

’Trail Magic; Going Walkabout for 2184 Miles on the Appalachian Trail ’ with her son Trevelyan is an adventure memoir. He did ALL the walking.

A National Reading Ambassador, in 2013 Hazel was awarded an OAM for Literature. Her memoir ‘Not Just a Piece of Cake-Being an Author’ explores long-term creativity.

‘Celebrant Sleuth;I do or die’ an adult mystery with an asexual sleuth is her latest fiction and ‘Almost a Crime’ , short crimelettes are available on Kindle.

Hazel’s website is here.

You can find her on Facebook here.