Feathers of the Firebird

Interview at #LoveOzYA

Alex Patrikios of the wonderful literary group #LoveOzYA interviewed me via Zoom the other day, to talk about The Ghost Squad–she had great questions, and I really enjoyed our chat! The interview is now up as a transcript on the #LOveOzYA website, and you can also see clips of the video, exploring such things as research, speculative fiction tropes, and the writing life, at their You Tube channel. Here’s an extract from the interview, about the inspiration and research behind the book:

Was there a particular moment of inspiration that sparked the idea for THE GHOST SQUAD?

A while back, I went to this little museum in Rome, which is called the Museum of Purgatory. Of course in Catholic doctrine, purgatory is a sort of halfway house between heaven and hell. This particular museum was quite a weird little place, and (I learned) this priest in the 19th Century had tried to show proof that purgatory existed and he did with burned handprints on a piece of fabric, supposedly of people who had tried to send messages from purgatory.

But this is now: people don’t believe a burned handprint on a piece of fabric is proof. So I thought, okay, what would cause a disturbance in the electronic systems — monitoring machines and other things like that in hospitals — so I had a look, and found out about electronic magnetic pulses(note: caused by solar storms). I found out about the Carrington Event, and also that a lot of governments actually have contingency plans for when the next one hits. I read stuff from both NASA and the British Government, about what they plan to do in the event of an electromagnetic pulse.

When I saw the Carrington Event had happened around the same time you saw this big interest in seances and spiritualism, in the Victorian times, I thought, okay, this is kind of ‘ghosty’ stuff — and maybe in my lifetime, it would trigger something similar.

Everything sort of fell into place after that.

Apart from that kind of research — NASA, government documents — did you also look at popular movies or shows that have that speculative flavour, and try to examine the genre itself?

Absolutely! Also the novel came out of a creative practice Phd, so that was the creative part of it, but the academic part of it was all about afterlife fiction for young adults. Really fantastic books, like Neal Shusterman’s Everlost trilogy, Yangsze Choo’s The Ghost Bride, and Lynette Lounsbury’s Afterworld.

I watched a lot of films and TV series — things like The Glitch, and the French series The Returned, and even Lost have examples of (afterlife fiction). That was fun! I had so much fun doing ‘research’, reading all these great books and watching all these terrific TV series and films.

I also read a lot of folklore and (material) from religious and spiritual traditions. I had three years to do the Phd, which was fantastic, because it meant I could really develop the book in the very rich and complex way that I wanted to do.

You can read the whole interview here.

Podcast interview about French Fairy Tales

Delighted to announce the release of my interview with Claudine Tinellis’ fabulous podcast, Talking Aussie Books, which has gone live today. It’s very much a discussion focussed around French Fairy Tales and the stories I retold within it. I really enjoyed chatting with Claudine about it all! Also talked about some of my other 2020 books later in the interview.

You can listen to the full podcast interview here.

Complete Your Book in a Year: an interview with Hazel Edwards

Today, I’m delighted to bring you an interview with fabulous, dynamic author Hazel Edwards, talking about her new projects, especially her new book, Complete Your Book in a Year, which has come out of her very successful and popular writing workshops. Of course, due to the COVID19 situation, these in person workshops had to shift online, but nothing daunted, Hazel found ways of still engaging her audience, dubbing her approach ‘strategies for writing in a pandemic’.

Welcome, Hazel! Your unique how-to writing and publishing manual for family historians, Complete your Book in a Year, has just been published. Can you give us some background on how the book came about?

The Pandemic has given a sense of the need to act NOW on writing projects.

The inspirational ‘Hazelnuts’ and the Pandemic Lockdown of my f2f (face to face) writing workshops led to this manual.

The term ‘Hazelnuts’ was affectionately started by some of my former writing students who HAD been procrastinators. To qualify as a ‘Hazelnut’, you have been mentored in my courses, finished AND published your writing project. Across decades, it’s satisfying to see so many non-fiction books on diverse subjects gained from crafting and workshopping across a year.

Then came the pandemic postponement of face-to-face classes like monthly sessions at (Public Records Office) PRO’s Victorian Archives Centre. Apart from Zooming, a 12 part manual was an attempt to keep people writing to finish their book projects by December deadline.

During Lockdown, others de-cluttering became interested in writing memoirs, organising family memorabilia and evaluating their lives for their families and themselves.  So there was a wider demand than my adult students.

Requests came for a manual of strategies to help with writing in Lockdown.   So I converted my notes and ‘Your Turn’ exercises.

Why?

Telling the stories of ‘extra-ordinary-ordinary heroes’ is worthwhile. So are ‘How To…’ books. And then there is the mutual help Hazelnuts offer each other by reading drafts or attending launches. And the research skills from visiting archives, historic locations, interviewing via digital devices or sleuthing family secrets.

So I put the Hazelnuts’ books on the back cover, as inspiration.  They did it, so could others.

 

‘Complete a book in a year’ is quite a challenge to throw down to authors! Tell us about something how the book works and what it covers. How did you decide what to include in it?

Based on the strategies, activities and notes I’d normally share in my face to face workshops but MINUS the companionship of learning from others and their WIP (Work in Progress). Often workshoppers become ‘step-parents to another’s bookchild and help craft it. Or they suggest titles.  And they work through the various drafts, reading aloud, celebrating and finding relevant resources to share.  Working alone, writers miss that. So the personal and quirky tone of the manual is as if I’m sharing anecdotes and hints with the reader. Zooming, the students can also use the manual.

Mid-project I woke up with the idea of having a cover which was a compilation of Hazelnut covers. To inspire. The publisher suggested including a Schedule for the Year’s Writing Needed to Complete a Book. I wrote a realistic timetable and scared even myself. But it works based on averaging 200 words per day. And the timetable has been renamed ‘You Can Do It.’

Others can use the manual as a substitute for Hazelnut style workshopping in these surreal times.

There are twelve main segments which match the monthly workshops. Projects include memoir, autobiography, non-fiction, biography, fiction, graphic novels, young adult and children’s books.

What is the manual about?

Strategies to overcome ‘Procrastination’ and get your book finished.

Includes: Choosing titles, writing Conversational Table of Contents, ways to structure, characterisation (Your Turn exercises), Common Q and A, making it non-boring, use of anecdotes, mini launches and publication options.

The ‘Your Turn’ exercises are very practical.

Participants voted The Ancestor Interview  (see below) as the most valuable exercise. But you’ll need an in-house or online ‘helper’ for this one.

YOUR TURN

Interview Your Ancestor (in pairs, 8 minutes each).

Become your selected ancestor and answer the interviewer’s questions as honestly as you can, even admitting to crimes. Use ‘I’ not ‘he’ or ‘she’ and get into the perspective of your character and their times.

You’ll also find out what you don’t know and need to research.

How does this book differ from your earlier popular title, Writing a Non-Boring Family History?

It’s for procrastinators, so they can finish in a year. Not all projects are histories or memoirs.  More emphasis on the strategies to finish to deadline.

I deliberately didn’t repeat myself so the books could be complementary. Plus the Non-Boring one was written over 20 years ago and much reprinted, so it was time for an online approach. At first I was going to have an e-book only, but the publisher convinced me to have print too.

You’ve also got a great fiction project on the go, writing a podcast for the ABC. Can you tell us about it, and how it came about?

Adult mystery ‘Celebrant Sleuth; I do or Die’ (BookPod) was inspired by a diverse gender woman who said, ‘How come nobody writes about a woman like me? Why don’t you?’ I’d been playing with the concept of a celebrant who conducted weddings and funerals, for a mystery series, so I did.  She acted as my expert reader. I changed the terms she suggested. Chapters were written with future TV episodes in mind. E and print book and then I ‘voiced’ the audio, a challenging experience for a non actor but important to have an Australian voice on AUDIBLE.  Then I wrote ‘ Wed, then Dead on The Ghan’ intending it as the first chapter of the sequel but now Geoffrey Wright and I have been commissioned to adapt it for the ABC as a podcast. I knew it had the ingredients of an iconic train, literary tourism role-play of Agatha Christie and a diverse sleuth, but….

Hijabi Girl Plays Footy Too” is a sequel which may be a bindup around the time the ‘Hijabi Girl’ puppet musical is performed post-Pandemic by Larrikin Puppeteers and tours regionally. We even have an Aussie Rules football puppet.

The Future?

I’d love more of my books to be adapted for TV, audio or theatre.  And to be translated into languages like Spanish and Turkish.

The Lockdown has forced me to evaluate. Although traditionally published by Penguin, my ‘riskier’ projects have been author-published in recent years.

I persisted with these ‘soul’ projects (of value for themselves and ironically later commercially viable). It has been the right decision. I also control the rights which enables faster decisions when new media offers are available.

Ironically in 2006 I wrote ‘Outback Ferals’ set in Darwin about a feral pig pandemic threat. Writers ask ‘What if?’ and then things happen. It’s called fiction prediction!

LINKS:

https://hazeledwards.com/complete-your-book-in-a-year.html

Free downloadable Schedule to Finish Your Book in a Year

Available: BookPod http://www.bookstore.bookpod.com.au/p/9426321/complete-your-book-in-a-year—pbk.html

 

More about Hazel and her work:

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’ soon to be a ‘Larrikin Puppets’ musical post Pandemic and YA novel ‘f2m;the boy within’ which has inspired a graphic novel , 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’. ‘Complete Your Book in a Year’ is a yearlong master class at PROV (Public Records Office) and all her mentored ‘Hazelnuts’ finish their projects.

’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 longterm creativity.

Interested in stories crossing mediums, ‘Celebrant Sleuth;I do or die’ an adult mystery with an asexual sleuth is her latest AUDIBLE fiction, plus the sequel ‘Wed Then Dead on The Ghan’ available on Kindle and being adapted as a screenplay for ABC.

Hazel served on the board of The Australian Society of Authors’ for 20 years and is the current patron of the Society of Women’s Writers (Victoria)

Husband Garnet does her BAS, daughter Kim advises on marketing and three grandsons act as readers, so writing is an Edwards’ family trade.

She also reads in the bath.

An interview with Charlotte McConaghy

Today I have the great pleasure of interviewing Charlotte McConaghy, whose extraordinary, beautiful new novel, The Last Migration (published as Migrations in the US) has taken both the US and Australia by storm, garnering rave reviews and great sales. I’ve known Charlotte a long time, ever since she and my son Xavier went to the same high school in our hometown. I’ve been aware of her talent and persistence as a writer from that time on, too, having read her writing early on, while she was still at school, and it’s been wonderful to see her going from strength to strength ever since then. She has not only written several other books than The Last Migration, but also worked on screenplays, and has a Master’s degree in Screenwriting from the Australian Film and Television School.

Welcome, Charlotte–and congratulations! You must be thrilled to see the response to The Last Migration, despite the difficulties caused by the current situation, and the fact that the planned book tour of the US had to be cancelled. Can you tell us something about the background to the publication of the book, and what’s it been like, to see those reviews rolling in? Will there also be further editions of the book, in translation, for instance?

Thank you for having me, Sophie!

It’s certainly been a long publication process – longer than it took to write the book, actually. I finished it 3 years ago and signed with Flatiron, which is an imprint of Macmillan in America, and it’s been such a long wait until publication that I thought this day would never come! It’s amazing to finally be here, and to have the book come out in my home country (Australia) at the same time. We’ll be publishing in the UK in January (this was meant to be released simultaneously but due to corona virus it was pushed back to 2021) and then I think we’ve also sold to about 22 other countries for translation, which is very exciting. I’ve just been absolutely stunned to see the reviews coming in, and the response of the readers. I’m so incredibly grateful for the generosity, and to know that the book is being enjoyed. It’s the whole point of writing, I think, to reach people, to connect. 

The Last Migration is beautiful and gripping but also challenging, in that it dares us to imagine a world in which nature–and human life–has been hollowed out by the disappearance of wild animal life. What was the inspiration for the novel, and how did you go about creating it? What challenges and discoveries did you face in its writing?

Toni Morrison said ‘If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.’ And this book was like that for me. It just felt necessary for me to engage with this climate crisis in a personal, intimate way, to write about something that’s breaking my heart. For me, when I write, the main priority is to move a reader, to make them feel something, and I think that happens when you can write from an honest and intimate place. And I think it’s true that we’re all starting to feel the loss of our natural world in a viscerally painful way. We’re connected by it. But I didn’t know quite how to engage with that, not at first.

First I went travelling. I wanted to explore Ireland and get to know the land my ancestors were from as I’ve always had a fascination for it. I also went to Iceland, an extraordinary place, and saw the beautiful graylag geese, which got me thinking about migratory birds and the incredible journeys they take, and the type of people that study these birds. I think that’s how the story of an ornithologist who decides to chase the last flock of Arctic terns from one end of the earth to the other came about.

So it was Franny who came first, it’s always character first for me. And as I got to know her, and understand this journey she was on, and why, I started to realise the kind of world I needed to place her in to really be able to tell her story with impact, and to safely engage with my own fear around the climate crisis. So that’s how the environmental side of this book got slowly drawn in – to support her. And the truth is that the more I wrote about it, the more I explored it, the more concerned I became. I discovered that in the last 50 years alone, humans have killed over 60% of all wild animal life on the earth. That statistic is almost incomprehensible in its enormity and it broke my heart, and I knew instantly that I needed to set the book in this future, to show how close it really is.

Like all your books, The Last Migration has a strong visual, indeed cinematic quality, as well as a lovely poetic sense. How do you think your work as a screenwriter has influenced your work as a fiction writer? And is there any talk of a screen adaptation of the book?

Learning the craft of screenwriting was an amazing way to learn about story. I learnt about how to structure stories and where to place certain major moments for a character to get the most emotional impact, I learnt about drawing a complex character and challenging them to transform, I learnt about genre and theme. It was also very good training for my prose, which I tend to overwrite; screenwriting schools you to be simple and strong with your word choice. You need to convey a lot in few words, and I think that’s great advice for any writing style. So all in all, it helped me improve my writing enormously.

And yes, there has been talk of a screen adaptation – we’ve fielded a few offers and are still in the negotiating stages. I have my fingers crossed it could one day be a film or tv series!

The Last Migration is sometimes described as a ‘debut novel’, or alternatively as a ‘first literary novel,’ but of course you have written several other excellent novels, most of which are in the speculative fiction genre. Indeed, it could be said that the near-future dystopian world of The Last Migration has a definite speculative-fiction element. What are your thoughts on this? How do you yourself view The Last Migration as against the background of your other books?

Yes it’s interesting that it’s being called my debut novel, which I think came about because the US publishers who picked the book up first wanted to ‘break me out’ in America as a debut author, so it was called my US literary debut, but as you’ve said I’ve written multiple fantasy and sci-fi books published in Australia. And I agree, The Last Migration is speculative, certainly – as I mentioned above, I decided to set the book a stone’s throw into the future, during the peak of the animal extinction crisis. And maybe this is a comfortable space for me, looking ahead to the ‘what ifs’. I got good practice at it in my dystopian sci-fi series, but I wanted this book to feel different. I intentionally didn’t want it to feel dystopian because in a way that places human suffering at the heart of the story, whereas I was more interested in removing us from the centre of all things and looking at the loss of the animals as a tragic thing, not just because of what they have to offer us, but because they’re wondrous in their own right. We’re not the only living things that matter. And so I guess that shift in focus, and leaving the world of the novel as otherwise unchanged, places the book less in the sci-fi realm and more in the fiction genre.

As a young writer just out of school, you self-published your first novel, which was acquired a few years later by a trade publisher and republished. And you’ve gone from strength to strength since then. Can you tell us a bit  about your journey as a writer, from those early days to now?

I started writing books when I was 14, totally in love with telling stories. As you mentioned I self published that first book and then was very lucky when it got picked up by a trade publisher. That led to me acquiring an Australian agent, and publishing several more books with multiple Australian publishers. I think I was about 25 when I realised I really wanted to learn more about the craft of telling stories, and so that’s when I enrolled at film school to study screenwriting. And that led me to want to travel and see the world, which in turn led me to The Last Migration. I’ve worked in film and television development too, but currently I’m writing novels full time and couldn’t imagine wanting to spend my life doing anything else. I feel so lucky that I’m able to, and hope it can continue!

What’s next for you as a writer–what is the next project you are working on?

I’ve spent the last year and half (while I waited for The Last Migration to be released) writing and editing my next literary novel ‘Creatures, All’, which is the story of a wolf biologist charged with reintroducing wolves to a forest in the Scottish Highlands in order to rewild the landscape. It’s a mystery and a love story and a story about the healing power of nature – which is a common theme for me these days! That will be released in the US this time next year, and hopefully here in Australia too.

 

Find out more about The Last Migration here.

Charlotte’s website is here.

Facebook author page here.

Twitter page here.

Instagram: @charlottemcconaghy

 

 

Two new interviews with me

Two recent new interviews with me that might interest readers: the first is in audio form, a wide-ranging podcast interview celebrating 30 years since my first two books were published, which is featured at the Writes4Women website. It was just lovely having the time to expand on all kinds of aspects of writing, inspiration, process, and lots more, with fantastic interviewer Kel Butler.

The other interview is in article form, and is a bit of an overview of my career and influences. It’s published in conjunction with a short story competition I’ve collaborated on with the University of New England’s Creative New England initiative, and the New England Writers’ Centre. Thanks to UNE’s Alahna Fiveash for the great questions!

The Accusation: an interview with Wendy James

I am delighted today to be bringing you an interview with the fabulous author Wendy James, whose multi-layered domestic noir novels, with their gripping, twisty plots, complex characters with brilliantly-observed relationships, and sharp commentary on contemporary life, have earned great acclaim and a devoted readership. I certainly always much look forward to reading her books, because I know I’m in for a real reading treat(and I’m not just saying that because as well as being a fellow author, Wendy is a dear friend!) A couple of years ago I interviewed her when her previous book, the extraordinary novel The Golden Child came out; and today, I’m interviewing her about her brand-new novel, The Accusation, a disturbing, suspenseful read which plunges us into a world of small-town secrets and social-media storms, with at the heart of it, a monstrous accusation which will pit two women against each other. But who is telling the truth? Who is lying? As events unfold with frightening rapidity, everyone takes sides…

First of all, Wendy, congratulations on your new novel! It’s a brilliant, gripping and disturbing thriller and very contemporary in feel, yet as you mention in your afterword, it’s inspired by a classic crime novel, Josephine Tey’s The Franchise Affair.  Can you tell us a bit about that, and how the idea developed from that initial inspiration, including how it diverges from it?

I’ve been a fan of Tey’s work for a long time. Then a few years ago I came across a piece by UK author Sarah Waters,  discussing the novel as being very decidedly of a particular time and place ( the book was first published in 1948) — and not necessarily in a complimentary way. This sent me back to the original story, the 18th century Canning affair,  and it also really got me thinking — how would such a story play out in the twenty-first century? What was interesting was how so many elements of the 18th century story — and especially the polarising nature of the scandal — seemed even more relevant now.
The novel diverges from Tey’s quite a bit — not only because of the temporal issues, but because the shift in location, a small rural Australian town rather than the UK, changes more than you’d imagine. The class elements, which are very pronounced in Tey’s novel, are still important, but of course play out rather differently in the Australian context. The Suzannah of my novel is very different to the main character in Tey’s — she’s not a quiet, penurious, spinster, but an ex-soap star — rather worldly and world weary. In Tey’s novel Betty Kane didn’t have the option of becoming an instant celebrity as my Ellie Canning does — fame didn’t have quite the same cachet back then.
Do you think social media and the 24 hour news cycle has made people quicker to rush to judgment than in the past? Or not?

I don’t think they’ve made us any faster to rush to judgement — I’m quite sure we’ve always done that — but what they’ve done is given us a  platform to air that judgement in public  – a virtual town square, if you like. It feels like a return to the days when people were publicly shamed, put in the stocks, publicly pilloried — and in some cases had their lives ruined because of the righteous justice of the  mob.

In the novel, the media pits images of women against each other– for example, the young, ‘innocent’ figure of Ellie Canning, as against the ‘corrupted’ figure of middle-aged Suzannah Wells, who is the target of Ellie’s accusation. Why do you think people still respond to such stereotypes?
Ha! I guess it satisfies some primal desire. I suppose we so badly want beauty and youth to correspond to goodness and innocence — and age and relative beauty to represent the opposite. It’s Snow White and the wicked queen,  Cinderella and the wicked stepmother. It’s altogether satisfying, and seems only fair.  The fact that Suzannah was once in a similar position—young,  beautiful, famous,  and universally admired—makes it a very bitter pill.
The portrayal of Mary, Suzannah’s difficult mother, who is suffering from an unspecified dementia-like illness, is a tour de force of unflinching yet compassionate observation. How did you create her character?
I’m glad you like Mary. I think she’s one of my favourite characters. She came from two places. I really enjoyed the figure of the mother in Tey’s novel—she was acid tongued and brutally honest in a way that would be almost entirely impossible to make sympathetic these days. I actually didn’t originally have a mother figure  — but then I started to think about what someone like Suzannah,  who is a single woman of a particular age,  might have happening in her life — and a dependent mother seemed just right. Mary also lightened things a little — which I like when things get a bit too intense. She was great way to reveal certain things at just the right ( or occasionally, for poor Suzannah, wrong)
Small-town life is often a focus in your novels. What is it that makes that kind of setting interesting for you as a novelist?
I think the fact that even introverts can’t get away with being anonymous in small towns. And there’s always the fact of not being a local. I’ve had the experience of being both a local (there were five generations of my family in Bourke when I was growing up) and then not a local in other small places — and in both cases there are some interesting dynamics. Being a complete  outsider — for Suzannah – and one who has a relationship with someone who’s utterly local – is also an interesting position.
The revelation of the unexpected villain–villains, rather–uncovers a disturbing plot and a gross betrayal. Tell us something about how you put the pieces together.
I can’t tell too much, or I’ll give the game away. I can say that the fact that the villain of the real case remains unclear ( indeed, in the real case both Canning and Wells/Squires were arrested) freed me up when it came to making a decision about who I wanted the bad guy/s to be. It took me a while to decide, to be honest — it could be made plausible either way.
The Golden Child, your previous novel, also revolved partly around the power of social media. What is your view on how it and the fake news that proliferates with it has impacted on society?
I think so much of what we hear now isn’t so much ‘news’ as what people think or feel about the news. And then this in itself becomes and, in many cases, directs the news. And there have been so many changes — good and bad — in how we live and interact, fuelled by technology and social media. It’s  a bit like one of those dreams where you’re driving somewhere fast, but your foot is stuck on the accelerator and you can’t quite see over the dashboard: it’s exhilarating — such speed, such power! — but simultaneously terrifying.. You know it could all end very badly.
Finally, I believe that there are TV series plans for The Golden Child. Can you tell us a bit about that?

It’s very exciting. Fox21 and Temple Hill Productions  ( Fault in our Stars, Twilight) optioned the book last year and it’s currently in series development at FX Network in the US. Fingers crossed we get that beautiful green light happening!

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More about The Accusation: 

Somebody is lying.

After eighteen-year-old Ellie Canning is found shivering and barely conscious on a country road, her bizarre story of kidnap and escape enthrals the nation. Who would do such a thing? And why?

Local drama teacher Suzannah Wells, once a minor celebrity, is new to town. Suddenly she’s in the spotlight again, accused of being the monster who drugged and bound a teenager in her basement. As stories about her past emerge, even those closest to her begin to doubt her innocence.

And Ellie? The media can’t get enough of her. She’s a girl-power icon, a social-media star. But is she telling the truth?

A powerful exploration of the fragility of trust and the loss of innocence, from the author of The Golden Child and The Mistake.

More about Wendy:

Wendy James is the celebrated author of eight novels, including the bestselling The Mistake and the compelling The Golden Child, which was shortlisted for the 2017 Ned Kelly Award for crime. Her debut novel, Out of the Silence, won the 2006 Ned Kelly Award for first crime novel, and was shortlisted for the Nita May Dobbie award for women’s writing. Wendy has a PhD from the University of New England and works as an editor at the Australian Institute of Health Innovation, Macquarie University. She lives in Newcastle with her husband and the youngest of her four children, and writes some of the sharpest and most topical domestic noir novels in the country.

 

 

 

My article on maintaining a literary career, now published in TEXT

What’s it really like maintaining a literary career, especially in a regional area? What role do literary organisations like writers’ groups and writers’ centres play? In Wearing many hats: literary creative practice in New England, an article of mine which has just been published in the prestigious journal TEXT, I explore these and other aspects of the regional creative life through my own experiences and the experiences of other local creators, through interviews I conducted.

Hope you enjoy reading it!

 

Interview with Sandra van Doorn of Red Paper Kite

Today I’m delighted to bring you an interview with Sandra van Doorn. I met Sandra and her husband Edward at last year’s Independent Publishing Conference in Melbourne and we had a great time chatting about books, publishing, creative work, and France!

Sandra is a French illustrator who has had books published in several different countries, including the award-winning Sleep Well, Siba and Saba (written by Nansubuga Nagadya Isdahl). Born and brought up in France, then globetrotting to the UK, USA, Russia, Europe she’s now living with her husband Edward in sunny Perth, Australia.

But now Sandra is embarking on a brand-new adventure. She is the founder and publisher of Red Paper Kite, which will exclusively publish picture books, and is launching its first title (Hugo) in May 2019.

Sandra, can you tell us about how you came to establish Red Paper Kite? 

The idea of creating a small press for picture books simply came from a need for more creative space and professional growth; publishing picture books felt like a natural evolution from being an illustrator.

As someone who has also done the ‘double act’ of creator and publisher, I know it’s a steep learning curve, setting up a publishing house. How’s the journey been so far for you?

You are right it is a very steep learning curve!

And it can be overwhelming at times.

As a tiny press, I juggle many facets of the business on my own. Finding the right information is not always easy, you find yourself constantly asking “Am I making the right decision?”

But you do knock on a few doors, and meet amazing people along the way, people who are genuinely interested in making your journey easier. People like you Sophie!

I feel grateful for the support I have received from within the industry – particularly my publisher in the UK (Lantana Publishing), who has been very generous in sharing their journey as a small publisher.

But in truth part of the adventure is figuring things out.

What can you tell us about RPK’s Books?

When I was a child, I used to scribble in all my books. It got me into a lot of trouble, but I firmly argued it was meant to be that way. I wanted that idea to translate into our books by creating books that give permission to our readers to scribble and add to the narrative. So, all our books include colouring pages.

Our readers become the illustrators and authors for a moment, they are part of the story. They can stay with our books a little longer, get to know our characters a little better … It’s a fun experience.

Visual narratives can be understood across the world, but of course different cultures have different approaches to illustration and picture books. What are the differences (and commonalities) that you see between, say, French and Australian picture book traditions and trends? (Please do mention any other picture book cultures you might like to as well!)

In France picture books are more than a childhood phase – there is a love for visual art rooted in our culture that goes beyond age, and so we are huge consumers of picture books – even in our adult life whether you have children or not.

Our cultural heritage definitely influences our approach to illustration; our illustrations can be more poetic, sentimental and censorship is a little broader in France.

But rather than comparing, we can choose to embrace and mix all those differences, aiming at creating a richer reading experience. Because really, who wants to read the same type of books over and over?

What are you looking for, in terms of both texts and illustrations, for Red Paper Kite?

There is no perfect profile, but we are curious about authors and illustrators who don’t feel too mainstream. A little fun, a good dose of quirkiness. Stories that reflect the world we live in.

Stories that will appeal to grown-ups too. A story within a story.

I guess we love stories and people with that little “Je ne sais quoi”.

 You will be launching the first Red Paper Kite book in May can you tell us a little about it?

HUGO – The boy with the curious mark, (written by Yohann Devezy and illustrated by Manuela Adreani) is coming out in May.

It’s a sweet story about a boy born with a curious mark, a rainbow.

Hugo’s Rainbow broaches a theme that gets revisited over and over, but with a contemporary edge to it.

His story will teach the importance of acceptance no matter what your difference.

You will love HUGO. Because really, who doesn’t like a rainbow?

How has starting a publishing house impacted on your career as an illustrator? (Or how do you see it impacting it?)

Well … I miss my drawing table!

Hopefully I will get an opportunity to draw again. I still hope to illustrate a few classics, such as Alice in Wonderland or Le Petit Prince.

Can you tell us something about your work as an illustrator, and the books you worked on? How did you start as a professional illustrator?

My career as an illustrator started when I was living in Vancouver, Canada.

I decided to attend art classes at Emily Carr’s University, and Paper Hearts – my first picture book project – was picked up for publishing. It was the beginning of an amazing (and sometimes wonderfully hard!) journey.

After that, I was lucky enough to meet Alice Curry (Lantana Publishing) via the Bologna Children’s book fair which led me to illustrate books about Uganda. It was a wonderful experience, pushing boundaries professionally and culturally – sitting at my desk, I was travelling and discovering a part of the world I didn’t know much about.

Meanwhile another publisher in Greece contacted me and that’s how I worked on texts I couldn’t even read!!

What illustrators have influenced you–from childhood to now?

My all-time favourite is Lisbeth Zwerger– her work is pure poetry and her talent is beyond words.

And then you cannot go past Rebecca Dautremer, Manuela Adreani, Benjamin Lacombe, Elodie Nouhen and Anne Herbauts.