First advance copy of The Snowman’s Wish!

So exciting to receive the first advance copy of The Snowman’s Wish, my upcoming picture book with the fantastic illustrator Ronak Taher! It is such a thrill always to hold that first copy in your hands, to touch it and turn its pages and revel in its presence in the physical world…and this is a book that in every way has been a truly magical experience, from the very first spark of the story idea, to right now, seeing and holding this stunningly beautiful book. Thank you so much to my co-creator Ronak, to wonderful designer Hannah Janzen, fantastic publisher Margrete Lamond, and all the team at Dirt Lane Press who have brought the world of the snowman to such gorgeous, sensual life. Thank you also to Robyn Ewing for the lovely back cover quote.

The Snowman’s Wish comes out with Dirt Lane Press in July and will be available in all good bookshops around Australia, including online. You can also pre-order copies now by contacting Dirt Lane Press at  info@dirtlanepress.com.

See some of the beautiful internal pages below.

Celebrating new books in troublesome times 9: Kate Forsyth and Lorena Carrington

Today is the publication day of Kate Forsyth and Lorena Carrington’s latest beautiful collection of fairy tales, Snow White, Rose Red and Other Tales of Kind Young Women, published by Serenity Press. It joins Kate and Lorena’s other fairy tale collections with Serenity Press, Vasilisa the Wise and Other Tales of Brave Young Women, and The Buried Moon and Other Tales of Bright Young Women. To celebrate, I’ve invited Kate and Lorena to write about their joint creation of the book. (There’s also an online launch of the book on Facebook today, see here for details).

 

Kate:

Snow White, Rose Red & Other Tales of Kind Young Women’ is the latest artistic collaboration between me and the photographic artist Lorena Carrington. This is a project born out of our shared love of fairy tales, and our fascination with their history and meaning. It’s the third book in a series we are calling ‘Long Lost Fairy Tales’, because it is our intention to discover and bring back to life beautiful old stories that have been unjustly forgotten.
It’s our plan to produce a new book in the collection every year. To begin with, we choose a theme. Book 1 was tales of brave young women, Book 2 was tales of bright young women, and we are currently working on Book 4 – the theme of which is tales of gentle young men.
Once we have our theme in place, Lorena and I start to fling ideas around. We read through our vast fairy tale collections looking for inspiration, and begin to play with possibilities. We send each other stories, and gradually compile a list of the ones we like. Each collection has seven tales in it, and we want them all to be different. Some will be light-hearted and humorous, others dark and terrifying. Some will have ancient oral roots, others are invented literary tales. Some will seem familiar, with echoes of other better known tales; others will be entirely fresh.  We also want a good spread of geographical sources for the tales – ‘Snow White, Rose Red’ has a Grimm tale from Germany, an old Slovakian folktale, one from Bavaria, two from Scotland, an English literary tale written in Victorian times, and an old oral tale from Ireland. Often I will choose a tale because I know it will inspire Lorena to create a truly extraordinary piece of art to accompany it, and she will choose a tale because she knows it will sing to my heart.

Sometimes we agree on a tale, and but then I find I cannot retell it – the story doesn’t spark with me.

Illustration by Lorena Carrington

For example, we thought about working with Hans Christian Andersen’s ‘The Snow Queen’ – but when I began to work on it, I found the character of Gerda too passive. So I emailed Lorena, and we talked about it, and came up with other ideas, and ended up replacing that tale with another.

When I’m working with a fairy tale, I like to know where it came from, and who told it, and how it has changed over time. For many stories, there are dozens of variants, and I like to read them all. For example, ‘Strawberries in the Snow’ is one of my favourite stories in ‘Snow White, Rose Red’. It was inspired by a Slovenian fairy tale entitled ‘The Twelve Months’ but has many other variants – more than 1,000 of them!
I usually write the stories over the Christmas holidays, because all my children are home from school and university, and I have usually just delivered a novel, and want something different to write before I begin the next novel. Then I send the tales to Lorena, and she begins to think about creating her art – which are not simply illustrations of my stories, but her own expressive response to the inner meanings of the tales. We are always in constant communication, but we don’t criticise each other work much, or make suggestions, or ask for changes very often. We trust each other implicitly, and like to give each other complete creative freedom. This means it’s a free, joyous process in which we each inspire and respect each other. Together, our art creates something greater than it would be on its own. It’s a true collaboration.
I have just finished writing the tales for ‘The Gardener’s Son & the Golden Bird, & Other Tales of Gentle Young Men’ and cannot wait to see what glorious art Lorena creates for it!
Lorena:
My illustrations always start with what the landscape gives me. I head out with the camera, and often end up on my belly photographing the tiniest of landscapes: blades of grass against the sky, or fungus sprouting from the cracks of a rock. I also collect interesting things – sticks, leaves, tiny bones – and bring them home to photograph on a light box, which creates a sharp silhouette of each object. I montage these together in Photoshop to make the beasts and creatures that inhabit the tales. The illustrations are built up from many layers of photographs: backgrounds, human figures, creatures, looming silhouetted trees… sometimes more than a hundred separate photographs.
Of course the process begins long before this, in the choosing of stories, the to and fro about themes and ideas, in the delightful plotting and scheming that happens around the creation of a new book. As Kate has mentioned, we have a unique author/illustrator relationship, and for this I’m extraordinarily lucky and grateful. We weave our work together, sending stories and images back and forth throughout the process. It’s like a dance, and is a rare and beautiful way of working. Often the writer gives their work to the publisher, who passes it onto the illustrator and never the twain shall meet. One of the wonderful things about working with a small publisher like Serenity Press is the way we all work together to make the books that we do.
One of the most excited and inspirational parts of the process is when Kate sends me a new story. I make a cup of tea, build myself a nest on the couch, and immerse myself in her words. I try not to think too much about the illustrations on the first reading, though images do often spark in my brain. I try to get a feel of the shape and flow of the story, and a sense of the overall atmosphere. On second reading, I pull out my sketchbook to make notes and jot down any rough ideas. Sometime an illustration will flash fully formed into existence, and all I need to do is translate it from brain to screen. The Goblin, for example, just scrambled straight out of my head and plopped himself onto the riverbank.
One of the more interesting challenges was the illustration of the Glass Mountain (see picture below). At first I tried photographing glass (logically, you would think), but it was too transparent for a giant climbable mountain of glass. So I froze a block of ice to photograph the next day. It had the captured air bubbles that I wanted, but, as it was a 40 degree day, it kept melting before I could photograph any sharp edges! It was only that night, while serving jelly for dessert, that I noticed the way it sheared off into sharp edged pieces. I made up a batch of extra sturdy clear jelly, and let it set over night. Finally, after three days of experimentation, I had the perfect (if wobbly!) analogy for glass.
So, sometimes it’s easy and an illustration almost makes itself, and other times it’s like chipping a statue out of a cracked and temperamental block of marble. But never do I think I’d rather be doing anything else.
One of my very favourite things about illustrating is feeling something incredible grow out of our combined work. Kate has the most extraordinary gift in keeping the true essence of tales she retells, and also filling them with such new and shimmering delights. If I’m extraordinarily lucky, we be able to keep working together for many, many years to come.

Illustration by Lorena Carrington

Launching Fox and Chook Creative Activity Pack for families, schools and libraries

I’m absolutely delighted today to announce the launch of a fabulous brand-new creative activity pack for children and their families, carers, schools and libraries, which I’ve created with Kathy Creamer, a good friend of mine who’s a fantastic illustrator. It’s called the Fox and Chook Creative Activity Pack and is themed around, you guessed it, foxes and chooks (for non-Australians, that means chickens!)

This gorgeous pack, which is presented as a downloadable PDF, includes lots of fun activities: from lots of creative writing exercises to colouring-in pages; from looking at and discussing classic paintings to discovering fabulous facts about foxes and chooks; from listening online to a fun fox and chook story(one of mine) to sculpting your own fox and chook out of modelling clay, from sharing real-life stories of foxes and chooks to learning how to draw them and to make your own shadow puppets–and more!

You can access the full activity pack directly here on my blog: Fox and chook creative activity pack by Sophie Masson and Kathy Creamer full final or from the special page on Sophie Masson Presents, where you will not only find the full pack but also the colouring pages as a separate PDF to download and print out easily.

Please note that this activity pack is copyright to me and Kathy Creamer. Till September 30, it is available free for families, schools and libraries to download, use and print, but must not be extracted or reproduced without written permission and acknowledgement of authorship and cannot be sold or used commercially by any entity or individual.

Kathy and I would like to thank the fantastic New England Regional Art Museum (NERAM) in Armidale, for kindly researching paintings in their collections for the Foxes and Chooks in Art section of the pack, and for giving us permission to include images of them. We would also like to acknowledge Christmas Press and illustrator David Allan for images from Two Trickster Tales from Russia and photographer Nathan Anderson for the wonderful fox photo on title page (photo available free to download on Unsplash).

So have a look, check it all out–and hope you enjoy! And as we’d love to see your creative responses to these exercises, do tag me if you decide to put them up on social media. You can tag me on Facebook, Twitter or Instagram. And you can contact me via this blog, or via the contact form at Sophie Masson Presents. You can contact Kathy here.

 

 

 

My illustrated talk on inspiration and process of some of my picture books

I am very pleased to announce that I’ve just made and uploaded an illustrated talk about how some of my recent and upcoming picture books came to be: the inspiration behind the stories, how the text developed, and how the illustrators I collaborated with created the visual world of their books. Hope it’s both informative and interesting. It’s suitable for watching by both kids and adults and is a good resource for schools, as well as homeschoolers and anyone interested in how picture books are created. At 23 minutes long, it’s about the length of a normal talk I’d give in person at a school or other venue. You won’t see me in it, though you’ll hear me–the talk is illustrated by slides visually showing the inspirations and processes behind the books. In line with the You Tube protocol for videos suitable for kids, this illustrated talk does not have ads or a comments feature, but you are welcome to get in touch about it via the contact form on this blog, or via my website, www.sophiemasson.org

It’s free to watch and share, but must not be sold or used commercially in any way. It’s now up on my You Tube channel, but you can also watch it directly here.

You can find out more about the process behind some of the books at the links below:
Two Rainbows: Illustrator Michael McMahon shows some of his process: https://firebirdfeathers.com/2017/07/19/michael-mcmahon-on-creating-illustrations-for-two-rainbows/
On My Way: Illustrator Simon Howe shows some of his process: https://firebirdfeathers.com/2019/06/03/creating-on-my-way/
Building Site Zoo: Illustrator Laura Wood shows some of her process: https://firebirdfeathers.com/2017/10/12/the-creation-of-building-site-zoo-part-two-the-illustrations/
There’s A Tiger Out There: Illustrator Ruth Waters shows some of her process: https://firebirdfeathers.com/2019/07/01/creating-theres-a-tiger-out-there/

Many thanks to the wonderful illustrators who gave me permission to use their sketches, illustration development and other creative process elements for this talk: Laura Wood, Michael McMahon, Simon Howe,  Ruth Waters, Katrina Fisher, Kathy Creamer, and Ronak Taher. You can check out the links to their work at the end of the video. Some of the illustrators had also previously written about their process on my blog, and links to those pieces are also highlighted in the slides on individual books.

Many thanks also to my great publishers at Little Hare, Scholastic Australia, Dirt Lane Press, Hachette Australia, and Little Pink Dog Books, who gave permission for covers and other images to be used. Links to the pages for each book on the publishers’ sites are also at the end of the video.

Hope you enjoy!

Announcement and cover reveal for The Snowman’s Wish

I am delighted to reveal the gorgeous cover of The Snowman’s Wish, my picture book with the amazing illustrator Ronak Taher, which is being published by wonderful Dirt Lane Press in July 2020. Isn’t it a stunner!

Margrete Lamond of Dirt Lane Press has written a lovely post about the book on the Press’ website blog–here’s what she said, below, but you can also read it on the Dirt Blog itself, as well as news about other great Dirt Lane Press projects for 2020.

From the Dirt Lane Press blog:

Our first book for 2020 is The Snowman’s Wish

Once upon a time, author and general Renaissance Woman Sophie Masson woke up with a story fully formed in her mind. She wrote it down and it ended up on our desk. Very few edits later, and some stupendous illustrations later, The Snowman’s Wish is ready for print and, pending the right advance orders (yes, feel free to advance order … we will waive postage on single-copy purchases), will burst onto the shelves of the world in July 2020.

The story is poignant, a little sad, but also the ‘right kind’ of sad, because it also offers hope and beauty. And what beauty … the illustrations are luminous and vibrant and vivid like no others, and such a powerful complement to the elegance of the text. Here is what Emerita Professor Robyn Ewing wrote about the book:

“A rich and joyful exploration of the beauty of our natural world as experienced for the first time, and an assurance that sometimes wishes do come true, to give us much needed hope.”

Creating There’s A Tiger Out There

Today is the official publication date of my picture book with Ruth Waters, There’s A Tiger Out There(Little Hare) and to celebrate Ruth and I have written pieces on the creation of the book. Enjoy!

Creation of the text, by Sophie Masson

There’s a Tiger Out There began in a dream. In the dream, I was in my house, looking out at the garden, when I glimpsed her: silent stripes gliding through our garden, yellow eyes shining. And with a grip of the heart that was half thrill and half fear, I knew there was a tiger out there and that if I went out—who knew what would happen? Now, it’s not an uncommon occurrence for me to have big cats—lions and tigers, especially—suddenly appear in my dreams, but in this case, it felt different. It felt like this tiger was different, her eyes fixed on me, and when I woke up, I knew why. It was because she wanted to be in a story!

So I began work on transposing her from the realm of dream to the realm of imagination. The first words came quickly, and the first draft was quite simple—just pretty much recounting that dream glimpse and that mix of feelings on seeing her savage, elemental splendour in the midst of our humble familiar garden. ‘There’s a tiger watching me with eyes as bright as sunrise/’ I wrote, ‘There’s a tiger sleek as shadow/stripes of midnight on her fur.’  After I showed the text to my agent Margaret Connolly, who loved it and sent it to Margrete Lamond, who was then the publisher at Little Hare and also loved it, that first draft went through many changes, in collaboration first with Margrete and then, when she left, with Alyson O’Brien, who also loved it and helped me bring the text to its final form. Early on, the draft had transformed from a simple ‘I’ eye-view to the point of view of two siblings, one older and bolder, one younger and more timid, who see a tiger ‘out there’ and react in their different ways—with a twist at the end, of course! It was a story, I realised, about sibling relations, about imagination, about love and adventure and mystery—and the thrill of a good scare!

When I first saw Ruth Waters’ gorgeous collage images, I was so excited! She had completely understood the spirit of my text and created a richly-imagined, warm and distinctive visual world, where the tiger as much as the siblings was completely at home. It was as if that was how I had always seen the world of my story: not only a perfect fit, but extending and expanding it in the most satisfying way.

And of course I just adore the finished book, with Hannah Janzen’s gorgeous design!

Creation of the illustrations, by Ruth Waters

I remember the day I received the email from Alyson from Little Hare Books. I had to re-read it several times. You want me to illustrate a picture book? Me? I had previously written and illustrated my own story but had been waiting for the opportunity to work on someone else’s tale. That said, I opened the manuscript with some trepidation – what if I can’t connect with the story?  I needn’t have worried. As I read each line, I instantly pictured who the characters were, how they looked and what kind of personality they had. A little bit bossy, know-it-all, older sister. A younger brother who adores and does anything she tells him.

The first stage of the making process was to create a series of character sketches in pencil.  Since I work in collage, I also created a collage version to give Alyson a better idea of how they would finally look. I sent these off and waited for her comments. We went back and forth until we were both happy.

 

 

 

 

 

 

 

 

 

 

 

 

 

Character Sketches

The next stage was to figure out how the text should be split across 32-or-so pages and come up with a rough idea of how each page would look. I had already made the decision that the ‘real’ tiger should only appear on the last double page spread. This way, not only the children in the story but the reader would not be entirely sure whether there really is a tiger. Another idea was to give the little boy a cuddly toy tiger – this would act as a visual tool to help the reader conjure up the idea that there is a tiger out there. Another idea, inspired by the line ‘cross my heart’ – which appears throughout the story – was to place a hidden heart-shape on every page. Sometimes the heart shape is made from a blade of grass or appears as a ripple in the water.  I also spent quite a bit of time making sure there was enough variety in terms of perspectives – wide shots verses close-up, double page spreads verses one page of illustration.  At this point I also decided on the colour palette – I decided we should go bright – to match the vibrant orange of the tiger.

 

 

 

 

 

 

Storyboard and colour palette

 

 

The storyboard was then sent to Little Hare and over a few weeks we made little tweaks. Once I got the thumbs up – I made the final sketches to scale and then got to work prepping the paper.

Final sketch and prepping the paper!

 

To create the collages, I first roll acrylic paint on to a variety of textured paper. Then, working with the final sketches, I trace, cut and stick! All of my illustrations are made entirely by hand. It is labour intensive but I much prefer it to using a computer. The other plus about collage is it’s flexibility as I can keep moving the pieces around until I am happy and, only then, glue them down.

Every time I finished a double page spread, I would scan and send it to Little Hare for their thoughts. To me this proved to be an efficient way of working as it allowed me to make tweaks as I went along, rather making lots of changes at the end – when time is tight.

Watch videos of the making process:

 

 

 

 

 

Overall the entire project took about 3-4 months. Much quicker than usual due to my own time constraints (normally I would allocate 6 months). I then packaged it all up and hand delivered it to Little Hare’s production office!

 

 

 

 

 

 

The whole project was a joy to work on from start to finish. And I learnt so much along the way.

Ruth Waters | http://www.ruth-waters.com | https://www.instagram.com/ruthpwaters/

Celebrating our home town in a new picture book

I am delighted to announce today a project that’s had to be kept under wraps till now: the picture book Join the Armidale Parade, text written by me, gorgeous illustrations by talented local illustrator Kathy Creamer, and published by local publisher Little Pink Dog Books. Look at the gorgeous cover! Commissioned by Armidale Regional Council, Join the Armidale Parade is a fun picture book for children and families, celebrating the beauty, diversity, colour and vibrancy of our hometown of Armidale, in northern New South Wales.  My story, told in bouncy verse, is focussed around a little girl whose family has recently moved to Armidale, and who takes part in its colourful annual parade, held in the autumn. And Kathy’s created the most fabulous illustrations, full of fun, humour, joy and plenty of Armidale landmarks and references:-) It’s a book that can be enjoyed by both locals and visitors, and even those who may not know Armidale but can appreciate the fun and warmth of a festival parade. It’s, I think, the first time that a picture book for children has been set here.

Although I was brought up in both France and Sydney, and my husband David in the UK, we have lived in this region for a long time now, built a house and brought up three children here. Although I’d had a few short pieces published before I came to this region, my writing career properly took off here, and all my books have been written here. I’m delighted to have been able to collaborate with Kathy, Little Pink Dog Books and Armidale Regional Council in Join the Armidale Parade, a book that pays tribute to a beautiful, creative and friendly town.

The book will be published on May 1.

 

New page on my blog for Read Me A Story, Ink

Delighted to announce that I’ve got a new page on this blog  featuring links to stories of mine that you can read and/or listen to at the fabulous site, Read Me A Story, Ink, a great, free resource for parents, teachers and children, created and run by booklover, bookseller and reader Robert Topp.

At Read Me A Story, Ink, you can find searchable lists of short stories for children by hundreds of authors, with the full text available for download and print out, and some stories also provided as appealing audio readings by Bob himself. A guide to reading age is also given, along with the name of the publication the story first appeared in, and all authors have given their full consent for stories to appear on the site.

Eight of my stories appear on the site. Have a look at my page where you’ll find links to all of them.

Pitch Independent a fantastic success!

As one of the three co-ordinators for the New England Writers’ Centre’s big Pitch Independent program, I am happy to report that it was a brilliant success! The prep day two weeks ago went really well, with lots of people getting advice and practising their pitches in front of local publishing professionals. And last weekend, we hosted a fantastic lineup of some of Australia’s best small and independent book publishers and literary magazine editors, who participated in a lively and engaging symposium, heard lots of one-on-one pitches from writers in all genres as well as illustrators, and generally gave generously, and warmly, of their time, knowledge and expertise.

It was an inspiring, creative and fun weekend, and we are so grateful to all who participated–publishers, editors, pitchers, presenters, attendees, and University of New England staff and students. All of our participating publishers and editors came from a long way away, in some cases a very long way, from Western Australia, South Australia, and Victoria as well as various locations in NSW, and we are so very appreciative that they were willing to travel to our region. Thanks very much to all the people who supported Pitch Independent by attending the symposium, and/or pitching their work–we know it takes courage and we salute you for it, hope you felt encouraged, and wish you the very best for your work, whatever the outcome of your pitch. Big thanks goes to UNE for their generous and major support of the event, financially, promotionally and with venues; to the Small Press Network for its kind support and encouragement–and to SPN Chair Michael Webster for making the long trek from Melbourne to speak at the Symposium–and to the Armidale Bowling Club for sponsoring the great  venue for Saturday’s big pitch day. And of course huge thanks to the New England Writers’ Centre and all my fellow Board members who supported the creation of this event in so many ways. And to my fellow co-ordinators, John C.Ryan and Catherine Wright–hurrah! We made it! And it worked so well, worth all the hard work and all that midnight oil we burned 🙂

Pitch Independent was a unique event–nothing like it, with its focus on bringing creators and small and independent press and literary magazines together–has ever, to or knowledge, been held in Australia before. And the response has been amazing, from all, publishers, editors, pitchers, and attendees alike. It was a massive amount of work, but I am so proud to have been involved in initiating an event that we think people will be speaking about for a long time, and which will have a significant impact. We intend to continue building on the fantastic momentum created by Pitch Independent–watch this space!

Fairy tales, history and collaboration: an interview with Kate Forsyth

Today I am delighted to bring readers an interview with Kate Forsyth, centred on two great new books which are wonderfully rich collaborations between herself and other creators: Vasilisa the Wise and other Tales of Brave Young Women, illustrated by Lorena Carrington(Serenity Press) and The Silver Well, a collection of interlinked short stories written by Kate and her friend and fellow author Kim Wilkins, illustrated by Kathleen Jennings(Ticonderoga Publications). Both are truly special books, beautiful in concept, words, pictures and production values, and after enjoying them both very much, I wanted to know more about how the books came about.

Kate, you’ve always been a lover of fairy-tales and used them a lot in your work–and of course now you also have a doctorate in them! How did you and Lorena come to work together on Vasilisa the Wise & Other Tales of Brave Young Women? How did you choose what stories to retell?

I’ve loved fairy-tales and fairy-tale retellings since I was a child, and first studied them in my undergraduate degree. Eventually I undertook a Doctorate of Creative Arts, focusing on the history and meaning of ‘Rapunzel’ for my theoretical work and writing a retelling of the tale as my creative component (my novel Bitter Greens).

When I had finished my doctorate, I wanted to buy myself a piece of fairy-tale inspired art as a present to myself. So I began to look around but most of the art I saw was quite childish. Then a writer friend of mine, Allison Tait, asked me on twitter if I’d seen Lorena’s work (Allison did not know I was actively looking for fairy-tale inspired artwork, she just thought I’d be interested.)

I went and looked at Lorena’s website and just fell in love with her dark, eerie & sophisticated creations. I bought one of her pieces and we began to email each other, talking about our shared interest in fairy-tales and gardens and books and art. We essentially became pen-pals.

Lorena told me that she was working on a series of artworks inspired by little-known stories which featured brave clever heroines. How wonderful, I said. I’ve always wanted to write a collection of tales like that. So we came up with the crazy idea of working together. We had no idea if anyone would be interested in publishing it, we just did it for the pleasure of making something beautiful with a kindred spirit.

Lorena had already created images for three tales – ‘Vasilisa the Wise’, ‘A Bride For Me Before A Bride for You’ and ‘The Stolen Child’ (I had bought one of the images from the latter as my present to myself). We decided we would work on seven tales, as it is such a fairy-tale number, and then I made a few suggestions for tales that I thought would work well. ‘The Singing, Springing Lark’ is one of my favourite stories to perform as an oral storyteller and so that was my first choice. ‘Katie Crackernuts’ was a tale I had already retold for the online story platform The Pigeonhole and so we decided to include that one too. I also suggested ‘The Toy Princess’, a literary tale written by the Pre-Raphaelite writer Mary de Morgan. The last tale took us a little longer to find. We both suggested a few different possibilities, but they were too similar in theme, motif or plot to stories we already had. In the end, we settled on ‘The Rainbow Prince, a story I had loved as a child.

At the end of each story, there are notes by Lorena and yourself, giving an insight into the background of the story but also why it speaks to you. Why did you choose to include this background information?

 I wanted readers to know where the tales came from, and who first told or recorded them. I find the history and meaning of fairy-tales so fascinating. And both Lorena and I felt giving a little insight into our creative purposes and processes would enrich the reading experience too.

What was it like working so closely with each other on this project?

 It was just wonderful. We never had a disagreement or problem. I love Lorena’s art and she loves my writing, and so we worked with a great deal of trust in each other’s ability to create something beautiful.

Would you think of doing another collection like this?
Oh yes, we are working on another collection right now. It will be called Molly Whuppie & Other Tales of Clever Young Women, and will be published in 2019.

Turning now to The Silver Well, can you tell us a bit about how it came about?

Kim Wilkins is one of my oldest and dearest friends. We first met 20 years ago when both of our first novels were shortlisted for the Aurealis Award (Kim won!) We then read each other’s books and just loved them. We live in different cities but always catch-up when in each other’s towns, or when we are overseas at the same time.

A year or so ago we did a ‘In Conversation’ event together at the Brisbane Writers Festival. As we walked towards the auditorium, our student minder asked us how we knew each other. We told her about having our first books published at the same time, and then I said, ‘next year is actually our 20th anniversary.  Twenty years since we were first published! And I’ll have had 39 books published. Such a shame I can’t write one extra to make it 40 books in 20 years.’

Kim Wilkins

Then Kim said, ‘How funny. I’ll have had 29 books published in the same time period. If I wrote an extra one, it’d be 30 books in 20 years.’

‘We should write a book together,’ I said.

‘Great idea!’ she said.

And that’s how it all came about.

It’s a great concept–a series of stories about the same place throughout history, where the silver well is a recurring motif. I really like the ways in which you and Kim have linked the stories without it at all feeling obtrusive–the links are subtle and satisfying. Did you and Kim sit down and sketch out the general shape first? How did you choose which periods in history to set stories in?

After our session at the Brisbane Writers Festival, we went back to my hotel room and had dinner and drank a bottle of Veuve champagne (our favourite), and began to throw ideas around. The concept of seven stories set in the same place at different times was our very first idea.

Within seconds we decided to set it in Cerne Abbas, because Kim and I had spent the loveliest week there the previous year (along with our friend Lisa Hartnett). Because we are both so interested in history and folklore, we had actually bought a few books about the village from one of the local stores and so already knew quite a bit about its past.

We decided to write three stories each, plus a frame story set in contemporary times. Then we simply had to decide which historical periods each story should be set in. Again, we decided straightaway. Kim said, ‘Bags early medieval time,’ and I said, ‘Bags the Second World War’, because these were both periods we loved and knew a lot about. We both love the Victorian era, but Kim bagged it first and so I chose to set a story during the English Civil War, which I had studied intensively for my series of historical children’s novels which begins with The Gypsy Crown. I also wanted to set one of the stories around the dissolution of the abbey in Tudor times, another favourite period of mine. Then we thought we should have a story set during the period when the abbey was absolutely pivotal to the village’s life. So Kim took that era.

By the time we had finished our bottle of champagne, we had the whole book plotted out.

Though it’s the work of two writers, the book feels like an organic whole, stories seamlessly flowing into each other. How did you and Kim pull it off so well? Tell us about the actual process. How did you organise your writing–did you write at the same time or in sequence? Did you decide on characters together, or individually? 

We each worked on our own stories independently, and only showed it to the other when we had a polished first draft. The idea of having connected characters grew organically, and needed just a slight tweak here and there to make it work. I wrote the frame story, set in contemporary times, and Kim wove in some extra details. Otherwise, we did not touch each other’s stories.

What were the challenges?

For both of us, the difficulty was making time in our hectic schedules to write the stories. We both had punishing deadlines for novels, plus the usual teaching and touring commitments. We made a promise to each other that we would drop the project if either of us found it too hard, or if our friendship came under strain, but somehow we managed to find enough time in the cracks of our days to get the work done.

Kathleen Jennings’ lovely line drawings are also very much part of the appeal of this lovely book. When did she become involved in the process?

On the day that Kim and I first decided we were going to write a book together! We sat in my hotel room scribbling down ideas, and thought how lovely it would be to produce a book with exquisite line drawings in it. We both thought of Kathleen at once, and we texted her and asked her if she’d be willing. She said yes at once. We also texted Russell Farr at Ticonderoga Publications to see if he’d be interested in publishing it (Russ has known us both for 20 years too) and he also said yes without hesitation. So that very first evening was very productive indeed!

What have you learned from the process of collaboration? 

The most important thing is, I think, trusting your partner, and allowing them complete creative freedom. We might not have worked so easily and joyously together if we had been constantly criticising each other’s work. Both Kim and I love each other’s writing style and so we just focused on making our own stories the best they could be, and then read each other’s stories with a great deal of anticipation and pleasure.

 Both The Silver Well and Vasilisa the Wise were published by small presses–in The Silver Well‘s case, Ticonderoga Publications, in Vasilisa’s, Serenity Press. And your earlier non-fiction work, The Rebirth of Rapunzel, was also published by a small press, Fablecroft Publishing. All of course are gorgeous books, flawlessly and elegantly produced, and showcasing just what wonderful work small press publishers do in this country. For you, as an author, what are the pleasures–and challenges!–of working with small press?

It was utter joy to work with all three of these small press publishers! They were all so passionate about the projects, and so willing to work with us to get exactly the look we wanted. I didn’t have any problems or challenges, really. We are all professionals, and we understand how the market works. And the books are finding readers, despite the smaller publicity and marketing budgets. The first print run of Vasilisa the Wise sold out in pre-orders!