Another lovely review of See Monkey

At See Monkey launch: me and illustrator Kathy Creamer reading the book aloud.

There’s a lovely review of See Monkey, as well as of another recent picture book published by Little Pink Dog Books(Ziggy’s Zoo, by Pat Simmons and Vicky Pratt) on the Just Write For Kids blog. Here are some short extracts:

Sophie Masson brilliantly targets the toddler market with her short, sharp sentences and witty ‘monkey tricks’ – absolutely reflective of the typical cheeky toddler / monkey behaviours. Kathy Creamer befittingly brings her characters to life with superb colour, high action and the liveliest of expressions….

See Monkey is a spirited blend of childhood freedom, pushing the boundaries and simply having some imaginative fun, with the gentlest of guidance and restraint to acknowledge the consequences of boisterous actions. Plenty of excitement and laughter for children from age two.

You can read the whole of the review of See Monkey, as well as the review of Ziggy’s Zoo, here.

 

Advertisements

First advance copy of See Monkey!

 

It was very exciting today to get my first advance copy of See Monkey, my picture book with Kathy Creamer, published by Little Pink Dog Books! It’s absolutely gorgeous! Will be out in the bookshops in two or three weeks, can’t wait!

Interview with Jana Hunter, author of Sleepy Meadows

 Today, I’m very pleased to bring you an interview with new author Jana Hunter, whose first novel, Sleepy Meadows, has just been released as a Kindle ebook. Sleepy Meadows is an unusual fantasy/mystery novel, centred on young necromancer Kylie McGovern, who is working in her late father’s funeral home, Sleepy Meadows, in an Australian country town. As the blurb describes, her life is simple and quiet which is just how she likes it, but all that changes when her boss, the seemingly respectable Uncle Bob, goes missing and a murder victim is found in the crematorium. Drawn into a web of inter-generational revenge and family secrets, Kylie’s own life begins to unravel as she works desperately to find out where Uncle Bob is and clear her own name. Though she has been raised to believe her power is an evil to be suppressed, as the bodies begin to mount up, it seems that only her skill as a necromancer will save Kylie from taking the fall….
First of all, Jana, congratulations on the release of Sleepy Meadows! Exciting times for you! Tell us about how the idea came to you.  
Thank you so much, I’m very proud of the way it turned out. I’ve always loved reading Urban Fantasy, it’s such an underrated genre, but most of what I read was set in the US or Britain, so I thought there was room for an Australian take on it. Also, I think country towns are rich with the potential for uncanny happenings; there are so many odd stories that you hear and it just seems to have more magical potential. In fact, the idea for Sleepy Meadows came to me while I was staying with my grandma on her farm. There was a catalogue on her table for a local funeral parlour featuring two creepy looking middle-aged men smiling woodenly in black suits, and it got me wondering about that profession, and why there seem to be so few young, female undertakers. And it made total sense to me that a funeral home would be the perfect place for a closet Necromancer to work.
Sleepy Meadows has a most unusual setting, in a funeral home( though it’s an inspired choice for a necromancer like your main character Kylie McGovern!) Was it based on a real place and did you have to research much?
Sleepy Meadows is not based on any particular funeral home, that is pure fantasy, but I did do a fair bit of research into rural funeral homes and the embalming process etc. That said, I have to admit that I took poetic licence in a few spots.
How did you go about creating Kylie and the other characters in your book? Which were your favourites, and which most challenging, in terms of creative process?
The characters evolved organically, which is something I love about writing – they surprise you, they take on a life of their own. Funnily enough, the murderer was not who I originally planned, and I had some trouble abandoning my intended villain for someone who was supposed to just be a sideline character, but I’m glad it worked out the way it did. I also had some feedback from early readers that my protagonist Kylie was too morally-grey and she needed to be sweetened-up a bit. But I’m glad I left her as she is: “Creepy and quiet, and a little morally-challenged”.
What’s been the reaction from readers so far?
So far the response has been really positive, which is a relief.
What’s next? Are you planning any more books featuring Kylie? Or will you be writing something completely different next time? 
Sleepy Meadows is the first in a series, so I am working on the sequel now, as well as a different, more traditional portal-fantasy novel.
What are your top tips for new and aspiring writers?
My top tips for any aspiring writer is to read widely and to be consistent with your writing practice. Little by little becomes a lot.
Jana Hunter lives in Armidale NSW, where she can usually be found in a coffee shop, writing. You can find her on instagram at: https://www.instagram.com/janahunterauthor/
You can buy the book here.

Fiction, prediction and diversity: an interview with Hazel Edwards

Today I’m very pleased to interview popular author Hazel Edwards about her new book for adult readers, Celebrant Sleuth, set in a country town and centred around the character of Quinn, an unusual woman who lives in a romantic but non-sexual relationship with her partner Art, and who as well as being a celebrant in great demand at weddings, funerals and other life rituals, also has a knack for solving mysteries of all sorts.

Hazel, how did the idea for ‘Celebrant Sleuth’ first come about? 

I’d observed celebrants in action at Australian weddings, name-days and funerals. Most are very personable.

They are problem-solvers. They have to handle dramatic situations with difficult people and heightened tension. Apt words in emotive ceremonies are their business.

The role seemed versatile enough for a sleuth character who needed to move into different settings and cultures to solve mysteries. For diverse age groups too.

Like many others, our family is spread across generations and cultures and friends are re-committing, divorcing or blending.

So I’d been to a few celebrations, commitments and an increasing number of funerals.

That seemed like a good starting point to research the role of celebrant. As a believer in participant-observation, I considered qualifying as a celebrant by doing the course, but then decided it was more effective to interview the experts.

In early 2016, well before the Same Sex Marriage law debates, I moved into serious interviewing.  More than twenty-five celebrants on phone or Skype or in person. But it wasn’t all serious, most celebrants had a sense of humour, which was vital because I was collecting anecdotes for my mystery plots.  I needed the absurd inbetween the tragic and the romantic.

Most fictional detectives have a ‘backstory’ but Quinn, the celebrant/detective in Celebrant Sleuth, has a most unusual one. Can you tell us how you came to create her, including any research you had to do? 

 Usually I create a detailed dossier for each of my characters. Quinn required a bit more research because I needed to get the gender vocabulary right as well as find out about the job of celebrant.

Earlier, I’d been invited to various literary festivals in connection with our co-written trans YA novel ‘f2m;the boy within’ (2010).

On a panel, I met an extremely articulate and thoughtful asexual in her early thirties, who challenged me to write about her gender circumstances. She was NOT a celebrant.  She was a park ranger. But the idea of juxtaposing a romantic personality in a longterm relationship within the character of a celebrant who had a job involving romance interested me.  ‘I prefer icecream to sex’ was one of her very quotable comments to me, as she explained the differences between being asexual  (feeling no sexual attraction to any gender) and being a ‘romantic’ desiring and giving affection which is different from being aromantic.

She became one of my ‘expert’ readers.  Along with the celebrants, actors, caterers, lawyers, mothers-in-law, actors and photographers I interviewed. And the multiple florists in fabulously perfumed shops.  The only problem was fictional time. Everything needed to happen in under an hour, just like in a wedding or funeral.

But it’s taken about 2 years to write in ‘real time’, between 6 am and 8 am daily. My brain was clear then and could cope with plotting clues. The mysteries are episodic, with celebrant Quinn solving problems in settings including the football hall of fame, retirement village chapel and a few inter-relationships of florist, caterer and media in the country township during an economic downturn. Millionaire retirement village owner, eighty-something Flora is feisty and falls for a younger man. I had to create a whole ‘fictitious’ township of intersecting roles. And get the street geography right.

There are several stories in Celebrant Sleuth: cases ranging from murder to theft to missing wills. Did you write them in sequence or not?

 No. I didn’t write in sequence.

The tight opening, Introducing Quinn, was written last as the viewpoint was always a challenge.  Initially I imagined a kind of voice- over which could adapt for television, but also the issue of asexual gender had to be explained indirectly for a mainstream audience but was not the central theme of the book. First person enabled less use of pronouns

I wrote each chapter as a separate ceremony with a problem or crime solved by Quinn the sleuth. But I didn’t want a murder per chapter. That seemed Agatha-Christie-ish, depopulating one small country town. The settings were a challenge because I needed to create a country town, small enough for the characters to bump into each other via their other roles like caterer or florist.

I tried to vary the mood and pace of the chapters and the type of ceremony, not all were weddings. And I had to check the facts about types of death… and set up the circumstances and motives. After trialling them with my test readers.

‘Celebrant’ is an Australian term and often confused with ‘celibate’ or ‘psyche’ or ‘Celebrity’ so I had qualms using it for the title.

Amused that my publisher BookPOD has used the meta tag Clean crime to describe ‘Celebrant Sleuth’.

‘I do…or die’…was the last minute subtitle to include all circumstances.

What has been the reaction of readers?

Really positive.  Celebrants are thrilled with their job being featured.  Diverse gender groups are delighted to have an asexual hero. Others like the small town mystery.

My expert test readers picked me up on a few technicalities. ACE as the name of Quinn’s partner was inappropriate as it is a term used by asexual groups. Pure coincidence I used that name as I was trying to give alphabetical and simple names to characters.  Ace became Art. Coronial and forensic pathology procedures.  Legal stuff.  Uniformity of retirement village streetfronts and use of ramps.  Youngest legal age of bride.

But the greatest legal challenge has been the Same Sex Marriage laws changing the terminology in my commitment chapter. Last minute updates.  So far I haven’t been accused of being politically opportunistic in using such a topical gender situation. The reality is I started writing two years ago. It was serendipitous topicality which had the law being changed on the day I was checking the galleys and had to change clues since wedding services differ from commitment in the legal wording and papers, but there will still be people who choose to commit rather than marry.

The cover has ambiguous and symbolic silhouettes and that was deliberate. Designer Lee Burgemeestre is multi talented and is also a celebrant so she brought an experienced eye.

My favourite anecdote relates to lost rings and metal detectors on the beach. Closely followed by dogs as Best Man.  And the professional afternoon- tea eaters who turn up as rent-a-crowd for the scones, raspberry jam and clotted cream provided by one funeral parlour, even if they didn’t know the deceased.

Some readers are intrigued by the blurb.

‘I buried my father, married my sister and sorted the missing will.’

Quinn, a celebrant with style and a few obsessions but a good heart, solves quirky problems, mysteries and the occasional murder at weddings, funerals and naming ceremonies in her country town.

Ex-actor with a great voice who writes eulogies to die for! Not forgetting a few quotable ‘Quinn’s Laws of Relativity’. A romantic, but asexual, Quinn lives with her long term partner Art who runs community Channel Zero.

The workstyle of a celebrant is never routine. Fake I.D. Fraud. Fights, even to the death, over wills and inheritance … Mislaid rings. Lost bride. Food poisoning.   Clients of varied ages and cultures are well looked after. Even vintage millionairess Flora with the much younger lover who might be a con-artist.

Quinn solves most problems but not always in the expected way

Why have you included Quinn’s Theories of Relativity at the end?

To characterize Quinn as many celebrants do write their original material.

Most people only know Albert Einstein from t-shirt quotes, but …

I admit I occasionally adapt his ‘Theory of….’quotes for funerals or weddings. Not really plagiarism because I always mention Einstein, just an updated tribute to the most significant science philosopher (in my opinion). One of my heroes and gives a bit of gravitas to a service.

Quinn’s Theory of Relativity

The likelihood of the relationship ending in divorce is directly related to the number of arguments during rehearsals, obsessive preparation and the bride’s budget on self.

My favourite is: Quinn’s Theory of Funeral Secrets

‘At a funeral, we acknowledge the life of the person and maybe the many identities, actions and secret lives of which the family and friends were unaware. For some a shock, for others a relief.’

 Are you planning any more ‘Celebrant Sleuth’ stories?

Yes.  But only if optioned for television. I’m realistic about the number of options which are never made.

Currently there is a great demand for celebrants to perform weddings for same-sex couples who previously had commitment services or who had married under the laws of elsewhere.  But the demand for commitments, re-commitments, funerals and naming ceremonies will continue.

 

Celebrant Sleuth by Hazel Edwards is published by Bookpod and is available through all good bookstores. Formats: paperback and ebook.

 

The creation of Building Site zoo, part two: the illustrations

In Part Two, here’s Laura Wood’s great post about how she went about creating the visual world of Building Site Zoo. And  it includes samples of her roughs, storyboard, and work as it developed–thanks so much for sharing them with us, Laura!

Creating the illustrations for Building Site Zoo, by Laura Wood

The first time I read Sophie’s manuscript, I thought it was one of the most original picture books I was ever asked to illustrate.

I knew it would have been a fun text to bring to life but also quite challenging… which is always a good thing! I knew it would be hard for me to draw all those buildings and machines, since it’s not something I’m very used to!

Anyway, it didn’t take me long to decide to accept the challenge.

The first things publishers want to see are always the main characters of the story, so I started from there. The story doesn’t say explicitly who the characters are, which I personally love, since it gives me a lot of freedom to play around. I decided to go for brother, sister and grandpa.

After that, I started doing lot of research about cityscapes, buildings and machines before sketching ideas for the storyboard. I knew I needed to becoming familiar with the shapes of the machinery before getting the ideas out.

The idea I finally came out with was to approach the whole book, as a dual reality kind of thing: basically having two very similar spreads, the first one with the animal – the world made up by the kids – and the second one with the corresponding machine – the real world. This way, I thought the reader could make a connection easily between the text, the animals and the machinery in action. Mmm… I think written down sounds more complicated than it is, anyway here are some early storyboard sketches.

 

 

Some more storyboard sketches. As you can see, spreads developed and changed.

 

 

Once all the spreads have been approved by the publisher, I work on the final lines. For this book in particular, since there were a lot of overlapping elements on each spread, I preferred to draw some of the elements separately (background, animals, machines, characters, etc…) and put everything together in the computer.

I then proceed to colour everything. Once the internal spreads are coloured, the cover is always the last thing that gets done.

There were lots of different elements I wanted to fit in this particular cover, so I tried a few ideas but it took me quite a while to get the composition working…

 

 

The creation of Building Site Zoo, part one: the text

This month, Building Site Zoo, my picture book with the wonderful illustrator Laura Wood, is published by Hachette Australia, and to celebrate we thought we’d tell you about how the book came about and what the process was like for both the text and visual narratives. In Part One, I talk about the genesis of the text and how it developed, and in Part Two Laura will describe her process, in both words and pictures of course! Hope you enjoy reading both!

The text, by Sophie Masson

It so happened that one day in late 2014, I was in Sydney, in Ultimo, in fact, having just gone to an ASA meeting. I was sitting by myself having a cup of coffee in a quadrangle near the ASA office, and happened to look up at the cranes high above: that spot is very close to UTS where new buildings were under construction at the time. A line suddenly popped into my head: The cranes are fishing up in the sky…As soon as it did, I knew I had something. Cranes could be birds as well as machines, so in that vein I started to think about other machines that could also be seen as animals. So I pulled out the latest incarnation of the cheap little notebook I always carry in my bag, and started scribbling lines down. ‘Building site zoo,’ the title, came almost straight away, but the full lines took quite a lot of to-ing and fro-ing and crossing-out and rewriting.

My initial thought with Building Site Zoo was that it would make a great poem, so that’s what I worked on, when I was back home. I then sent it off to The School Magazine–to my delight it was accepted and published in the April 2015 Countdown issue.

By then, I’d started getting picture book texts accepted–Once Upon An ABC and Two Rainbows--both of whom had started as poems(in the case of Two Rainbows, two poems!) so I began to think about Building Site Zoo and how it might work as a picture book text. I spoke to my wonderful agent Margaret Connolly about it, whose ideas and suggestions are always incredibly helpful no matter what the literary project, AND who really understands picture books. We discussed how the text could be tweaked to make it more like a story and less like an impressionistic piece, which works well for a poem but not for a picture book–and yet leave the poetic central concept of the machine-animals intact. I went away and thought about it and worked on first the beginning, to introduce some characters–the child’s point of view was very important, because in fact that’s how I’d seen the whole thing from the beginning. I didn’t want to make the characters fixed: there would be a first-person point of view, but it would also encompass other family members, so it wasn’t just ‘I’ but ‘we’.  So the new opening would start:

Every morning on our walk/ We see an amazing zoo/Full of the most amazing animals/Come and see them too!

I would also identify each machine-animal, not as part of the text, but as indicators for editor and illustrator: so the bulldozer’s a bull, the jackhammer a kangaroo, the concrete mixer a hippo, etc.

Margaret loved the new revised text and sent it off on its rounds to publishers in late 2015. And in April 2016, she emailed me to say Suzanne O’Sullivan at Hachette Australia really liked the text but had a few suggestions for minor changes. These related mainly to tweaking a word or two, but the biggest change was in dropping some lines from that stanza that had started everything off, about the cranes fishing! She felt there was a change in metre which didn’t work, and that the concept of ‘firing’ also didn’t work for the age group. Looking at it, I could see just what she meant, so I dropped those two lines.

After revising the text, I sent it back–and in June 2016, it was accepted for publication. I was of course thrilled!  And even more delighted when Suzanne confirmed that the illustrator would be the wonderful Laura Wood! It was so exciting to see her roughs, and the progress on the visual narrative as it went on, and she added all kinds of fabulous details and so beautifully fleshed out the characters whom I had deliberately left undescribed. I never get over that extraordinary pleasure, of seeing my text expanded and transformed by the illustrations, producing a true creative collaboration which is immensely exciting and satisfying.

The editing of the text didn’t end there of course–with great suggestions from Hachette editor Tom Bailey-Smith and Suzanne, more words were tweaked, an extra stanza was added at the beginning, and the ending you see above was dropped in favour of a simpler and more satisfyingly cyclical one, bringing it nicely back to the beginning.

Every morning on our walk/we see an amazing zoo/full of astonishing animals/Are they in your street too?

And here too, before inviting you to turn to Part Two in which Laura talks about her creation of the illustrations, I’d like to thank and pay tribute to the publishing team at Hachette and the fabulous designer Ingrid Kwong. What a beautiful book we have all produced!

Read on!