A Writer’s Dream, guest post by Glenice Whitting

glenice-whitting-jpgI’m delighted to publish today a guest post by author Glenice Whitting. Her debut novel Pickle to Pie was shortlisted for the Victorian Premier’s Literary awards and won the Ilura Press International Fiction Quest.  During her studies from VCE to PhD she was invited to become a member of The Golden Key International Honour Society and awarded an APA scholarship. Her latest novel, ‘Something Missing’ will be published by MadeGlobal Publishing and launched at Swinburne University 11th December 2016. 

A Writer’s Dream

by Glenice Whitting

Writers often dream of being published and getting their work ‘out there’. I am no exception and I am delighted that my second novel will be launched in December 2016 by MadeGlobal Publishing. ‘Something Missing’ began life as my artefact for my PhD at Swinburne University. It is the story of  two women who changed each other’s life through a friendship that spanned two countries and many decades.

I had just completed my Masters of Creative Writing at Melbourne Uni as a mature aged student when my first novel, Pickle to Pie co-won the Ilura Press International Fiction Quest. This meant a cash advance, plus publication and I was beside myself with excitement. Pickle to Pie was the story of a boy, a great-hearted German Grossmutter and a man caught between two worlds. I had promised myself, if Pickle to Pie was ever published that I would give up my day job. Hairdressing had always augmented the family income through good times and bad. After the book launch I stuck to my promise and sold the salon. I knew I was not a J K Rowling, but I was happy.pickle-to-pie

I had often toyed with the idea of studying for my PhD but never dreamt it could happen. However, to be awarded an APA scholarship meant the opportunity to study at Swinburne University and I grabbed it with both hands. With the help of two supervisors I could learn the craft of writing and understand all the rules. I would then know why I was breaking them. This was my chance to spread my writing wings and fly to the moon.

Did I follow on from the German Australian story? Did I build on the shoe-box of old postcards written in High German found in the bottom of dad’s wardrobe after he died? Or the bookcase filled with A4 folders containing years of German/Australian research? Of course not. Instead, I decided to do what so many writers do. I chose to write something close to my heart: something entirely different. This time it would be a women’s story based on my thirty-five year pen-friendship with an older American poet. It would be a story about two women, a life changing pen-friendship and the lies that led them both to truth.

I wrote in my journal,

‘I am writing an epistolary, autoethnographic novel grounded in both feminism and post modernist paradigms with the aim of revealing women’s hidden stories in the hope of instigating social change. I believe this embedded story of the journey of self discovery and friendship will carry with it the possibility of nothing less than the restoration of faith in human kind.

What lofty aims, but here was a chance to use our letters, interspersed with text, to explore the influence this elderly poet had on a young woman who left school at fourteen to become a hairdresser: a woman who unconsciously yearned for the education given to her brother and denied to her. My ongoing journey into epistolary fiction using letter, diary and journal extracts, plus snippets of poetry, had begun.

For four years I am caught up in a world where my mind keeps bouncing backwards and forwards between my creative writing of this novel and the formal academic exegesis. I try to remain true to my research title;  A Novel and an Exegesis Beyond Epistolarity.

Friends warned me that I would have a meltdown post PhD, but I was convinced that would not happen to me. I was too strong, too resilient. That sort of breakdown only happened to other people. The wail of the ambulance soon bought me back to earth with a thud. To leave my wheelchair and walk on stage wearing the hired floppy Tudor bonnet and colourful gown was a highlight in my life. I had an overwhelming feeling of achievement and self worth that no one could take away from me.

The mature aged student journey from VCE to PhD had required passion, dogged determination and guts, but it had also been the most exciting, exhilarating time in my life. I knew I would miss it and all the friends I’d made along the way.

I took a long hard look at what I’d written, and following the suggestions of American author/editor, Cindy Vallar, I inserted quotation marks to all the dialogue and renamed the manuscript ‘Something Missing’. But, had I, over the years of study, begun to sound as if I’d swallowed a dictionary?

book-cover-newThe third rewrite of the entire manuscript is the one that is being published. It was an invaluable lesson. To be a writer I had to be myself and write the way I really wanted to write, from the heart. I took out the overarching second person narrating character, made both Maggie and Diane third person narration, threw in a handful of suspense and Voilà… ’Something Missing’ was born. It had gone beyond academia, beyond epistolarity into popular fiction. I was over the moon with excitement the day I received the email that Tim Ridgway and Melanie V Taylor of MadeGlobal Publishing loved the story and would be sending a contract etc.

I will always be grateful to fellow colleague and wonderful friend, Wendy J Dunn, author of Author of Dear Heart How Like You This, The Light in the Labyrinth, and Falling Pomegranate Seeds  who recommended I send the manuscript of my novel to her publisher .

It is every writer’s dream to hold their book in their hand. It gives them a chance to thank all the people who have helped along the way. There have been so many people I could list who have patiently and painstakingly worked with me through all three versions of this novel. However, there is an indescribable joy in finally being able to thank them formally, via the acknowledgment page, in the soon to be published last reincarnation of the manuscript, ‘Something Missing’.

 I have asked Wendy Dunn if she will endorse my novel. Below is her generous reply:

 Something Missing narrates the story of a life changing friendship that spans decades and two continents. It is a powerful and beautifully told story of how we grow through the power of friendship – and how relationships change over time. Empathetic, full of life’s truths and wise – Something Missing is a work that stays with you, and speaks to our hearts.  

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Anzac Stories: Behind the Pages Exhibition and my part in it

1914-coverI’m honoured to be part of the Anzac Stories: Behind the Pages exhibitions which will run throughout Australia in 2017 and 2018, and will showcase Australian and New Zealand contemporary children’s books set in wartime, and the stories behind the creation of those books. The exhibition is the brainchild of the fantastic New Zealand author Maria Gill, who initiated a similar exhibition in New Zealand earlier. Boards featuring individual books and writers will be exhibited in libraries across Australia. My two World War One novels, 1914 (Scholastic, 2014) and My Father’s War (Scholastic 2011) and the stories and research behind them, will be part of the exhibition. There’s also an Anzac Stories blog, with info about each book and a short interview with their writers. Here’s a little extract from minemy-father-s-war

Doing the research on the ground, in northern France especially, made it all become so real and so emotionally affecting. Both books blend my two main cultural influences: French and Australian, and that also felt like a very positive thing, especially as the ties between France and Australia forged during that terrible time are still very strong, particularly in the Somme region of northern France, where they have a saying, N’oublions jamais l’Australie : ‘Let us never forget Australia’

You can read the whole thing here.

 

Interview with Kenn Nesbitt, poet and compiler of One Minute till Bedtime

kennwithbooksIn 2014 I and many other writers received a lovely and unexpected invitation from prominent American children’s poet Kenn Nesbitt, asking if we would be interested in submitting poems for an anthology he was compiling, One Minute Till Bedtime, which would also include such contributors as Jack Prelutsky, Jon Scieszka, Jane Yolen, and Lemony Snicket. Talk about great company! And I was so thrilled when Kenn accepted my poem, Seagull Beach Party.

Two years later, and this week sees the publication of One Minute Till Bedtime. Containing the work of many poets from the US, UK, Australia and Canada, selected by Kenn, and beautifully illustrated by Christoph Niemann, the book is published by Little, Brown and is available around the world, including Australia. To celebrate its publication, I spoke to Kenn about the project, his own career, and children’s poetry in general.

First of all, congratulations on the publication of One Minute till Bedtime, Kenn! It’s lovely to see it out there. How did you come up with the idea for this unique poetry anthology?

Many years ago, the poet Bruce Lansky pointed out to me that most children’s poems can be read in an average of about one minute. Since then, I have tried to encourage teachers to take one minute of their school day to share a poem with their students.

When I was named Children’s Poet Laureate, I decided to create a website called PoetryMinute.org to give teachers a resource where they could easily find one-minute poems to share with their students for every day of the school year.

While I was in the process of creating this site, I was approached by Susan Rich at Little, Brown Books for Young Readers about creating a book around this idea of one-minute poems. She and I decided that bedtime might be the perfect time for a book of short poems, and One Minute till Bedtime was born.one-minute-till-bedtime

The contributing poets come from around the world. How did you go about sourcing poems for the anthology? 

Over the years that I have been writing children’s poems, I have developed relationships with many poets throughout the US, Canada, the UK and Australia. I called on many of these authors, and reached out to lots of other poets whose work I admire. Thank goodness for email and the Internet. A project like this would have been much more difficult 20 years ago!

With its wonderful poems, lively illustrations by Christoph Niemann, and attractive design, One Minute till Bedtime is a most appealing book for children and their parents. And obviously there’s a lot of work behind it. Can you tell us a bit about the process of putting together such a big project with the publisher, Little, Brown?

To begin, I wanted to create a collection that focused on the work of living, working children’s poets, rather than reprinting classic and public domain works. So I sent out a call for submissions to over 200 poets from around the world, looking for brand new poems that had never before appeared in print. I received submissions from roughly 170 different authors. I read them all, highlighting the ones that I thought might work. Once I knew which poems I wanted to include, I printed them all out and spread the papers around my dining room table, looking for natural pairings between poems and organizing them into sections.

Along the way, I tracked everything with spreadsheets, including submissions, selections, the order of the poems, and so on. While I was doing this, Little, Brown was on the hunt for just the right illustrator. Christoph Neimann was a truly inspired choice. His simple, yet incredibly clever illustrations compliment the poems perfectly.

Once the manuscript was completed, Little, Brown began working with Christoph on the illustrations and with me on the process of proofreading, editing, typesetting, and troubleshooting.

In the end, it all came together beautifully. I couldn’t be more proud of this book.

You are a popular and much-published poet. Can you tell us something about your own career, and how you started? What do you think has changed, if anything, over the time you’ve been published, in terms of attitudes to poetry for children?

I began writing poems as a hobby for my own amusement. I wrote for several years before I ever considered trying to get published. I also created a website, poetry4kids.com, in 1997 to share my work with readers online. I had my first poems published in 1998 in an anthology called Miles of Smiles. My first book, The Aliens Have Landed at Our School! was published in 2001. Since then, I have written many more books of children’s poetry, as well as a couple of picture books and a chapter book.

It seems that there are more poets writing for children today than ever before. At the same time, there are fewer individual poetry collections being published. Many children’s poets have instead turned their talents to writing picture books, novels in verse, etc. Large hardcover collections, such as those of Shel Silverstein and Jack Prelutsky, are becoming rare as hens’ teeth. Recent books by Alan Katz and Calef Brown are notable exceptions.

It is my hope that One Minute till Bedtime will not only introduce a new generation of parents and children to the joy of poetry, and showcase the works of today’s best children’s poets, but will also show publishers that poetry is worth pursuing.

You are the US Children’s Poetry Laureate and a tireless advocate for poetry. Why do you think poetry is so important for children? And what more do you think could be done to enhance children’s access to poetry?

I was the Children’s Poet Laureate from 2013-2015. Although I’ve passed that torch to my successor, Jacqueline Woodson, I continue to promote poetry to children, parents, and teachers around the world.

I believe poetry is important for children because it is short, fun, and memorable. (Everyone remembers something by Mother Goose, Dr. Seuss, and probably several other poets of childhood.) This combination makes poetry an easy springboard to reading and writing. Introducing children to poetry can help make them lifelong lovers of the written word.

The best champions for poetry are the earliest ones; parents and teachers. I believe the best way to enhance children’s access to poetry is to encourage parents to read to their kids, and to ask teachers to share poetry in their classrooms. Once they do, they will find that kids can’t get enough.

Interview with Therese Walsh, editor of Author in Progress

12803300_10207051919154843_5638323324479667397_nSome years ago–I think it was back in 2008–I was invited to become a regular contributor to the international writing blog, Writer Unboxed, founded by US writers Therese Walsh and Kathleen Bolton two years previously. Their idea was to create a community of writers who would find guidance, support and encouragement in WU, as well as great advice and tips. That’s certainly proven to be the case, and Writer Unboxed is one of the most popular and respected writing blogs in the world today, garnering several awards as well as an ever-increasing list of followers, a very active Facebook and Twitter presence, and the hosting of a unique conference–or Unconference, as it’s titled!

And now comes the next step: a book which gathers together a great deal of individual and collective wisdom and advice from Writer Unboxed contributors and community. Author in Progress: A No-Holds Guide to What it Really Takes to Get Published (Writers’ Digest Books), is being released today, November 1 and will be available from online booksellers such as Amazon, Barnes and Noble, etc, as well as the Writers’ Digest shop. Edited by Therese Walsh, and with an introduction by respected author James Scott Bell, it features over 50 essays from novelists, editors, agents and contributors from the WU community. The book goes well beyond the usual run of how-to-get-published books: from discussing reasons why people want to write right up to post-publication issues, and much more in between. I’m delighted to say by the way that I have an essay in the book, which is called ‘Writer as Phoenix’, and is in the final section of the book.

And today, I’m delighted to celebrate the publication day of Author in Progress by featuring an interview with its initiator: writer and editor extraordinaire, Therese Walsh.

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Welcome to my blog, Therese! How did the idea for Author in Progress come about? What was your vision for the book, and how did that evolve as time went on?

Thanks for having me, Sophie, and for the opportunity to talk about Author in Progress.

The book came about after I met with Phil Sexton at the Writer’s Digest conference last summer (2015). He mentioned the idea of doing a book with them, and that took root with me over a month or so. I had a follow-up phone call with Phil, and he mentioned the freedom we’d have to do the type of book we wanted to do. After that, the idea for Author in Progress fell into place rather quickly, as I considered what I knew to be true about writing a book – because there are some things I always say when someone who is not yet published asks, ‘How did you get published? What did you do?’

The book is broken into parts, following the stages a writer will likely go through on the road to publication: Pre-writing considerations, the writing itself, critique-related topics, educational considerations, rewriting, perseverance, and releasing the project once you’ve served the work.

Author in Progress is a very different kind of how-to writing book, as it doesn’t assume that the journey ends when your book is published. And it offers the advice and experience of many different contributors. How did you go about gathering and editing contributions from so many people?

Assigning essays was much easier than it might have been, in part because Writer Unboxed contributors are exceptional to work with (I’m not at all biased!). I think the other reason it was relatively easy was because of the adaptability of the contributors, in that many could write to several stages of the book. That said, there was a certain magic to the match-ups and I’m particularly pleased with how that went; everyone delivered something about an issue that resonated with them personally.

In terms of gathering and editing, I created a deadline for essayists to turn in their work and that deadline was met almost without exception. I then read over each essay, and suggested revisions when I thought they might make the book stronger. I then did a final edit for clarity—adding headers—and correcting for typos. This is what was then submitted to Writer’s Digest and our in-house editor there, who took everything to the next level in terms of polish and readiness for publication.

Author in Progress is aimed not only at aspiring authors, but also authors who have already been published. What do you think authors at different stages of their careers could get from this book?

One of the things authors will be able to see is that the stages of story creation are cyclical, repeating with every book. Sure, you learn things early on that you apply to each book thereafter, but that doesn’t mean you don’t hit each stage in some way. We’ve included some articles under a header called ‘Eye on the Prize,’ which addresses how a topic (e.g. critique) becomes important in a different way when you’re a published author (e.g. accepting notes from an agent, editor, even readers). We also have boxes throughout the book marked as ‘Pro Tips,’ which, again, help to root the reader in the reality of why something is important if you’re to make a career of writing.

All that said, I think the larger reason published novelists might want a copy of Author in Progress is because when we’re in the middle of a project—or at the start of one—we sometimes forget that all of this is normal. The anxiety, the doubt, the block, the research pitfalls, the need to go deep with character (and how to do that), the need to continue to learn and grow (and what steps you might take to push to the next level). I think even published authors need to remember that we’re not alone, and that the angst is part of the process, too.

Is there any particular tip or bit of advice that you would offer an author starting out on the journey–and those a bit further along?

I would tell that author starting out and an author a bit further along something similar. Writing a book is tough at times. Many of us might say, ‘If I knew how long it would take, what it would ask of me, maybe I wouldn’t have finished… But I’m glad that I did.” Perseverance is one of the key ingredients for any author in progress, and so I’d tell both of those writers to keep going, and remind them that they are not on that road alone. Truly, they are not.

The book is closely associated with Writer Unboxed, the writing blog you founded some years ago with Kathleen Bolton, which has become prominent and respected in both the author community and the publishing industry. Can you tell us about the blog, and about the insights into authorship it has given you?

Writer Unboxed  is my writing family, and it’s my hope that we are other writers’ online family as well. We are dedicated to producing content daily about the craft and business of fiction on our website, but it goes beyond that with our Facebook community (5,000+ writers strong in a promo-free zone) and our Twitter feed (@WriterUnboxed). Our ultimate goal is to provide positive and empowering support for writers of any genre.

I’ve learned a tremendous amount about writing simply by being present for the day-to-day business of the site, but I think the most crucial lesson is that it is truly a cyclical process. You envision. You create. You revise. You learn the lessons the book is there to teach you. You serve the work. You release. Repeat. As someone who hasn’t always had an easy road myself, there’s a lot of power for me personally in seeing that this process is what it is. It’s the job of being an author. It’s not always easy. In fact, it can be grueling and draining and crazy making at times. But it is a wonderful and gratifying thing to be able to do this job—build stories, reach readers. Writer Unboxed has helped me persevere to do just that.

Thank you again, Sophie. Write on!

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