Cover reveal for On My Way!

I am thrilled to be able to reveal the gorgeous cover of my forthcoming picture book with the fabulous illustrator Simon Howe, On My Way. The book will be published by Scholastic on June 1.

Here’s the blurb:

On my way to school, Mumma, guess what I saw? A pig chasing a wig! A goat rowing a boat! 

A delightful story about all the extraordinary things you can see on your travels.

I jut loved creating this fun story, and adore Simon’s magical illustrations!

Full cover below.

 

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Winter of the White Bear: a forthcoming picture book by Martin Ed Chatterton

Today I’m delighted to bring you a very interesting and thought-provoking interview with award-winning author and illustrator Martin Ed Chatterton, about an unusual project he’s been working on: Winter of the White Bear, an extraordinary picture book to be published by Dirt Lane Press this October. You can watch a compelling trailer for the book here.

Martin, I believe that Winter of the White Bear is a book that grew out of several inspirations: your PhD, your previous collaborations with Margrete Lamond, now publisher at Dirt Lane Press, and no doubt other things. Can you tell us something about how it came about? 

The starting point for Winter Of The White Bear was my PhD which I completed at the end of 2017. That had, at it’s core, a polemical examination of the toxic legacy of the Atlantic Slave Trade in my home town of Liverpool in the UK. I wrote my doctorate in part see if there was a way in which I could simultaneously access the slavery story in both a contemporary and historical way and the result was The Last Slave Ship, a novel with a dual storyline, one set aboard the Uriel, the final slaving voyage from Liverpool in 1809 and a narrative following a present day race hate crime which results in large scale rioting. The two storylines intersect at the end.

The PhD came about partly through curiosity about my family tree. On my wife’s side of the family, the maternal line is ‘black Liverpool’. The apparent ‘invisibility’ of ‘blackness’ in that side of the family got me asking questions and that led to (sadly) the growing realisation that I’d been raised in the most racist city in the UK and that my wife’s family had undoubtedly arrived in the city via Liverpool’s armpit-deep involvement in the genocidal Atlantic Slave Trade. In this case ‘we’ (white Liverpool) played the role of the Nazis, stocking, crewing and profiting hugely over 120 years by selling people. Over half of all the slave ships that sailed from Britain sailed from Liverpool. The city grew rich on the back of slavery. Present day Liverpool racism, both institutional and cultural is, I believe, directly traceable to residual guilt about the city’s blood-stained past, and denied thorough examination by an overpowering cultural ‘Scouse’ identity, described by American academic Jacqueline Nassy-Brown as ‘brutally localised, excruciatingly white.’ It’s not going too far to say that if the novel is published in the UK (as it is due to be), there could be trouble ahead. Liverpool does not take criticism well. If you’re interested, you can download the PhD exegesis here: https://epubs.scu.edu.au/theses/572/

Anyway…all that is by way of background. Winter Of The White Bear not only arrived because of my interest in slavery but because of the direct involvement of the very wonderful and most excellent, Margrete Lamond, my publisher (and editor) at Dirt Lane Press. Myself and Margrete go back a long way: to 2004 to be exact when I first moved to Australia. At the time she was working at Scholastic and commissioned me for my first Aussie book (I illustrated Ogre In A Toga by the lovely Geoffrey McSkimming). Margrete kept in touch when she moved to Little Hare books and she published The Brain Finds A Leg, a blackly comic surreal teen comedy set in a thinly disguised Byron Bay where I was living at that time. The book did decently, getting shortlisted for the NSW Premier’s Literary Award (where we lost to the picture book of Mao’s Last Dancer…still bitter, although I do love Anne Spudvillas’ work). And then we did other books: a follow up to The Brain, a series about William Shakespeare as a ten year old boy, a novelty book about a nude Santa. All the usual stuff.

Then, about six or seven years ago I wrote a crime novel on spec and Margrete was kind enough to do a broad structural edit on it before my agent shopped it around. A Dark Place To Die was published by Random House here and in the UK and was then optioned as a TV series (still ‘in development’ with Escapade Media/Mam Tor). The book led to a series, all set partly in Liverpool (and Byron Bay, Berlin, California…) and, to close the circle, The Last Slave Ship is also set in the city. When I met Margrete last year she suggested doing an offshoot from my PhD for Dirt Lane Press and I jumped at it. I’d been seeing what they’d been doing for a year or two and loving the social commitment and aims of the company. I do a fair amount of what you might call ‘mass market/commercial’ writing and illustration. Probably the best example of this are the co-writing gigs I have with James Patterson, the US publishing behemoth. So Dirt Lane and Winter Of The White Bear are as far from this as it’s possible to be (note: I am by no means sneering at the idea of White Bear doing well commercially!). And it’s the best/most satisfying thing I’ve done (in books) in a while.

What has the story’s journey been like? Did you need to do many drafts? Did you work with Margrete from the start on it, or has the process been different to that? 

I wrote the first draft very quickly. Having worked so much in the past with Margrete on so many disparate books we both have confidence in each other. That confidence gives me free reign to try things out, as I know Margrete will spot when it works and when it doesn’t. Perhaps the title (for Margrete) might be more accurately that of ‘producer’.

There were a couple of things I knew I wanted right from the outset. The first was no comedy. In my children’s fiction I’m primarily, and proudly, comedic. However, there’s no room for that here. So, no funnies. Secondly, I wanted this to be absolutely international. This wasn’t about Liverpool, or about the Atlantic slave trade. At least not in the specifics. This was about stripping back slavery to it’s evil essence: coercion for gain. Margrete and I had a couple of arm-wrestling moments, most pointedly on the issue of making this a white bear against a black bear. My view was that there needed to be a stark difference in the two bears as this introduces, in simple form, the idea of ‘the other’. Defining another group as ‘other’ is key to being able to enslave. And the clearest, most unequivocal example we have of that is white enslaving black. Of course there have been multiple (and ongoing) examples of slavery where that ‘otherness’ is less clearly defined but I felt strongly that the ‘not all slaves were black’ argument has been hijacked (erroneously) by the right. Besides, the genesis for this book lay in a specifically white/black arena. I didn’t want anyone to be in any doubt.

There were quite a few drafts but all following a principle I knew would be there. I started big and went small. The first draft came in around 2000 words; clearly too many for a book of this kind. But, as I knew that at the outset, and, as Margrete was the editor, I was confident we’d whittle down. Which is exactly what we did. The final word count is around about 700 words.

How would you characterise the visual narrative of the book? 

Being a writer/illustrator often has it’s advantages, but nowhere more so than in a picture book. The visual narrative of this book emerged from two sources: the first are the paintings I do for pleasure. I don’t sell them or exhibit: they are for me and they are a long way from my ‘normal’ work. I began my professional life as an illustrator and that’s still very much an important part of what I do. Winter Of The White Bear is an opportunity for me to swing hard at the ball and make some of those gestural, free marks I make in the comfort of my own (secret) studio.

The second part of the visual thrust for the images is digital. Everything has been produced on screen. I’ve been drawing with the cursor, using collage, overlays, brushes, effects and photography to make the images. I forced myself not to draw anything and ‘import’ it as I would do normally. This has, I hope, resulted in a fresh approach, albeit using techniques honed over the years. I think this imagery will be seen as different for me…but it’s always been there.

With its fable/fairytale form and light touch, Winter of the White Bear can be read on many levels, and by readers of many ages: what do you hope people will take away from it?

I’m glad you think it has a light touch. It would have been easy to slip into a preachy tone so I think using fable helps prevent that. Allowing the reader to join the dots is something I try and do in all my writing. Using fable also helps blur the age lines. We’re so used to the fairytale form that it can become a Trojan horse in which we can smuggle in meaning. Another aspect of the fable/fairytale as form is that it allows darker themes and narrative. While Winter Of The White Bear deals with hard subjects it barely comes near to the horrors in, say, Hansel And Gretel.

I made the decision to echo the Atlantic Slave narrative in several key ways in the book. For example, when Little Bear reaches a point of desperation she chooses to allow herself to sink beneath the waves. ‘If she sank far enough she would no longer have to catch fish for White Bear.’ Slaves taken from West Africa frequently committed suicide as a means of escape. One of the first acts for the Liverpool slavers on arrival in Africa was the installation of suicide netting around the ships. Slaves were valuable and the more of them alive at the end of the voyage, the higher the profit. The hideous conditions aboard ship were finely calculated to ensure that as many slaves survived as possible at as low a cost as possible. Profit overruled morality at every turn. Slaves also saw suicide as an act of resistance so it was important for Little Bear to reach this point. Of course, I don’t make this explicit. This is a book for children so Little Bear’s ‘death’ is deliberately ambiguous. The appearance of her (murdered) father also speaks to the importance of ancestors in African belief systems. Little Bear’s subsequent ‘campaign’ and escape from her oppressor can be viewed as what happens to her in the afterlife, or as wish fulfilment, or simply as a magical reality.

I hope that young readers take one very simple message from this book. Namely that using force to enslave anyone is wrong and that we have to remain vigilant to prevent this happening.

 Winter of the White Bear comes out in October, but you are already performing readings of it in schools. What other events are being planned in the lead-up to its release? 

After starting work on Winter Of The White Bear I decided to make a ‘rough cut’ audio of it as a work in progress. I then showed that rough cut reading to schools I visited in Australia and China in late 2018. I always saw the book as something that would translate very well to the screen and I have made a full reading for the 2019 school visits.

I’m keen for Winter Of The White Bear to get ‘out there’ in as many forms as possible. I co-opted a French actor/producer friend of mine, Michel Duran, to do the reading for the video of the book. Michel is based in Vancouver and, I think, adds an extra flavour of ‘the international’ to the project. We have worked together on a number of film and TV projects (as Sugartown Media) and we are developing Winter Of The White Bear as a potential animated feature film. We’re also working with Angela Salt, another friend of mine in the UK who runs a creative children’s content company called Salt Content. Pat Davern, of Grinspoon, is also involved in writing a suite of songs for the project. He has provided the theme music for the project and we are at work on the ‘hero’ song, You Will Find A Way, right now. Pat and I have worked together on a number of projects beginning with Pat’s Alexander The Elephant picture/music book in 2015. We’ll be putting out a video for the song in the lead up to Winter Of The White Bear being published.

We have also partnered with The Freedom Hub (thefreedomhub.org) in Sydney for this book after meeting with Sally Irwin, The Freedom Hub’s founder. The Freedom Hub was formed specifically to combat modern day slavery in Australia. Using two cafes (one in Sydney, the other on the Gold Coast) as the ‘hub’ element around which programs of aid for people caught up in human trafficking are rolled out, the organisation is an important beacon of hope. It’s a real shock for many people to realise that there are an estimated 4,300 slaves in modern day Australia and The Freedom Hub are doing a fantastic job of raising awareness of this and giving practical help where possible. They are also committed to doing what they can to ensure slavery is eradicated around the globe. We are super proud to have them on board with Winter Of The White Bear and will be flagging them up at every opportunity. The book will be launched on October the 17th at The Freedom Hub by Benjamin Law who has kindly agreed to do the honours.

 I understand that two other books came out of your PhD, including an adult novel and a graphic novel: can you tell us a little about them?

The Last Slave Ship, the novel I wrote for my PhD was due to be published last year but sadly the publisher went bust just prior. The nature of the novel (hard-hitting, experimental to a degree, polemical) meant that it wasn’t a good fit for my usual (commercial) publisher, Penguin Random House, so finding a good home for it has been a priority. My agent in London has been scrabbling around and we are pretty sure it will be out this year with Dead Ink in the UK who are another socially conscious independent publishing house. That’s by no means a given as yet but we think it will happen. I’m pretty keen on it being released as, along with Winter Of The White Bear and Archangel (the graphic novel I’ll discuss below), it would mean that three very different  ‘slavery’ stories have emerged from the research, covering all age ranges.

The novel itself tells the story of the doomed final slaving voyage from Liverpool in 1809, sailed by a hard-bitten crew conscious that this is their last opportunity for a big payoff. Slavery has been outlawed in Britain so it is a risky, but potentially profitable, business. Running parallel to this story is one that revolves around the aftershocks following a vicious race hate killing in contemporary Liverpool. The central idea behind the book can be summed up by my ‘pitch line’: ‘The last slave ship didn’t leave Liverpool in 1809, Liverpool is the last slave ship’. And another: ‘What do you do when you’ve witnessed a crime committed by an entire city?’

In a spot of cross-pollination, I’ve mixed in characters from my three previous  ‘Liverpool’ crime novels (A Dark Place To Die, Underland, Remission) and narrative themes of memory/amnesia, ‘saying the unsayable’, witness and guilt. There are intertwined sub-narratives in there too about Hillsborough, about Scouse identity and the importance of Antony Gormley’s Another Place as witness: a sculpture installation sited on a beach in north Liverpool which has been something of an obsession of mine (https://www.youtube.com/watch?v=Qw_WO8Y5a8s).

At the beginning of my doctorate, I was interested (and still am) in the notion of cross-media. Something that ‘fell out’ of that was me writing a piece of faux fan-fiction, imagining a fan response to The Last Slave Ship…which was, at that time, unwritten. That became a YA novel called Archangel which is a re-imagining of the slavery narrative, set in a future post-industrial north American hunter-gatherer settlement built on the remnants of a vast shopping mall centuries after Earth has been abandoned by the ruling elite. The climate is frozen for large parts of the year and the growing of harvesting of timber occupies much of the time for the ‘tribe’. This isn’t a dystopian vision: the population functions in harmony with their surroundings until the humans who had abandoned the planet return to ‘harvest’ labour. Dirt Lane Press asked me to develop Archangel as a graphic novel. As a first step I’ll be rewriting the story as a screenplay; the thinking being that will be a format more easily adaptable to the graphic novel format. I’ll let you know how we do!

Cover reveal for There’s a Tiger out There!

I am thrilled to be able to reveal today the gorgeous cover of my picture book with the fabulous illustrator Ruth Waters, There’s a Tiger out There, to be published by Little Hare in July. The fantastic design is by Hannah Janzen.

The story, which is set around a pair of siblings–an older sister, a younger brother–and a tiger, the power of play, the imagination, and of love–first came to me in a dream, and it’s been a dream too to see my text morph as I worked on it with the wonderful editor Alyson O’Brien, and then so exciting to see it take shape and flesh and colour and such glorious vibrancy in the wonderful details of the visual narrative created by Ruth. Look forward so much to seeing it out there!

Here’s the blurb:

There’s a tiger out there/and her paws are so big

There’s a tiger out there/and her teeth are so sharp

There’s a tiger out there/and she’s about to pounce.

Run!

 

 

Ho, ho, Hippo–an interview with Hazel Edwards

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

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

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

Extract from Santa Skylight gift book page

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

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

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

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

Hazel’s grandson Henry reading Ho Ho

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here are a dozen memories:

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

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

Henry Facetime-reading with Hazel

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

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

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

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

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

 

 

 

 

 

 

 

 

 

More about Hazel Edwards:

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

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

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

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

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

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

Hazel’s website is here.

You can find her on Facebook here.

Great review of See Monkey in Reading Time

Lovely to see a great review of See Monkey in the latest edition of Reading Time, the online journal of the Children’s Book Council of Australia!

Here’s an extract:

This story captures the essence of toddlerhood. From the moment eyes open antics ensue with toddler and his favourite toy Monkey playing, eating, dancing, and mischief making their way throughout the day. All before heading back to the comfort of bed before beginning their adventures together again tomorrow.

I can definitely relate to the chaos of toddler and Monkey’s day. Having boys of my own I understand the pandemonium which surrounds their days as they investigate, play, learn and explore their world.

The illustrations are bright and representative of childhood; whether that is the fun and adventures of the children, or the busy and sometimes chaotic perspective of the parents, siblings and neighbours.

You can read the whole review here.

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.