Tag Archives: shiny new book

Grammar and Rules and Pedantry … Oh My!

You know what’s great when you have a new book out?

So many things!

Things like:

  • Your brain saying Hey! A new book! You did it! Maybe you can even do it again!
  • Your fingers taking some time off from struggling with the work-in-kinda-sorta-progress to stroke the gorgeous linen-emboss cover with spot UV.
  • Your brain repeating the words linen-emboss cover with spot UV over and over like a mantra in a cunning attempt to avoid working on the WIKSP.
  • Other people saying Hey! A new book! You did it! Look at that gorgeous cover! And all those words!
  • You get the idea

You know what’s less great? Things like:

  • People saying Hey! A new book! When’s the next one coming out? How come you haven’t written another junior fiction? Where is the sequel to A Single Stone? How come it takes you so long? What do you actually do all day? Are you even still doing that writing thing? (Yes, these are all things that have actually been said to me by actual people.)
  • Other people saying Hey! A new book! I found a typo on page 3. And a grammatical error on page 27. And did you actually mean to repeat that phrase twice in the same paragraph?
  • You get the idea.

I’m writing this not just to grumble but because hey, I have a new book out! and hey! I have some thoughts about ‘mistakes’ and rules and pedantry, oh my.

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The Uncanny Magic of Illustrators

There are so many things I love about working with illustrators.

Firstly, and entirely self-servingly, having a co-creator gives me an easy way to accept praise about the book without resorting to my usual impulse to shrink away muttering, Oh, it’s nothing. It could have been better. Eh, it’s just a thing I did. Having an illustrator, and their inevitably glorious work, to deflect compliments onto makes my life a great deal easier.

That reason comes first only in this idiosyncratically ordered list though, because really it’s the least important of all the things I love about working with an illustrator.

One of the questions I’m often asked about picture books is, “But what happens if the illustrations aren’t how you imagined them in your head?” For the longest time I answered this in a kind of bewildered, half-stumbling way, without really understanding where the questioner was coming from. Because the thing is: I don’t imagine the illustrations in my head, or anywhere else for that matter. I don’t think visually, and I don’t ‘see’ the world or characters while I’m writing (or when I’m reading, for that matter; it doesn’t matter how elaborately the setting or a character or an anything is described, I can’t see it. What I’m doing instead is skimming those descriptive passages, grumbling about how pointlessly wordy they are, because who cares what it LOOKS LIKE?). These days, that’s how I answer that question, though it does lead to some bewildered, half-stumbling responses from the visually inclined questioner.

Something I’ve come to realise, though, is that even though I never have any idea of what I want things to look like, I always know how I want things to feel, how I want them to make the reader feel. I couldn’t begin to suggest how you might get there visually; I just know it when I see it. I’m not sure whether this makes me extremely annoying to work with – I don’t know… I just want it to feel less noisy, or lighter or … just airier? You know that feeling you get when bubbles pop on your tongue? Like that, except different – or whether it’s par for the course in the author–illustrator relationship, but in any case, it’s all I have.

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Ella Emerges from the Rubble

In my last post, I referred to “the glorious rubble” that was the process of excavating and clearing out my childhood home. And that, on account of me being me, that rubble fed inevitably into the creative well, setting all sorts of things in motion.

Today, I want to talk about the first of those things, which has turned into a gorgeous little picture book called Ella and the Useless Day. As is the case for a lot of my work, this is something I started working on many years ago, which has had a long and bumpy ride to publication. When I first wrote Ella, back in 2005, it was the story of a little girl and her father who have a big cleanout and take all the useless things they don’t want any more to the local tip. There, where the bulk of the story’s action takes place, they unload everything gleefully and toss it onto the piles of already-discarded items. In the background, however, out of sight to everyone but Ella, another little girl – the daughter of the tip gatekeeper – is equally gleefully purloining many of their ‘useless’ items for herself.

As we pull back further, we see the little on-site house where they live, which is partly constructed by and decorated with all sorts of salvaged things. As Ella and Dad drive away, congratulating themselves on having disposed of all those useless things, the little girl sets to work to repurpose them. At the very end, I imagined a wordless spread which would show the various interesting uses to which she had put them.

Pretty fun, right? I liked it. But no one else did. Or at least not enough to publish it. Across Australia and the US, it was form rejections all round, and so I set it aside, another failed project for the bottom drawer.

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Twice Upon A Small Rhinoceros

No, it’s not a sequel. This isn’t a new book but a new lease of life for an old one.

I can’t believe it’s nearly two years since Once Upon A Small Rhinoceros set sail, but since it is, that means it’s time for a paperback edition!

PaperRhino

I’ve had the loveliest time introducing my little rhino to readers in schools and libraries far and wide. We’ve talked about courage and resourcefulness and feeling the fear and doing it anyway. About the beauty in encountering ‘strange’ things and the opportunities in letting yourself be lost. We’ve talked over and over about why it might be that so.many.readers can read the whole book and still think my glorious girl is a ‘he’.

Sometimes we’ve just curled up on the carpet and let the waves rock us to sleep. One little boy entered so completely into that space he said he felt seasick afterwards!

AtNight

Along the way, I’ve learned a few things. Kids have pointed out things in the illustrations I’ve never noticed. My rhinoceros-drawing skills have improved, or changed, or something. I overcame my terror of public humiliation and drew a rhinoceros on butcher paper in front of a hall full of kids, upon which a small boy raised his hand and said he liked the way I had displayed a growth mindset. Kids today, I tell ya!

Rhinowonky   Rhinodrawing

One of my absolute favourite things about being a writer is seeing my work spark creativity in others, and it’s been such a joy to get feedback from teachers and students who have used Once Upon A Small Rhinoceros in the classroom.

With one group, I talked to kids about why the rhinoceros might wear her lifejacket before and during her journey, even when she’s on dry land. And why, in one particular illustration towards the end, she leaves it completely undone. We spoke about the idea of nightlights and security blankets, cuddly toys – things that make you feel safe independent of any practical function they might have.

A week or so later, a teacher sent me these wonderful pictures of an activity her class had done back at school. She had built on this idea, personalising it, challenging the kids to think about how this idea could relate to them. What were their worries and fears? And what could they use as a personal ‘lifejacket’ be in those situations?

On another occasion, I received a wonderful package from a Year 2 teacher in Sydney. Her class had compiled their own illustrated stories of the adventures the ‘even smaller rhinoceros’ might go on were the book to continue.

Last year, a mentor in the 12 Buckets program who had been sharing the book with one of her students had a 3D model of the rhinoceros printed so she could accompany her on holiday, and share her travels with the student.

(Small rhinoceros also visited Mark Greenwood‘s spa, but that is a whole other story …)

RhinospaMark

And recently, I received the following from a Year 2 teacher in Swanbourne:

In 2018 Once Upon a Small Rhinoceros became our most celebrated text in my Year 2 class.  Children delighted over this little but intrepid character and we compared her braveness, determination and independence to qualities we would need to face the new year ahead.  We allowed ourselves to dream big just like the little rhinoceros and set ourselves our own goals to strive for.

This is the stuff that absolutely makes my heart sing. These little glimpses from the reading frontlines remind me that these things I make up in my head go on to have a life outside me and themselves, that they ripple and ripple and sometimes really matter.

I’m so thrilled that my small rhinoceros is setting sail again. I hope she finds her way into the hearts of many more readers in the years to come.

MegwithrhinoLakeMaggioreKites

 

The Sheep Have Landed!

Amidst all the brouhaha about Catch A Falling Star and Skylab and things that fall from the sky, something else has happened.

A new picture book has landed! Some sheep have landed – with heavy thuds on the floor of a little boy’s bedroom.

FinalcovermedresLet Me Sleep, Sheep hit shelves on 1 March, the same day Catch A Falling Star was published and just after DUCK! was named a Notable book in the Children’s Book Council Book of the Year Awards, at which point I suddenly realised I’ve written three books in a row about things unexpectedly falling from the sky-ish.

No, wait. Not written. Published. Because the truth is I wrote Let Me Sleep, Sheep a long time ago. A very long time ago. The story of this book begins in 2006 when I had the initial idea. I don’t know where this one came from. It’s just one of those quirky little things that appeared out of somewhere, and which I threw into my ‘random picture book ideas’ file alongside many many others.

OriginalSheepThoughts

My initial notes from 2006

I’d written about twelve picture books at that point, most of them pretty awful and none of them published. But this one was better, I thought. And moreover, my first novel had just been accepted for publication. By the time I had a submittable draft of Let Me Sleep, Sheep!, it was December 2006 and I was just three months away from being an actual real published author.

Then I stumbled across a book called The 108th Sheep, which was launching on exactly the same day as my debut novel, with a premise alarmingly similar to Let Me Sleep, Sheep! There was no way I could submit mine now, I thought. I told no one about it, tucked it away in the metaphorical bottom drawer.

A year later, when I saw a book called  The Eleventh Sheep come out, I thought, hmm, maybe there’s room for more materialising sheep books after all and pulled the manuscript again to tweak it for submission. When the following month, I saw a review of It’s Time To Sleep, You Crazy Sheep, I put my head down very firmly on the desk. I’d really missed the boat this time. Surely we’d reached critical mass for “materialising sheep” books in the picture book market, at least for now. Maybe if I waited a few more years?

Instasheep

I waited a few more years. I published a few more books, even some picture books. I had more credibility now! I had a publisher! Some other publishers knew my name!

I sent it off. I got rejections. It was fun but too difficult to illustrate. The problem, you see, was that all the action was taking place in one location.

But but but what about all those other counting sheep books? I wondered. I wanted to say. I did not say. I tucked it back in the metaphorical drawer, the third one down this time, where all the junk lives. I got on with other ideas, other books, other things.

And then, in late 2016, I signed with an agent. And I didn’t have anything new to send her so I went back to the Drawers of Rejection, to see if there was anything salvageable. The sheep made me laugh. I thought hey, I reckon this is actually okay. I did a quick google for new counting sheep books. I couldn’t find any. Clearly, this was my moment! I sent it off.

Three weeks later, I was offered a contract. Shortly after, the glorious Leila Rudge went to work, effortlessly breezing past the ‘single location’ problem. And in June 2018, approximately five days after we sent Let Me Sleep, Sheep! to the printer, a book called Go To Sleep, Sheep! was published and I DID NOT CARE AT ALL. And in March 2019, one of the very first reviews on Goodreads said this …

GRReview2

… and I laughed so hard I almost cried.

 

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Sea Monkeys, Sunny Boys & Skylab: Writing the 1970s

Just the title of this post makes me all kinds of nostalgic. This is because I was a childCoverfinalmedRES in the 1970s, which is when my new book, Catch A Falling Star, is set.

1979, to be specific. May-July 1979 to be specific-er.

And exactly that specific because it’s set against the backdrop of an actual historical event, the uncontrolled loss of orbit and eventual crashing to earth of Skylab, one of the world’s first space stations.

I’m told that the 1970s is long enough ago for Catch A Falling Star to be considered historical fiction. Luckily for me, though, having direct experience of that period, I didn’t need to do the kind of research this genre normally calls for. I grew up then! I remember stuff like sea monkeys and Sunny Boys and yelling SunnyBoyout “Spunk!” and lying on the warm concrete at the pool all day because skin cancer hadn’t been invented yet. The only things I needed to research were Skylab facts and figures – the exact timeline, direct quotes from newspapers, that sort of thing.

That’s what I thought, in the beginning.

Hahahaha.

Excuse me while I beat my head gently against this wall.

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Two Birds, One Stone

… would be the name of my book launch, if I was having one. Which I’m not, even though Frané Lessac is standing by to dress up as anything I so choose.

Despite the allure of Frané in a duck costume or a penguin outfit, or possibly both in rapid succession like the quick-change artist she definitely is, I won’t be having an actual launch event this time, but two books will nonetheless be launched onto an unsuspecting picture-book-reading public.

One book about a duck. The other about penguins.

I told you a bit about the first one recently. I told you a bit about the second eight years ago, at which time I was also launching-but-not-launching my very first duck book. I guess there really is nothing new under the sun. Continue reading

DUCK!

Hello, it’s me. Yes indeed, I am alive. I just haven’t posted here in a long time because I’ve been writing. Which is a good thing.

The thing that I have been writing is a middle-grade novel, which is also a good thing. And hopefully a good book. It is approximately two years overdue, which is a less good thing, and also why I have not been posting here.

Because when your long-suffering publisher is patiently waiting for you to deliver a long-overdue book, it feels odd to be spending time rambling in a bloggy way. However, I am back to bloggy-rambling because my publisher is no longer suffering, at least not at my hands. This is for two reasons:

i) Long-overdue book is now done!

ii) In the process of working on long-overdue book, I got an idea for another book and that book is about to be published! Continue reading

Onward!

So I know what you’re thinking …

Thank goodness the rhinoceros is launched. Thank goodness the tour is over. Thank goodness we don’t have to see any more ‘arty’ photos of the book by the beach, or in a boat, or framed weirdly by random sticks. Thank goodness we don’t have to humour any more of Meg’s crazed attempts to draw rhinoceroses in tutus/jumpers/both at once.

Maybe she’ll go back to her cave now and stop shouting LOOK! MY BOOK!

Yes, well. About that.

There’s a little more shouting to come, my friends. Because if September was rhinos, then October is:

this guy …

DO1

 

 

DO2

                and this guy …

 

 

 

 

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A Rhinoceros By Any Other Gender…

As many of you know, I have a new picture book coming out very soon.OUASR_CVR_HR-RGB

Once Upon a Small Rhinoceros will officially hit bookstores on 1 September. I’ve blogged previously about the inspiration for the book, and a little about the process of writing it. During that process, many things changed. Some were big – like the title. Others were small – a shift in phrasing that made a line sing, an ellipsis that opened up the ending.

And there was one that was both – tiny but enormous.

Here’s the last line as it appeared in one of the roughs:

Rough4

If you’ve read the book, you should be able to spot the difference. If you haven’t, then know this: across many, many drafts, and until quite late in the process, my small rhinoceros was male. And then at a certain point, I said huh?

Because my small rhinoceros was male for no good reason. For no reason at all except that I had unconsciously defaulted to that without a moment’s thought. Continue reading