Books and Writing

Put Your Heart Work First

2012-01-29T16:09:00.003+11:00

After eleven inspiring days at Hamline, I arrive home and am faced with two things - normal life and due dates for packets of work to my advisor. These two things are, of course, in direct conflict. As much as I would love to settle down with a huge pile of books and my notebooks and focus on reading, study and writing for the next few months, I have a job to go to, necessary things to do like tax returns and bills to pay, and people who need or want my attention (and cats who do as well, but are easily diverted by food, which only works sometimes for humans!).

It was a common topic of discussion at Hamline, especially among the new students who were there for the first time. How on earth do you find the time for study when you get home? Especially if there are things in your life that loom like huge, gaping mouths, ready to suck you in and use up all your time and energy? Despite two terrific lectures about the writer's life during the residency, this is a battle that every writer has to fight, on their own.

But when others asked me, "How did you cope in your first semester?", I had to stop and think for a few moments. How did I cope? And what I realised was it came down to one thing - I put my heart work first. When it came to making a To Do list, study and writing for my Hamline packets went at the top. When it came to my diary, I looked at where I could make time for my heart work. When it came to social stuff, time on Facebook, TV - I chose my heart work first. That didn't mean I became a recluse! But once I made that firm decision and stuck to it, it became easier and easier to focus.

Funnily enough, not much else suffered. OK, I couldn't tell you more than a couple of TV shows I watched (hardly any loss), and probably people didn't get much from me in the way of emails and phone calls (sorry), and I did less unpaid overtime at work (gee, sad about that). But once I put the heart work first, everything else fell into line behind. Where it belonged. So often we think that the curveballs life keeps throwing at us are undodgeable, but I'm learning to simply catch them, deal with them, put them where they belong (a lot less stress that way, too) and get back to my heart work.

Me and the MFA - January 2012

2012-01-17T04:15:00.003+11:00

I have just finished my second residency at Hamline University in Minneapolis/St Paul - 12 days of hard work, deep thinking and reflection. A lot of reading as well (I was reading ahead for my next 40 books on the list), six workshop sessions, many readings, lectures and presentations. The theme for this residency was Point of View, and we looked at this in every way, from picture books to YA, poetry to rabbits. Rabbits, you ask? I guess you had to be there!

I loved all of the lectures, and although I know about POV, there are always more ways to think about it. We looked at psychic distance a lot, and had plenty of discussions about things such as "What is the POV in Don't Let the Pigeon Drive the Bus?" We also looked at the 3 act structure, playwriting, and most importantly for me right now, the writing life. It's not about time management so much as committment and being brave enough to go deeper into your writing. Facing fears and "breaking open on the page". That's a scary thought for many writers. We like to write about other people, mostly, especially imaginary ones. Write about ourselves, even through a character? No way!

But I think these challenges are what I'm going to be thinking about all through this semester, as I write picture books and keep working on my novel, as well as tackling the critical essays. What does it mean to be a writer? Really. Does it just mean we write stuff and try to get it published? Or do we need to engage more with what and why we are writing, and what are the themes that are most important to us? Claire Rudolf Murphy asked us two questions.

1. When was the last time you wrote something safe, in order to "get the job done"?
2. When was the last time you wrote something risky, and wrote with freedom?
I'm going to be thinking about these two questions on my long flights home! But after that, I have enough in my notebook to keep me going for six months. And then in July, I'll be back - minus the snow.

Give Yourself a Gift in 2012

2012-01-01T17:57:00.002+11:00

Is today the day we all rush around and write down our goals for the year? I doubt it. Some people might have had some resolutions in mind over the past few days, but I'm betting that most of you are either on the beach or in the snow, or just having a good time while the holiday season is still going! But not long before Xmas, I tweeted a blog post that suggested you give any writers in your life the gift of TIME. Do something for them that allows them to take off and write.

Now, if you are a writer and you saw that mentioned somewhere, did you go to your nearest and dearest and suggest it to them? Maybe you should have, because the one thing we all know is that nobody ever rocks up and just gives it to you. Because it never occurs to them that you need it! Writing is easy, is it not? You just have to sit down and scribble some stuff or pound the keyboard for a while and there it is.

If you are a writer, I will bet that you have many stories about those close to you and how they react to your writing. I actually align writing to dieting - the more you try to do it, the more likely you are to be offered a piece of cake, or in the writer's case, a trip to the movies or the zoo or a night out, accompanied by a sniffy mood if you refuse. Let's face it - non-writers don't get it, and family are even worse. They seem to think that your writing takes something away from them.

So in 2012, if you want time to write, you will have to give it to yourself. You will have to wrest it from those others around you and gather it up and keep it for yourself. You will have to suffer words like selfish and self-absorbed (and maybe worse), you might even have to cope with a bit of emotional blackmail. But writing takes time. Good writing takes a lot of time. If you continually give it away to other people, your writing won't get done. See, you gave all those gifts to other people at Xmas, but what about you? Give yourself the gift of time to follow your passion.
And enjoy it. No gift wrapping required.

Me and the MFA - Part 5

2011-12-18T16:08:00.002+11:00

To continue my occasional posts about studying an MFA in Writing for Children and YA at Hamline University in Minneapolis/St Paul...

I’ve reached the end of my first semester, and am looking forward to the next residency at Hamline, despite the snow and minus temperatures! When I look back at the work I’ve done this semester, I’m amazed at what I’ve produced, especially when it seemed so daunting at the beginning. Daunting because I still had to go to my teaching job as well as do school visits and write and revise some commissioned work.

But I have survived. Four essays and 130 pages of a novel later, as well as about 35 pages of reflections and many pages of writing exercises and revisions, I feel very happy with it all. The novel was an experiment, something I wanted to write without any thought of publication, something I could write several versions of, just to see what worked and what didn’t. The lack of pressure (will an editor like this?) freed me up to do all kinds of writing of and around the novel in ways I haven’t tried for many years.

The reflections were useful as I wrote them kind of like a diary, one or two entries a week, about what I was reading, writing and puzzling over. Maybe other people don’t do theirs like this but it was interesting to read back and see what had evolved over the four months.

I didn’t expect to enjoy the essay writing, but each topic was something that I wanted to know more about, and wanted to investigate more deeply. How a particular writer creates character on the page, voice in historical fiction, dual narrator novels – all of these led me to new work and re-reading familiar novels, as well as delving into theory. I finished the semester with a personal essay, something I have little experience in, and I delved into Sheila Bender’s book on writing personal essays for some help and writing exercises, which then gave me some more ideas on other things I could write about!

To me, this is the perfect writer’s life – reading, delving, thinking, coming up with new ideas, waking in the morning and laying there thinking about what I will write that day. Then getting up and making a start on the next page of the current work. A pity that many days I had to get up and go to my job instead!

Now I have a big pile of books to read before the January residency, and notebooks, laptop and pens to get ready. I’m also looking forward to seeing everyone again, finding out how their semester went, and celebrating that I’m now a Semester Two girl! But somehow I doubt I'll be counting squirrels this time.

Writing Workshops - For or Against?

2011-11-26T12:03:00.002+11:00

I've recently been reading two different (but similar) books about the writing workshop - whether it's an archaic structure or setup that has run its course and does more harm than good, or whether the workshop is still a beneficial thing for writers but perhaps needs to be considered differently these days. I'm going to discuss the books themselves in a week or so, when I've finished reading them, but it did seem a bit strange that both of them have been published in the last year. (They are Does the Writing Workshop Still Work? ed Dianne Donnelly and Against the Workshop: Provocations, Polemics, Controversies by Anis Shivani.)

Where I teach, the writing workshop is a staple in our classrooms. Not because we are slavishly following some ideal that was set up in Iowa 60 years ago, but because we think that it has a lot of benefits. And some downsides. The benefits are: students gain a first audience for their work, one that wants to learn as much from commenting on other's work as they do from the feedback they receive; they start to see common weaknesses and through discussion begin to learn how to address these; they build a sense of a writing community; they realise that you can't please all of the people all of the time!

The downsides might include: the writer who becomes defensive and angry and argues with the group; the person who criticizes everyone's work relentlessly and never says anything positive; those who only say what they like or don't like but don't offer anything else; the person who accepts everyone's comments on their own writing but doesn't reciprocate. There are probably more than this! But the downsides for us tend to be limited to individual's problems with the process, and because we're in a classroom it can be easier to work these through. The other thing to be wary of, of course, is creating a situation where you "homogenise" everyone's work, or where writers go for the safe options, especially where a grade at the end is involved. I think we try to avoid that, as much as possible.

I do know of workshop groups where no one ever critiques - they just read out to each, pat each other on the back and then go home. I've also heard of others where one person has managed to destroy the whole group! Outside of a classroom, the writing group has to manage itself and be reasonably democratic. This is harder to achieve than you might think. A willingness to contribute honestly and fairly, to encourage and support as well as critique, and to bring writing for critique regularly, are basic requirements for success.

Some of the issues mentioned so far in the books I'm reading include workshops that discourage experimentation, don't critique critically enough to be useful, and those that operate only as critique groups with no reference to or study of literary texts as a basis for learning. I'm sure there's going to be a lot more! I'll get back to you when I'm done reading and thinking. In the meantime, if you have any comments on workshopping experiences, please do share!

Writers and Rescue Options

2011-11-16T18:48:00.004+11:00

A friend today told me how much she loves a show where people move to their country dream house, and tonight I watched an old episode of Country House Rescue. It got me thinking about the analogy between those who call in an "expert" to find them a house, or fix a horrible house, and those who ask for help with their writing.

In a writers' group or a class, there is a sense that everyone is there for the same reason, and you are all focused on the same thing - improving your work. Fixing the story or poem that doesn't engage your reader, or looking at how to rewrite the novel that drags in the middle. We all know the myriad ways a piece of writing can run off the rails. In a class, I think there is a sense of camaraderie, and also an acknowledgement that once you receive some good feedback, you'll go away and work hard on rewriting (and those who clearly don't are somewhat scorned by the others!).

But while watching some of the house rescue shows, my husband and I often become frustrated. Why don't they listen to that good advice? The advice of the expert? Why ask for expert advice if you are not going to follow it? We watch people who are told "Don't sub-divide that room as buyers won't pay for a house with tiny bedrooms". And they still do it. Or more often, they are advised to spend more time and money on making something look top-notch, and they don't, and then they can't sell the house.

OK, that's no doubt got a lot to do with TV producers deliberately choosing obtuse or stubborn people who are guaranteed to provide a more "stimulating" viewing experience! But I couldn't help comparing this to writers who want to write publishable work - usually novels - and pay for critiques, classes and writing "doctors" and still will not or cannot do the work required at a professional level. It's as if they're paying for what they hope will be a person who will say "A totally marvelous novel and you are a brilliant writer". And then they don't need to fix anything.

All the money in the world will not produce a good, publishable novel without a bit of talent and a whole lot of hard work. Just like it won't produce a renovated house you can sell for a profit unless you knuckle down and learn and do a whole lot of hard work. (You can pay someone else to do it but you won't make a profit - you could pay someone else to write your novel for you, but what on earth is the point?)

On the show I watched tonight, a participant was shown the rotting wood and holes in the ceiling and asked, "What are you going to do about it?" And her answer was, "I'm resigned to it." Imagine if an editor pointed out your lack of characterization and poor dialogue and asked you to revise, and you said, "I'm resigned to it." Are you resigned to settling for a first draft? Or are you going to get out your hammer and drill and chisel and renovate your writing?

Writing in Chaos

2011-11-09T09:59:00.002+11:00

The other day I read an article about certainty by Sarah Wilson (Sunday Age). She'd been inspired by a book called Uncertainty by Jonathan Fields, and said: "I became aware of how often my anxiety around uncertainty prevents me from creating freely..." Which caught my interest - isn't it uncertainty and doubt that often causes writer's block? Or at least stops us from facing up to the blank page?

In her article she also talked about how she'd discovered many creative people lead "ritualised" lives - eating the same things, getting up at the same time, following the same routines - because that steadiness, that certainty in their everyday lives meant that the uncertainty that comes with creating is much easier to face. This got me thinking about how often I hear people say they haven't been able to write because they've been too busy or life has been too hectic.

What is "too busy" really? Is it that every hour of your day is so totally filled with obligations and chores and duties and work that you don't have time to write? Or is it, as Wilson and Fields suggest, that the chaos of being busy and disorganised and always rushing creates so much uncertainty (or stress or angst or whatever you want to call it) that mentally you cannot find a place where writing will happen?

There's a cliche that if you want to get something done, ask a busy person. What lies beneath this is simply that a busy person who gets a lot done is simply very organised because they have to be. It's logical. Also a busy, organised person is often more able to say No because they are aware of whether they really do have the time and energy or not. Many of us don't say No because of guilt, but also because we often don't understand where our time goes and can't come up with a way of saying No and meaning it!

I like the idea of creativity coming from uncertainty - I feel it every time I sit down to write, and it's a relief to know it's normal. But I also like the idea that ordering the rest of my life with lists and prioritising and a visual diary is what allows me to create more, and create with less anxiety. I know that since I began my MFA studies this year, I have never worked harder or more consistently! But in a weird way, I've been less stressed because I've stuck with my priority job lists, and it's kept me off emails and time-wasting stuff. The one thing that has been stressful was maybe something I should have said No to, but I've learnt from that as well.
So, where do certainty and uncertainty sit in your creative life?

The Computer vs Your Body

2011-10-29T17:28:00.003+11:00

I've just spent more than two weeks where I was at the computer or the laptop every day for several hours or more. It takes a toll. I like to think it's just because I'm getting older, and it is, but as we become more and more reliant on computers and technology, and spend more hours in front of any screen, we're going to have to be more pro-active about the ongoing and accumulating effects of this.

Years ago, I worked for a printer as a typesetter. It was an old-style machine with font disks that had to be changed if you wanted to use a different font. One of the main components of the machine was a set of extra keys off to the right-hand side. Now we have a number keyboard there that most of us hardly use. Back then, I used those keys constantly for formatting, so it should have been no surprise to me when I got RSI. In other words, a huge amount of pain and inflammation up my right arm.

Eventually I had to give that job up. Later I also discovered that the rickety chair I sat on, which couldn't be raised or lowered, had undoubtedly made things worse. Aha, you think, it's all different now. We know about ergonomics and RSI and stuff like that. Yep, sure do. But how many writers do anything about it? I no longer have that particular RSI symptom - now I have a ganglion on my right hand from the mouse, and constant neck and shoulder problems. And I'm not the only one, according to writer friends.

So what are the things I am still doing wrong, despite knowing better? I still hunch in my chair instead of sitting up straight. I still struggle to find the best position for using my laptop, even though I now have a separate keyboard for it. I still get engrossed in what I'm working on and forget to get up and stretch. But at least I have a decent chair and it's at the right height.

We get our professional writing students to analyse their work areas to see what needs to be fixed or changed. I sometimes wonder how many of them actually do anything about it. But in the long term, if you don't, you are asking for ongoing, painful physical problems. Today, after several weeks of sustained computer work to meet some deadlines, I went off to have a massage as a reward. But I knew, all the same, that it wasn't just a reward. It was a necessity so that my back and shoulders would stop feeling like pretzels and I could walk straight and upright!

Don't take your time at the computer for granted. Stay aware of what your body is telling you, and do something about it. This is an ongoing problem - it will gradually get worse with time, and the longer you leave it, the harder it is to fix. Just ask my neck!

Book Awards - Precarious and Providential

2011-10-18T18:02:00.003+11:00

The news this week came from the US National Book Awards - in the young adult section, the judges chose five books for the shortlist but somehow six were announced. At first it seemed that yes, an error had been made in the announcement but they would stick with it. Now they have taken one book off the list - Shine by Lauren Myracle - or should I say, Myracle apparently "withdrew the book from consideration". Who knows what went on behind the scenes, but Myracle has behaved most professionally in what must be a horrible situation, and no doubt it has earned her many new fans.

There's a saying that all publicity is good publicity, but with the internet these days, that's not always true. An author a few months ago who tried to defend herself against a bad review received a huge backlash. True, she defended with insults! But in this world where hundreds of new books are published every week, where self publishers are using the net and Amazon to get their books out there, for many readers awards remain one of the standard guides for what is a "good book".

This week also there was much outrage about the shortlist for the Man Booker prize. This is an award for a book that is considered to be the best of the best in literary fiction, and the critics are complaining that the books are too "popular". So apparently the criteria for this award includes "too literary to be readable and/or enjoyable", which is a pity. Regardless of that, the uproar will help sales because all those people who thought the Man Booker shortlist was too literary might now go and buy at least one of them and actually read them!

The quandary with awards is this - they attempt to choose the best in a given year. The shortlist they come up with is a mix of opinion and compromise (the more on the judging committee, the more compromise - this is fact borne out by experience!). But for most awards, this shortlist influences book sales to an immense degree. Here in Australia, if you are shortlisted for one of the Children's Book Council awards, your book is guaranteed an immediate reprint and at least 3000 extra sales (a lot here in Oz).

What are the repercussions of this? For a start, if you get shortlisted, you are very, very happy! If your book doesn't get shortlisted, however (and if you aren't Andy Griffiths or writing a current hot series), your book will very likely die within 12 months and probably not earn out its advance. So the argument that book awards unfairly promote some books at the expense of a lot of others is a valid one.

For children's books, the other option is the various children's choice awards. I'm going to put my foot in my mouth here and say I actually think these are worthless to the author and their book. I mean worthless in terms of sales. For a book to win a children's choice award, it needs to have been already bought/borrowed and read by lots and lots of kids, so if you win one, it means you and your book (because often it's the author who is winning on reputation for great books) are already out there in huge numbers. But they are great validations for you personally, because it does show kids read and love your books. How good is that?!

It's interesting to see some state awards here now include a People's Choice award that is voted for by readers. (I do wonder though about the publishers who email you and urge you to vote - oh well, it all counts.) So awards are providential. You never know when you might get shortlisted, and if you win, good gracious! How wonderful, especially if the prize money is nice. But you can't count on them either. You just have to write, and believe in what you write, and keep on writing.

Expanding Writing Horizons

2011-10-10T20:06:00.006+11:00

Every now and then it's good to try something new. A while ago, I volunteered to be part of an art "experience". I wasn't quite sure what it would be but I'd done other stuff - writers sports, poem writing at exhibitions, performance writing. This was a bit different. Power to the People is part of the Melbourne Arts Festival and "presents works from over 15 Australian and international artists who have revisited, revised and revitalized these art-making strategies. Works shown by artists including Dora Garcia, Fiona Macdonald, Jonathan Monk and Mario Garcia Torres, demonstrate a move away from the art ‘object’, into more performative, documentative, research and participatory modes of art making."
This is another work in the exhibition. People can try on the animal costumes if they want. Most didn't. But one big group of Asian students had a wonderful time. Nothing quite like a penguin wearing a gorilla's head!
Basically I, and about 20-30 others (we work in shifts), am part of the Dora Garcia artwork (installation?). While people visit the exhibition, we sit at the table with the laptop and write about what we observe - and we are observing the people. The idea is that whatever we write appears above us on the projected image, and that they should at some point realise that we are writing about them.
That's when it gets interesting ... or confronting. For both sides. As the writer, I am not allowed to use my point of view or say I or me. I can only be the "objective witness". As the words appearing on the wall above me are the only things that move in the room, most people notice and then realise what is going on. Then they watch you watching them and writing about them.

It takes the role of the lonely writer in the garret and blows it out of the water, although my understanding of the instructions we are given is that it's the audience who are important. The writer is just part of the installation. I did find it hard to keep a straight face some of the time. I am only doing two shifts - all I have time for - but next time I'm going to have a closer look at some of the other works so I can "interpret" some of the body language I'm seeing in response to what is around me!

"The Taste of River Water" by Cate Kennedy

2011-09-27T17:42:00.004+10:00

In my poetry class, we often come back to the question of what we think a poem should or could do. There are lots of answers, but one of my favourites is that a poem can show you something that you thought you knew about in a different and/or surprising way. To me, this is what Cate's poems do. While some might say they are too "prosey" or dwell too much on the ordinary, this is what gives her images such power. She sets the scene and then stuns the reader with imagery that you can see and feel and, at times, smell and touch.

Many of her poems, in fact, feel like narratives. When did we last read good narrative poetry? Some of Les Murray's do this, but many other Australian poets focus more on lyrical imagery and small moments in a landscape. Behind Cate's poems sit whole histories and what we see are not just glimpses but the bones of the stories within. She allows the reader to fill in the gaps, which is also what I think good poems do.

Not all of the poems are like narratives. Any collection benefits from variety, but I think what also underpins this one is a real sense of place. Some of you would be familiar with her poem, "8x10 colour enlargements $16.50" which tells of a farmer's wife, a talented amateur photographer, who enters a competition. The reader is invited into the poem: "Let me lay it out for you". We are in the local town hall with the poet, observing, commenting on the winning photo: "a massive sunset shot, the colours juiced with Photoshop" and the farmer's wife who said so little about the injustice that the poet felt compelled to show us what happened.

The collection is book-ended by two poems about writing poetry, an interesting touch given that I've heard Cate talk about her short stories and how often she tries to begin and end a story with images that mirror or connect in some way. As I said, I think this is where the strength of the poems lies, in the way an image will reach out from the page and hit you, make you pay closer attention to what is being created for you. For example, in "Windburn" after a day at the beach:

this rim of salt on my forearm
like unnoticed, evaporated tears,
as if I've spent today silent, unconsolable,
weeping into the crook of my elbow

My favourite poem in the collection is "Temporality". We don't need to know exactly what building this is, just that it's one with a secret history that the average museum visitor might well miss unless they looked more closely and used their imagination. This history is of ordinary working men, and the details tell us much more than you expect:

This four-inch nail banged in beside them to hold invoices
that they always meant to replace with a decent hook or clip;
see how it's holding fast
long after they have gone,
see how they were wrong
about what was temporary.

I could go on about this book of poetry all day, but I won't. However, I will recommend it very highly as one you should add to your bookshelf.
By the way, The Taste of River Water recently won the Victorian Premier's Award for Poetry.

Why Do We Need Libraries?

2011-09-21T17:58:00.004+10:00

I love libraries. (This is my lovely new local library.) I have been using them more and more over the past few years, mainly for research but also so I can read a wider range of books (without having to buy them). This might seem penny-pinching. Yep, it is to start with. But if I do find an author's books that I really like, I will often go and buy one or two. However, there are often books that I give up on after 40-50 pages (sorry, Quentin Jardine) and know that I will never read further. Or buy any. The voice or the style or the kind of story it is just doesn't resonate with me. And public libraries allow me to seek out what does resonate. Every reader wants something different.

However, I'm one of the lucky ones. Not only do I have access to the internet, so I can research online, but I also have access to some university library databases. Now I can find a huge range of articles, ebooks, scanned books (I hope legally), reviews and summaries that might assist me in my quest for the perfect essay. :)

But a blog post by Seanen McGuire a few days ago here has kept me thinking about this topic. She says that 20% - 1 in 5 Americans - don't have any access to the internet. I'm going to quote from her blog post (I hope she doesn't mind!):

It is sometimes difficult for me to truly articulate my reaction to people saying that print is dead. I don't want to be labeled a luddite, or anti-ebook; I love my computer, I love my smartphone, and I love the fact that I have the internet in my pocket. The existence of ebooks means that people who can't store physical books can have more to read. It means that hard-to-find and out of print material is becoming accessible again. I means that people who have arthritis, or weak wrists, or other physical disabilities that make reading physical books difficult, can read again, without worrying about physical pain. I love that ebooks exist.

This doesn't change the part where, every time a discussion of ebooks turns, seemingly inevitably, to "Print is dead, traditional publishing is dead, all smart authors should be bailing to the brave new electronic frontier," what I hear, however unintentionally, is "Poor people don't deserve to read."

In the media, I see a lot of stuff about the gap that is growing between the richest and the poorest, not just in the US but in Australia and other countries. Our (un)esteemed current premier politician in Victoria, Ted Ballieu, tried very early on in his election campaign, to present himself as someone who understood the "battler" - which in itself is a term that has been so commandeered by politicians here as to become a joke. What did Ted try to do not so long ago here? Cut funding to public libraries. Thankfully the huge protests (unreported by the media, I might add) made him back down.

Those of us who are able to buy books (in any format) tend to forget how many other people not only don't or can't buy books, but don't and probably won't have access to the reading technology of the future because of cost. All of those ereaders that we debate over - and I am one of the debaters! - are meaningless to a huge proportion of our population who don't even have a computer at home. If you can't afford a $10 book, why on earth would you even consider a $150 Kindle or a $600+ iPad?

When I was a kid, I was 10 before I owned my first book (a gift). I relied on my school library and then later, the public library in town. Now I will spend money on books before I spend it on movies or DVDs or dinners out. That's my choice. There are a lot of families who need to spend money on rent and food before books even get considered. Kids need both public libraries and school libraries. They need books they can take home. Not computers in the library or classroom that tell them a few things while they have their turn.

Before we start debating the various experiences of a paper book versus an ebook, let's stop a moment and think about how a paper book gives simple and cheap (free via libraries) access to learning and reading experiences for millions of kids who aren't going to get it electronically. And let's support our school and public libraries. We can lobby our politicians at ALL levels (a lot of public library funding here comes via local councils), not just for public library support but for school library support.

There have been a lot of new school libraries built in Australia over the past 3 years, thanks to building funding, but too often there have been not nearly enough books to put in them. Call me a luddite, but I don't believe that replacing books with computers is a sensible move. But more than that, our schools need librarians to encourage and help kids to borrow books that excite and interest them, that give them the mind-expanding experiences that TV and computer games will never come close to. ALL of our kids should have access to books and libraries, not just the ones who can afford it.

Me and the MFA - Part 4

2011-09-18T19:38:00.003+10:00

I have a confession - I love writing essays. Who knew? Not me. Up until four months ago, I hadn't written an essay for 18 years, and then I had to write two for my application to Hamline. I had no idea whether what I wrote was OK - I just focused on what they asked for and had a go. I figured the essays couldn't have been too awful because they let me in!

While I was at the July residency, we had a session on essay writing. What is this MLA thing, I wondered? When I did my BA at Deakin, I studied a whole range of subjects, mostly literature and writing where I could find it, but also Philosophy and Australian History 1 (and although at the time I only found the history of Melbourne vaguely interesting, it came in handy when I started researching for the Our Australian Girl books). I still remember in Philosophy being told, "We don't care what you think. Do not use "I" in your essays." So to hear that your opinion was valued in an essay, as long as you based it on what you had discovered in your reading, was both exciting and scary.

MLA also requires a different kind of referencing. The last time I wrote an essay, we used Harvard and it was all books and articles. Now, of course, we have the internet and data bases of stuff, so it can get tricky. I tend to do bibliographies with a magnifying glass to get the punctuation and numbers right!

But mostly what I am enjoying is the reading. Literary theory seems so much more accessible when you read it with your own novel writing in mind. Suddenly it's no longer abstract - it has a meaning and a context. I like being able to write essays about topics that will teach me something, and that will make my own writing better (I hope!). At the moment I'm reading about voice and point of view in historical fiction, and also reading some novels to see how other writers do it.

It's like taking the whole "reading as a writer" to a different level. It's focused, and I write down gold nuggets of ideas, theory, practical application and inspiration every time I find one. What is also exciting for me is that the information and theory is actually giving me more ideas for my novel. At times, almost too many! I guess judging their worth and keeping or tossing these new ideas is going to be a big part of my writing for the next few months.

As for the "residency glow", no, it hasn't faded. I was worried that it would. That after a month or two, I'd forget all the inspiration and advice, the feeling of growth and purpose that I had while at Hamline in July, and perhaps lose interest. Instead, every time I sit down to study or write, it comes back and keeps me working and thinking. I especially enjoy finding things I can share with my classes. Last week I read half a page about voice from Janet Burroway's Imaginative Writing to my poetry class - it fitted perfectly with what we were discussing that week. Now if the other Burroway book would just arrive in the mail, I'd be set for my mid-semester reading!

Time Management, Goals and Writing

2011-09-14T18:35:00.005+10:00

The other day, I spent a couple of hours with one of my classes talking about time management and goal setting. It's a class where they are learning about being a freelancer (either as a writer or editor or any other myriad ways of earning money when you have good skills). So we've covered small business, ABNs, tax, record keeping, networking ... a whole range of things they may well need once they get out into the real world. Mostly what I say to the writers is "Don't give up your day job".

Yes, I am a bit depressing, I guess. If you want to look at it that way. I like to think about it in terms of "the more you know and understand, the more likely you are to make wise decisions and create a foundation for adventure". And when it comes to goal setting, I'm an advocate, whole-heartedly. Why? Because I've been doing this for about 20 years. I started it back when I didn't even really understand what it was. When the workshop leader told us to write down things that we really wanted or dreamed about, that's what I did. I've done it each time the exercise came up in different opportunities.

I'm a hoarder. So over the years, every now and then I have discovered old goal setting notebooks and files that I've tucked away. And each time, I have been astonished at how many things I wrote down years ago, thinking they were impossible dreams, that have come to pass. I'm not talking magic here. I think the key has been that rather than write down one thing and decide it was impossible, I wrote down many things - most of which were connected. I can't remember when I first started writing down "Study MFA". At least ten years ago. Now I'm doing it. Who would've thought? Not me, back then.

But many of the other things I wrote down were like steps. Attend conferences, learn how to plot, write X and Y, send out manuscripts, get an agent, gather information... one way or another, they were all to do with writing and becoming more professional, and to do with learning. So as I stood in front of my class and took them through the goal setting exercise, I could see some skeptical faces. That's fine. I've done goal setting with other groups, so I'm used to it. Because I know that the only people it works for are the ones who commit.

Committing is an individual decision. I can't make anyone do that. I can only provide some tools. It's the same with time management. I've spent years trying to work this one out! I've read some great books, such as Eat That Frog by Brian Tracey. And done the Simpleology course. I've wrestled with procrastination and time wasting until I wanted to take a big stick and simply hit myself on the head with it. In the end, after all this, only two things work for me. A To Do list on which everything is prioritised (that I make myself stick to) and working in half hour focused bursts. Give me a whole day and I can waste it just like that! But those two tools are what work for me.

Maybe it's like giving up smoking or dieting - we all have to find what resonates, what works for us. There are dozens and dozens of books, courses, articles and gurus out there who will show you how to achieve your goals and manage your time. Sometimes you have to give some of them a try (hopefully without paying too much!) if only to realise what works for you. I sent my students off at the end of the class with one wish - that they will persevere and find what creates results for them.

Dying To Tell Me

2011-09-04T10:39:00.004+10:00

Some books have longer or stranger journeys than others. When I do school visits, sometimes the kids ask me what happens to the books that don't get published, and usually I say, "They are the ones that need more work, so I put them away until I'm ready to rewrite."
But sometimes you have a manuscript that you just know in your gut is the one you wanted to write, and after a lot of revision, it feels right. And then what?

Dying to Tell Me is one of those books for me. I could have changed a lot of it to please people who didn't like some of the plot elements, but it felt "right" to me as it was. I just had to keep faith with it. And now it has found a wonderful home with Kane/Miller Publishers in the US. It came out on 1 September as a beautiful hardcover novel that I am totally happy with.

Here's the blurb: Sasha doesn't really mind moving. It's not like there was any reason to stay in her old life, after all the trouble. But Manna Creek is strange. And when after a pretty nasty fall, she starts hearing and seeing things that haven't happened yet, or happened a very long time ago, it gets even stranger. Maybe King, their new retired police dog, can help solve the mysteries. He thinks he can. He told Sasha he could. And she heard him ...

"A stronger-than-she-realizes heroine uses her disconcerting telepathic gifts to help others and heal herself in this satisfying adventure." - Kirkus Reviews

How Do You Feel About Plot?

2011-09-01T17:10:00.002+10:00

After a terrific session at the Writers' Festival on plotting in the crime novel (see previous post), I was a bit astonished to see a report of another session in which Kate Grenville apparently said plot is the last resort of the mediocre writer (and cited Stephen King's On Writing to back up this statement). How intriguing, I thought. My first thought was: surely Stephen King didn't actually say this. So I went looking along my shelves and found that what he did say was this -

Plot is, I think, the good writer's last resort and the dullard's first choice. The story which results from it is apt to feel artificial and labored.

He actually talks about stories in that chapter, and says he believes that they are like fossils that you dig carefully out of the ground with a variety of tools. He likened plot to a jackhammer. For someone who was criticised for many years as being a hack genre writer, he obviously doesn't equate genre with plotting. And yet this is the literary writer's first attack weapon - genre writers rely too much on plot.

It all seems to me like another writing furphy. Tack it up there along with "writing courses are a waste of time" and "the only decent poetry is rhyming poetry" and "literary novels don't have plots". Really, it's just opinion, isn't it? Everyone writes differently. Some writers, like Jeffrey Deaver, are known for creating 150 page outlines for their novels. Other writers, both genre and literary, start with an idea or situation and fly by the seat of their pants.

I guess I would just like people like Kate Grenville to acknowledge that their way is only one way. Theirs is an opinion, that's all. So having said that, what do you think about plot?

Plotting the Perfect Crime (Novel)

2011-08-28T10:19:00.002+10:00

The Melbourne Writers' Festival is on right now, and I always try to go to at least a couple of sessions, mainly because it sends me home feeling re-inspired. Of course, it depends on who the speakers are, but I headed for the crime fiction session yesterday morning, with Michael Robotham and Tess Gerritsen. I've heard Michael talk before, and he's always good value, but I wondered what Tess would be like.

It was a great session, full of information, insights and laughs (yes, laughs, about things like dead people waking up in the morgue and fake Egyptian mummies - that's crime fiction readers and writers for you!). As the topic was plot, Michael talked about how much he hated plotting - he likes backstory and dialogue, but mostly he likes writing about his characters. Strong characters make strong plots, and he focuses on their motivations and who they are inside. He also said the most interesting crimes are the imperfect ones - there is more to write about.

Tess Gerritsen told the audience that she believes women read crime fiction because they identify with the victims in the stories - readers want to experience danger and feel vulnerable. I'm not sure I agree with that. I think I identify with the detective and want to see justice! She also talked about loving her characters and said she keeps writing about Rizzoli and Isles because she wants to find out what else is happening in their lives.

She doesn't outline, she just writes. The idea that will start a novel is one that feels like a "punch in the guts" - when she finds that idea, and often it's something in real life, she knows from that feeling that it will start a great novel. In every scene, she asks herself, "What is the worst that could happen now?" and then makes it happen. She does get what she calls "plot block" and then she goes for long drives until the solution comes to her. She said she is a plunger, not a planner, but everyone has to find the process that works for them.

They both said that they do plenty of research but only enough to get the details right. It can be a danger when the research takes over the project. Someone in the audience asked Tess about whether the publisher's deadlines affect her creativity, and she said that the creativity is always there for her, but it's the discipline that's lacking! Deadlines help the discipline.

I did also go to the session with Jane Smiley in conversation, but a lot of it was focused on her latest book rather than her writing processes. As I haven't read the book, my mind kept drifting off - to my own novel! I often wonder why the interviewer does this - don't they realise that if you haven't read the latest book, you're kind of left out of the conversation?

The Season of School Visits

2011-08-17T18:07:00.002+10:00

Around this time of year in Australia, school visits go berserk. It's because of Children's Book Week, which starts on Sunday. It's great that schools want to make a whole week of book activities and have authors in, but it does mean things get very hectic! I'm going to be travelling far and wide, from Kallista in the east (just on the other side of the Dandenong Ranges) to Simpson in the west, which is about 2-1/2 hours drive from Melbourne. But I do love small country schools and meeting kids who are (I guess) a lot like I was at that age, i.e. brought up on a farm.

It's easy for authors to assume that schools are used to author visits, but this is often not so. Some city schools have authors in on a regular basis, and know how to explain what they want - either a talk about writing and books, or a writing workshop. Many children's authors can offer a range of topics to talk about but the burning question is always - what does the school (and the teachers) think is valuable for their students?

I have one talk about how a book is published, with lots of rough drafts, typeset pages and galley proofs. Another talk is about research, using all my photos and collectibles that help me write. Another is about my writing life - a general talk that covers lots of stuff. Writing workshops can be a bit of a minefield. A school that wants an author to teach writing in order to assist with NAPLAN testing is a worry. I'd say most authors don't write anything like Naplan requires kids to write, which is why I think it's stupid, and a poor indication of writing ability.

I've recently discovered (thanks to a fellow Hamline student) some books by Katie Wood Ray, who has a wealth of experience in working with children and encouraging them to write. She has given me, in turn, a whole new way to approach writing in the classroom that is close to how I write myself. I know it works, so I feel confident in talking about these methods and passing them on to young writers.

But any room full of young people who've been told "You're going to do some writing" can be scary! Some will be keen, some will be so-so, some will think At least it's better than maths and some will believe that writing is the most boring thing in the whole world. When you come into a classroom "cold", knowing that this is who you will be working with, a good toolbox of writing ideas and strategies are worth their weight in gold! All the authors out there in the next few weeks - travel well and enjoy it!

Picture Books That Make Me Laugh

2011-08-05T13:15:00.003+10:00

Years ago, when my daughter was little, I loved the Babette Cole picture books. The Trouble With Mum was a favourite. I also liked The Paperbag Princess, which was reprinted not so long ago. I guess my daughter liked them, too, but I think there's definitely a category of picture books that appeal more to parents than children. I'm not thinking nostalgia here, just stories that have elements that adults appreciate more.

But when I opened The Tiger-Skin Rug by Gerald Rose, I wasn't expecting anything out of the ordinary, and I'm still not sure if this wasn't just me. (Humour is so subjective.) But as I sat at the kitchen table reading this story, I literally laughed so much I had tears running down my face! The pictures help, too. It's designed to look a little old-fashioned, with the illustrations in yellow-framed boxes, and it has the feel of an old folk tale.

The story is basically about an old, skinny tiger that's fallen on hard times in the jungle. He watches the Rajah's palace and sees them all warm and eating lots of good food. Then one day a servant is outside beating rugs, including a tiger skin rug, and the tiger decides to hop on the line and pretend he's a rug in order to get inside. He does succeed, and the trials and tribulations of pretending to be a rug on the floor, especially when he gets fatter from eating leftovers, is hilarious. I have no idea why this picture book appeals to me so much! But it's on my Top Ten list now.

The opposite end of the picture book spectrum from a story is the concept. It can be tricky, depending on what your aim is, to stay away from preachiness. Malachy Doyle's book, The Happy Book, is very simple - less than 100 words. Each double-page spread has two alternatives, e.g. Snivel less. Snuggle more. Or Grab less. Give more! This one does edge into feeling a bit preachy, but it's for the very small, maybe two or three year olds, so no doubt would be a good book for talking about with them.

I was interested to see that Babette Cole has been writing and publishing short novels for children - the ones I have are from the Fetlocks Hall series. She's combined horses and magic - surefire ingredients for 7-10 year old girls. But I do miss her comical illustrations here!
(Books provided for review by Bloomsbury. Links are via Amazon associates.)

Why I'm Resisting the iPad et al

2011-07-31T09:57:00.002+10:00

Every time I go away somewhere and have to lug along ten books, I think about buying a fancy e-reader. Every time I see a new one advertised, with all the features and extra toys, I think about buying one. Every time I go online to check out a book and see that it's cheaper as an ebook and I can have it straight away, I want an e-reader.

But I still haven't bought one. For a number of reasons.

1. They cost a lot. I was given a small cheap e-reader for Christmas last year and while it's kind of OK for epub books, it does mash them up a bit and I read really fast, so I got tired of pressing the page button. If I'm going to get one, it has to have a big screen (10 inch) and it has to show books in proper pages. So I am having a lot of trouble justifying $500-600 just to read books that I can hold in my hand for no extra cost.

2. They have batteries (don't laugh). So they have to be plugged in a lot to recharge. I have enough trouble remembering to recharge my phone. I read enough stuff to know I'd have to recharge an e-reader at least every second day, and I'm not sure I could be bothered right now. And if I was reading something really good and the reader died? It might end up across the room, looking worse for wear.

3. I don't mind reading ebooks but I prefer print. I spend a lot of time on my computer and reading books on screen doesn't tempt me enough. For writers like me, I think there's also a psychological aspect to do with revision. I don't like revising on screen - I have to print things out and scribble all over them and cross stuff out. So reading on screen somehow feels like it might make revision harder for me. Weird, maybe, but we all have our own processes.

4. Obsolescence annoys me, and I suspect where e-readers are concerned, we're going to see more big changes in the technology. I want to wait for an e-reader that really suits me, that I know I'll be able to use for the next 5 or 10 years. But see, right now, I don't know what will suit me. Do I want a camera? I would have said no, but now I Skype a lot. Could I type on something like an iPad? Do I want to? Will anyone ever produce the perfect e-reader for me? Probably not. Actually, I think I'm suffering from product overload - too many choices so I don't want anything (look it up - it's a common consumer problem these days!).

OK, the bottom line is if I could rent or borrow one for a month or three, I'd know. I think. But there's something about being able to shove that paperback in my bag and read it anytime I want without having to turn it on that I love. And there's still that $500 price tag...
(If you want to compare every single e-reader - and get totally confused - take a look at this Wikipedia page.) And the one top left is a Nook Colour, which we can't get in Australia anyway.

Me and the MFA - Part 3

2011-07-27T18:36:00.005+10:00

For this post, I was going to put up good quotes but how could I not include photos?
This is the wonderful Jane Resh Thomas lecturing about psychic distance in POV. I was lucky to have Jane as one of my workshop leaders, and this topic came up several times.
Jane had a great analogy about going to a play and only seeing what happens on stage by the stage manager reporting via a hole in the curtain. It really brought the whole "too distant from the narrator" problem home to me.

How could you not love your fellow students when they attempt to play Chopsticks with boomwhackers? (Said instruments look like pool toys but play sounds when you whack someone or yourself with them.)
This is some of my class at the Kerlan collection at the University of Minnesota. We were able to look at original picture book art as well as early versions and editors notes (and revisions) on a range of manuscripts, all kept in the archives.

Some favourite quotes from the residency:
* Where can you put your finger on a line and say this is the heart of your story?
* What will your character win by losing? Or lose by winning?
* Beware of letting your characters cry all the time - it loses impact. Crying carries a lot of weight.
* The past and present of a character must be equal adversaries.
* Where is the hot spot in the story for your character? Where will their emotions be at the front and centre of everything?
I had to include this. Our Australian Girl is focused entirely on telling great historical stories, whereas the American Girl franchise began with the dolls and is the core of the thing. I visited the AG store at Mall of America, and found a salon for dolls. You could book your AG doll in for a "tidy up" which includes hair styling, in little doll-sized salon chairs.
This guy very kindly said I could take a photo. It took me a little while to regain my cool, calm and collected exterior... It was a bit sad, though, that out of the whole two-level store, the books were just all in one small corner.

The Problems with the Hole Borders Leaves

2011-07-22T18:56:00.003+10:00

While I was in the US, a lot of keen book readers were sad that Borders seemed to be finally going right under (although there was news of a last minute buy-out of some stores by Books-a-Million today). In Australia they have completely gone. I've seen several posts by indie bookstore owners responding to Borders' demise, and it's been interesting, to say the least. While we would expect indies to be rejoicing, this hasn't been the case. Responses have been mixed, which set me to thinking.

The first feedback I had on this was from someone who works in my local indie bookshop. Our nearest Borders was at Highpoint Shopping Centre and, while there are a couple of Dymocks around, Borders had quickly become a place where you could get just about any book. For a while. I would pop in for a look and come away with more than one book. Then their stock seemed to change, focusing on recent releases and popular fiction (dozens of vampire novels, for a start), and other sections started to shrink. The gimmicky stationery and gift section expanded instead. I thought it was just me, but others said the same thing. I stopped going there, or I'd visit and come home with nothing!!

A lot of comments I've seen in the past few weeks have said Borders lost their way. I'd agree with that. Book buyers love finding new authors, trying out new books, discovering new writers to be passionate about. You don't get that in BigW or any store that just provides bestsellers. And when Borders reduced their range to books you can get anywhere, they reduced their appeal.

So when my local Borders closed, I thought the indie would receive a huge increase in sales. They haven't, at least not noticeably. What has happened is that people now want them to stock the mass market/move tie-in books that previously they haven't bothered with. They know their regular customers and what they want, and the mass market stuff isn't it. They have a small, cosy store with limited shelf space, and they don't want to fill it with the same books you can buy at Target or BigW. But they don't want to lose potential new customers either. It's a dilemma.

The other problem in my area (and one I perceived in St Paul where I have just been) is that when you have a big store like Borders open, two things happen. One is that competing stores, both chain and indie, have a hard time surviving. A lot of them disappear, leaving just Borders as the "king". The second is that people who might not buy a lot of books, but who like this big shop that stocks such a variety (and offers discount coupons etc) find themselves visiting and buying. It's convenient and fun.

When Borders closes, this has a double impact. Borders has killed off other bookshops in the area, so they leave an unfillable vacuum. Who, in this economic climate, is going to open a new bookshop? Following on from that, all those people who got used to buying books because it was handy and inviting now have nowhere to go. They are unlikely to travel to another suburb just for books. They will go online, if they go anywhere at all. They might not bother. They might go to KMart instead and buy a video.

By the way, on my way back to Australia this week, I did a quick scan of my fellow plane passengers as I wandered down the aisle. My estimate was one adult in four was reading a book on either an iPad or a Kindle (or similar device). One in six was reading a paper book. The rest were sleeping or watching the movie. And for the record, I managed to fit 17 books into my luggage that I'd bought while away, but to have them all on an ereader would have been nice (although I have built up some handy muscle strength instead!).

Hamline MFAC Count

2011-07-14T11:17:00.003+10:00

9 rabbits, 7 squirrels.
74 writers.
74,692 words (I'm guessing).
20 workshops.
1 bookshop visit (so far).

Me and the MFA - Part 2

2011-07-10T13:24:00.001+10:00

I’m here. At Hamline. An MFA student, carrying my bag of books and my (very busy) schedule around with me. Scurrying off to the library, taking a million notes in every lecture, meeting and talking with someone new every day. I’ve been here 3 days and it feels like two weeks already. They call this an “immersion” program and they’re right. I’m so fully immersed that I can hardly imagine the world back home!

Mind you, I nearly didn’t get here, no thanks to Virgin Australia airlines. Their staff’s behaviour at Melbourne airport was so unbelievable that even now I can hardly credit their “so sad, too bad” attitude.

Imagine setting off on one of the most important things in your life, knowing how vital it is to be there on time and not miss the first day, where so many crucial things occur. And then to be told you’ve been taken off your connecting flight (with no consultation) and you should just “go home and come back tomorrow”. No attempt to help you get on another flight or advise you what else you can do. Thank goodness for my terrific travel agent who rebooked me so I arrived only 6 hours late.

Virgin, I hope you feel my wrath through the airspace. Won’t forget, doubt I will forgive.

But I digress. Once here, I was able to finally relax. The first day was the all-important orientation, first introductory session, library session, Q&A – all that stuff that totally sets you up with everything for the course. Without it, I’d be floundering and way behind on everything.

I’m excited about the resources that Hamline offers online. The library class showed me all the books, but since I’ll be 12,000km away, it also showed me how to use the databases and online resources. On Day 2, when we had a session on how to write a critical essay, I could see how vital that online library will be for me.

I’m excited about the workshopping! Over the years, the workshops I’ve been in, both as a teacher and a writer, have often focused more on nitpicking the piece of writing, paragraph by paragraph. Here, the emphasis is on discussing the core elements of character and plot and voice, examining structure and creating an in-depth conversation about what questions the piece answers and what questions it raises. It’s a different approach and one I am already enjoying. No need to copy-edit (and how I hate having to do that and point out errors, simply because it sucks up so much time).

Of course, I’m nervous about my turn (in two days time) but I’m also looking forward to it.

This residency, the focus is on plot, so we’ve had two lectures on this already. The one yesterday brought in elements of structure, but in a more defined way, and plenty of new ideas that I will think about later (there will be many things for me to ponder later as all this new knowledge sinks in). Today’s lecture was on plot in picture books and for the first time, I understood how plot can work beyond the problem-based story. Sure, those other kinds of plots are harder to write, but when you get them right, they still work.

I’m excited to be among such a great bunch of writers. This is the thing about courses like this – for a period of time, you are among those who understand what it is that you are trying to do. We’re all here, on the same track, working hard to increase our skills and write something amazing. Everyone here shares. Everyone (even, or especially, the faculty) knows how hard this is, but also how worthwhile it is, and how much it means.

As one of the faculty said on the first day: “We are all in the same place when we start a new story, not knowing if it will work, or how to make this one work.”

As always, I’m on squirrel watch. (I take photos of squirrels everywhere I go!) So far, the count is 3 squirrels and 4 rabbits. I haven’t been fast enough to get a squirrel photo yet, but I will!

Do You Think Before You Comment?

2011-07-03T18:02:00.003+10:00

One of the things I love as a writer about the internet is the instant accessibility to information - of all sorts. Once upon a time Wikipedia was scorned by all and now it's seen more and more as a first port of call when you want to know something (although still banned as a source for academic research because it can be unreliable). I can look up the meaning of a word, reviews of a new book, comments by the author about their new book, subscribe to free newsletters of interest, get industry information, find out if a publisher is accepting submissions right now ... the list goes on. And it's great.

The internet is seen as the last bastion of freedom of speech. You can say (almost) anything and have your opinions read far and wide. I say almost because thankfully there are laws against some things still. But for writers, those of us adept at the written word, the internet is a treasure chest. Writers' forums abound, writers' groups on Google and Yahoo flourish, and any time someone says something interesting, writers tweet it around the world so we can all have an opinion. We can all comment.

Which is turning out to be not such a good thing. In fact, it's turning into a new form of censorship. Writers who formerly wrote great blog posts about issues and experiences are finding how simple it has become for others out there to harass and pillory them, simply for expressing a view (but obviously a view that some others vehemently disagree with). These writers are starting to wonder if they even want to keep blogging. After all, why put yourself up for hate comments, simply for saying what you think? YA writer, Natalie Whipple, has blogged about something that is becoming a growing problem. Censorship by harassment.

Recently, a writer for the NY Times wrote a piece about darkness in YA fiction. This is not a new topic. People have been writing opinion pieces about this forever. John Marsden can testify to that! But suddenly everyone wanted to have a say about this article. Fine. No problem. Except some people got pretty vicious. And it's happening now on a regular basis, in many different areas. The end effect? Writers are starting to wonder if it's worth putting your words out there, if what you get back, instead of discussion, is hate.

If you think I'm over-reacting, try looking in the comments section of any online newspaper. Recently a book about Muslim women was published in our area. I know two of the women involved (two great writers) and the book looks terrific. The article in the Herald Sun newspaper chose to focus on Pauline Hanson instead of the book itself and what it was about - not surprising, given the HS take on things. But I think what astonished me, and many people I spoke to, was the Comments section. I'm singling this out because I'm interested, but when I've looked at other Comments following newspaper articles, I've seen the same thing.

A great big bunch of people who think commenting means saying some really ugly things. Usually anonymously. Or putting up that they're "Bob from Melbourne". Yeah, right. Newspapers argue that they need to allow commenters to post anonymously or with fake names to stimulate or encourage debate. Someone needs to remind them what debate actually means.

Yes, the internet is fantastic. But like anything, it has a dark side. I believe that if you want to enter the debate, if you really want people to listen, you say who you are. And you don't use the comment section to vent hatred in a personal way. What do you think?

What Do You Think is Funny?

2011-06-30T16:59:00.001+10:00

In our course we have a subject on writing comedy. Although many of our students never study this, saying that they are not funny enough, others give it a go, just to see what they learn. One of the writing how-to guides that I recommend is The Comic Toolbox by John Vorhaus, because I have used it myself with some of my children's story ideas. There are most definitely tools that we can use to develop a story idea into something funny. But ultimately, I always come back to thinking about that question - what is funny, and why do we differ so much in our answers?

Years ago, I attended a screenwriting conference on sitcoms, and the first question in the very first session was "What is your favourite sitcom?" Of course, everyone had a different answer. Mine was "Cheers". But other people loved "Fawlty Towers". Some loved "Friends". Now I'm sure some would answer "Two and a Half Men" or "The Office". Comedy also shows up great divides, in that those who love one show will loudly scoff at others who love another!

A writer friend of mine attended all three Robert McKee seminars last weekend (I'll post soon on the one I went to), including the comedy day. She told me McKee had said that a comedy writer is someone who hates the world, and writes from that perspective. While you might disagree, I thought about some of the comedy writers I have known, but more than that, a lot of the comedy that I have seen and heard. And I think I agree, for the most part. Not necessarily that a comedy writer hates the world, but that perhaps he or she has a more cynical or pessimistic view than the rest of us, and uses that as a basis.

Because, let's face it, a lot of comedy these days is pretty cruel. In our newspaper, The Age, there was a piece last week about an Australian comedian who is currently popular in the US, but most of his comedy routine is based on being sarcastic/nasty/horribly funny (you choose) about a company in Adelaide that he used to work for. Obviously, his time at this place was not good for him, and he's now paying them back big-time for it. And everyone is falling about laughing at his routine. Although the comments section on the article suggest about 50% of people are not.

And I thought - huh? It's meant this company has suffered quite a lot of backlash, the owner has received hate mail, and so far has been unable to defend himself. Maybe he deserved it - I'm not going to get into that argument! But I'm still wondering what really is funny about this? And when is the comedian going to move on? Or maybe he can't move on? So what is that saying about him?

I think there is a lot of very funny comedy around - I've seen and heard stuff that I thought was hilarious, while understanding that not everyone would agree with me. That's the nature of comedy, as I said earlier. But I'm starting to wonder about "funny" stuff that is basically an excuse for an attack on someone as a way of getting back at them. And then I wonder about comedians whose routines are all about attacks on themselves. Before I get too darned serious altogether, I think I'll go and watch a re-run of "Cheers"!

Me and the MFA

2011-06-20T16:43:00.003+10:00

Have you ever had something you dreamed about for years, something that you secretly pined for every time you saw an article about it, or perhaps an advertisement? Usually these are things that are more than just another purchase like a big TV – they’re something that calls to you, that you know will expand your imagination, your world and your ability to create.

For me, it’s been an MFA. A Master of Fine Arts degree.

With this has always come huge obstacles. I live in Australia and MFAs are only offered at universities in the USA. They cost a lot of money, more than a Masters degree in Australia, plus I’d have to pay air fares on top of that.

When I first starting thinking seriously about studying again, I looked at the alternatives. Back then, you had to live in the US for two years while you studied, and I couldn’t see how that would be possible. But no university in Australia seemed to be offering a Masters the way I wanted to study it – as a writer, not as an academic who is also writing a novel. And by the time I started getting really serious about this dream, two more things became part of the decision-making.

One was that my writing career had moved very decidedly into writing for children and young adults, and there was very definitely nowhere in Australia where I could pursue this speciality. The other was that many universities in the US had begun to offer low-residency MFAs. Rather than have to live there for two years, I could go for 12 day residencies and do the rest of my study online. More air fares but a lot less in living expenses!

Over the past three years, I’ve felt myself creeping slowly towards the real possibility that I could do an MFA. The final stage was attending the Association of Writing Programs conference in Denver in April 2010. There I was able to talk to faculty at three of the five universities offering a low-residency MFA in writing for children and young adults, and make a decision.

So – in two weeks I am off to Hamline University in Minneapolis-Saint Paul to begin my studies! One of the attractions of Hamline is that I can begin with a one-semester block and if, for some reason (like finances), I can’t continue, that’s OK with them. Another was the friendliness of their faculty member I spoke to, and the great answers she gave me to all my questions.

Some of you who know me will probably be asking – why on earth do I want to study writing when I have been teaching writing for twenty years and have 45 books published? Because I firmly believe that there is always more to learn about writing, and that I still have plenty of room to improve! I’ve felt as though I’ve been on a bit of a writing plateau for the past few years, and I want to get off it.

I’ve found in the past that intensive study always lifts me into new ideas and new ways of writing. The summer school I attended at CSU Fresno in 2002, for example, led me into writing verse novels.

So along the way, as part of this experience, I want to write about and reflect on what I’m learning, and I’m going to post some of those reflections here. I hope you’ll come along for the voyage with me.

How Has Your Bookbuying Changed?

2011-06-09T19:24:00.002+10:00

The discussions lately in Australia have not been so much about ebooks, but about how online bookbuying is killing bricks-and-mortar bookstores. Readings has launched into offering their own ebook option for buying. Amazon has been offering Kindle ebooks here for a while (depending on what territory rights have been sold). But the big panic now seems to be about how many people are buying physical books online. Borders and A&R have now gone into full receivership and it looks like all Borders stores and many A&Rs will close. Is online buying the problem?

I had a think about what I buy these days. I am buying less in the bookstore, for sure. Why? Because I have less money! Like many people in the past couple of years, what they call "discretionary spending" (stuff that is not rent or food) has shrunk for me and my husband. Not just because of the GEC but for other reasons, too. Such as my royalties shrinking (I guess that's GEC-related...) and the fact we have less income for other reasons. So I'm using my public library a lot more. Thank goodness for libraries! But I do love my local indie, the Sun Bookshop, and try to support other indies as well.

But when I looked at my online bookbuying pre-2010, not much has changed. What I buy online are mostly the kinds of books I can't get in bookstores here. Here is a list of what I tend to buy, and why:

* Writing books (like Plot vs Character that I bought recently after hearing about it from a friend) - for a while, Borders stocked a lot of these and then stopped.
* Poetry books (most bookstores here, even Borders at its best, had virtually no poetry I was interested in; Collected Works usually would have to order in, but they are the best).
* Old children's classics that I need for study.
* New children's and YA books that I know either won't be published here or will arrive here in about a year's time.
* New Zealand titles - Australian booksellers are terrible at stocking NZ books!

If I want a crime novel - my favourite recreational reading - I'll buy the ones I want to keep from bookstores and borrow the others from the library. The library is also great for trying out new authors. Who knew JD Robb's crime novels were set in 2060? Not me until I picked one off the library shelf. That's how I also discovered PJ Tracy.

But most of my online bookbuying is of books I can't easily buy in a bookstore here (if at all). They're overseas titles, or out of print. These purchases aren't taking anything away from my local booksellers. Yes, I do use bookdepository.co.uk a lot of the time, for the same reason. Australian online booksellers often don't have what I want, either. I go where I can get what I want, quickly, at a reasonable price.

Actually, my current gripe with Australian online booksellers is their freight costs for overseas customers. I've given up recommending any of them (Fishpond, Boomerang, Nile) to friends and interested readers in the USA and UK for Australian books, because they all charge between $20 and $30 postage! Our books are already more expensive than overseas. So a copy of Meet Rose (one of my titles from Our Australian Girl - Penguin) would cost my US friend $48! Can you blame me for buying a copy down the street and posting it to her for $3?

So how has your bookbuying changed? Are you into ebooks yet? Are you buying from overseas sellers, or sticking close to home?

Geoff Goodfellow - Waltzing with Jack Dancer

2011-06-01T09:39:00.004+10:00

If you've ever heard Geoff Goodfellow read his poetry, or indeed if you've read any of his books, you know his style - straight, uncompromising, accessible, real. Waltzing With Jack Dancer takes Geoff's work a step further forward, I think. I sat down with it the other day, intending to read a few poems and come back to it later, and ended up reading the whole thing in one sitting.

For many people, cancer is a confronting experience, whether you have it yourself or someone close to you does. It's like the elephant in the room - do you talk about it, or do you pretend it's not happening and put on a cheery face? I could say this is a confronting book, simply because it's about Geoff's cancer (throat) and his road through operations, chemo and radiation therapy, but there's something about it - probably Geoff's gritty, straight take on things - that makes it engaging and enlightening. And not at all sentimental.

As well as the terrific poems (it's a verse novel), there is a strong, moving piece by his daughter, Grace, in the last section. This is Geoff's cancer and treatment from the point of view of close family, and it's equally honest. Randy Larcombe's photos add an often startling visual aspect to the story. Geoff was kind enough to answer some questions for me via email.

Did you start writing the poems for this book when you were diagnosed? Or are they more about remembering and reflecting?

I didn’t start writing the poems when I was first diagnosed, I was too shell-shocked. When I appeared in an operating theatre for a biopsy several weeks later, my surgeon told me he was aware that I was a poet. He recommended that I should be writing about my experience, particularly in respect to the mis-diagnosis and poor treatment that I had encountered to that point. That set me thinking, but it was some weeks later, lying in bed at home recovering from the major neck dissection, that I began to write.

How hard was it to write without being melodramatic or distancing yourself? (I know this is not your style anyway, but this could have been different!)

I like to give a lot of thought to the topic I’m intending to write about before I put a sheet of paper in front of me. I don’t want to be melodramatic – rather, I want to be honest, create some imagery and tell a good story.

The book feels like a verse novel - it tells a story. Were you conscious of that?

Initially I thought I was going to write a novel about my experiences. I lay in bed for some weeks thinking about how I was going to record my story and I was convinced that I should write it as a prose memoir. However, on 3rd May 2008 when I felt ready to write, the words came out as poetry and I knew that I had to follow that path. My first poem was ‘The Seventh Doctor’ and that set the pattern for another book of poetry. I was conscious of the fact that I wanted to structure the book as a verse novel and tell my story in a chronological form. The poems weren’t written in the order of the book but were written randomly and were arranged by my editor.

I love 'The Seventh Doctor' - it feels like an expose of the public health system! Although it's clear how you felt when it was happening, the poem doesn't feel raw and spitting - it's a very crafted piece. Can you describe the writing of this one?

The first draft of ‘The Seventh Doctor’ was written over a five hour block; from 6pm through to 1am, as I lay in bed. I’d given my daughter strict instructions that I wasn’t going to be taking any phone calls or accepting visitors that night. I’d been structuring the poem in my head all day and had the rhythm of the poem ready to go onto the page. The poem then went through a couple of typed drafts before I met with my editor, Graham Rowlands. (We have worked together for my twenty-five year career and I trust his judgement.) We sat around on his back lawn in the winter sun one afternoon and discussed the poem and I went away and re-worked some parts of the poem. They were small but significant changes. I kept playing with the poem too, for another year, making subtle changes, and after six drafts I knew I’d exhausted possibilities for myself.

Who is the book for? (apart from yourself and Grace) What do you think readers will get from it? Have you had any reactions from those who read the manuscript?

I conceived the book as an aid for anyone wanting to understand what it might be like to receive a diagnosis of cancer. But it’s also for their family members and their friends. People are terrified of cancer, and rightly so. Most cancer patients are socially isolated because people avoid them because they don’t know what to say to them - or they are worried that they will be too confronted by what they see. A lot of people are unfortunately going to get cancer and this book can provide them with a preview of what might be expected. And knowledge is power.

What do you think the photos add?

The photos provide a great visual insight into the treatment and portray me in a vulnerable state in a way in which words might not quite have succeeded. They are revealing photos to accompany revealing poems and prose.

Whose idea was it to include Grace's story? What do you think it adds to the book?

Grace’s story ‘The C Word’ was given to me on Christmas morning 2010 as my present. After opening the story I sat at the kitchen table and wept as I read her account. I had to read her story in bits and pieces throughout the day…and by the time I‘d finished reading it I felt convinced it should accompany my poems and be part of the collection. Once Michael Bollen had read the story, he too believed it should book-end the poetry. Grace’s story adds a great cross-generational emphasis and as my books often appear in classrooms as class sets for senior students, it provides a model for young and aspiring writers to trade off their own experiences and to lay words on the page using innovative formats.

How is your voice now? Performance is such a big part of your poetry - have you changed the way you read?

I’ve had a prosthesis installed, a synthetic voice box, which has been tuned to suit my original voice tone. If I speak in a ‘normal conversational tone’ most people wouldn’t notice my voice to be appreciably different. However, if I try to raise my voice from say a ‘Three’ to an ‘Eight’ my voice will be quite crackly and full of static! My new work is quieter…I’ve structured it that way. But the poems are perhaps even more powerful than the voice of the Geoff Goodfellow from the mid-80s…it’s just that the power is like the new Geoff… it’s more controlled.

Back to me: Waltzing with Jack Dancer is available, of course, at all good bookshops. But there are 200 limited edition hardback copies available through the Wakefield Press site - the site also has an extract of the book and footage from the book launch.

Writing Competitions - Yay or Nay?

2011-05-25T11:29:00.003+10:00

At the moment there are several short story competitions being promoted, with large prize money on offer. One of these is run by Australian Book Review - the Elizabeth Jolley Prize which is worth $5000. When you look at the shortlist from last year, you may well wonder if it was worth entering. After all you'd be up against the likes of Cate Kennedy! But the site gives you the opportunity to read last year's stories on the shortlist and there was a Readers' vote award, too. But the thing that will make many newer writers pause is the entry fee - $16. If you're up against such stiff competition, is it worth the money to enter?

It's a good question. In fact, it's a good question to ask about any competition that requires an entry fee. How big is the competition? Is the fee too much? $16 is a lot to many writers, especially students or those on low incomes. The long-running Alan Marshall Short Story Award (closed two weeks ago) had an entry fee of $15. However, many of the smaller competitions have smaller entry fees. Try this site to have a look at what is open at the moment. For example, the Katherine Susanna Pritchard which is for speculative fiction (short stories) has an entry fee of $7 and a first prize of $600. Is it starting to sound a bit like a lottery?

What are the advantages of entering a competition, whether it's fiction or poetry?
* It gives you a deadline to get something written, revised and sent off.
* If the competition has a specific theme, it can provide a good challenge.
* Hey, you might win or get a placing!
* Sometimes a number of the best entries are published in a book (but not often).
* Judges are subjective, even if they deny it. Your story may strike a chord with the judge (but it still needs to be well-written). To me, this is the lottery part of it. You just never know.

What are the downsides?
* It usually costs money to enter (The Age Short Story Award is one of the few that doesn't charge a fee - maybe that's why they get about 1400 entries!).
* The bigger competitions are the ones that the more experienced writers enter so you're up against them.
* Unlike magazines that send you a rejection or acceptance note, you rarely hear from competition organisers unless you have won. It can feel like sending your work off into the never-never.

How do you decide what to do?
If you are a newer writer, start with the smaller competitions. Check the entry conditions very carefully. Not obeying the rules, even if they seem silly or pedantic, can lead to your entry being discarded. Choose a competition that sounds good to you - one where the entry fee is smaller but the prizes are still worthwhile. (Avoid a competition with a $10 fee, for example, and a $200 first prize.) Write something for your entry, give yourself plenty of time to revise and polish it up, and send it off. Keep doing this. And when you don't win (which is likely - it is a lottery!) then polish it again and send it off to a magazine instead.
Or save it for the Age competition!

Have You Been to Booktown?

2011-05-15T17:42:00.004+10:00

Today I went to Clunes in country Victoria, where each May they hold a Booktown weekend. Over the past few years, more and more bookshops have opened in this old town, and during Booktown, many more come in and set up and sell (mostly secondhand) books. Kind of like a mini Hay. Clunes Booktown has the perfect venue, as there are many historic buildings that are "unrenovated" and they add to the feel of old books and historic happenings.

What the Booktown organisers have also done is add a variety of writers' events to the weekend, including soirees, master classes and talks. As I'd not been to a writing class of any kind for quite a while, I decided to sign up for the master class with Peter Corris. I've been a fan of his Cliff Hardy crime novels for a long time and was keen to hear what he had to say. I have to confess that I went along with some trepidation. Everyone has a different idea of what a "master class" should be, and we were specifically told NOT to bring manuscripts. Hmmm...

The limit for the class was 10, and in the end there were four of us, plus Peter. We settled in a circle of old armchairs and waited to see what he would say. It turned out to be over an hour of simply talking about the ins and outs of writing crime and historical fiction. Relaxed, informative, insightful and enjoyable! We all got to ask every burning question we had, we got to talk a little about our own trials and tribulations in writing our novels, but mostly we listened to Peter talk about how he does it (and isn't that what we always seek - the experiences of others who've been around longer than us and gone through it all many times?).

Some of the things I can share include: Peter never writes outlines - he starts with Cliff Hardy and a client with a problem, and goes from there. I was interested in how he perceives the PI novel, with a very simple structure I'll share with my class one day! He talked about pacing, how much information and characterisation to put in, and how he thinks the writer firstly charms the reader (with that stuff) and then grabs them with immediate action. He used to write a Hardy novel in about six weeks, and now it takes him 9-10 weeks (and he mentioned Simenon who wrote Maigret novels in 48 hours!).

It's easy to sum up the time with a few quotes, but I came away feeling as though I had received some great insights, and confirmation that really, when it comes down to it, we all have to write our novels in our own way. What counts most is finishing them, seeing your vision through to the end. Peter said he thought that whatever we are writing, it needs to matter to us, and I agree.
(How many books did I buy? Two. Must be a record for me!)

Where Are Ebook Sales in Australia?

2011-05-04T18:52:00.002+10:00

Statistics are flying around the net at the moment, quoting large publishers such as Hachette and Random House as saying ebook sales are up to 22%. Of what? Or do they mean by? A Google search revealed nothing. But I suspect these kinds of figures are going to be flung around for the forseeable future until things settle down, and goodness knows when that will be. Every second day I seem to get an email from Barnes & Noble that wants me to buy the new colour Nook. Not much point really, as a lot of the books I might want are not published in Australia, and copyright laws prevent me from downloading them from US sites as an ebook.

Where does this kind of restriction leave us in Australia? Even if you have a Kindle, you still can't download Kindle books that don't comply with the copyright laws. It hardly matters if you want the latest bestsellers, but if you don't, it's easy to find yourself with nothing to buy. Back to "real" books then. I wonder how Australia is going to fare over the next 2-3 years. People are jumping onto ebooks with great speed, there's no doubt about that, wherever you get your statistics. And it's also hardly surprising that ebooks are taking over from hardbacks (traditionally how most books in the US get published first).

We don't do many hardbacks here. So our competition is between trade paperbacks (currently selling at $32-39 each) and ebooks, with ebooks still behind, I'd say. Although the iPad2 might change that. So what is happening here? You can get an "Australian" Kindle, you can buy an iPad2 or 1, there are various cheap ereaders around (that are pretty hopeless). But where do we get our ebooks? Do we download the software from Readings site and go with their platform? I would bet if you asked people what DRM is, hardly anyone would know (it's a formatting thing that supposedly is to stop you "stealing" ebooks).

At least if you want to self-publish an ebook, it's easy to do. Either on your own or through sites such as Smashwords or Bookbaby. It's the thing to do right now, especially if you think you can generate enough publicity and word-of-mouth to sell several thousand copies. Industry pundits are saying that the rush of self-published ebooks will fade as readers sort out the good from the truly awful. I'm not so sure - a visit to any large bookshop will soon show you how many books are being published the traditional way. How do we find these?

My feeling is that Australia is still way behind on ebooks, and not catching up. I looked up Cate Kennedy's new poetry book today - The Taste of River Water. It's available as a book for $24.95 from both Scribe and the Readings site, but also available as an ebook from Readings (but not Scribe) for $14.99. In fact, most Readings ebooks are around $15. But when I went and looked them up on various publishers' sites, many of the same books are only listed as paperbacks. Or, in the case of Random House Australia, their ebooks are listed as being available from Amazon.

It's all very messy really, and it'll be interesting to see if and how things change over the next year or two. Because if there's one thing you can guarantee, this is an area of huge change at the moment - the question is - change to what? And what will it mean to both readers and authors?

What Does a Board Book Do?

2011-04-26T12:28:00.004+10:00

Over the past few years, my extended family has grown to include the next generation of littlies - my grand-niece and -nephew and two step-granddaughters. Naturally, I always want to buy them books! But when they're under two, what do you buy? Board books, usually. Those ones made out of thick, sturdy cardboard pages that can be chewed, dribbled on and thrown around the room. Not to mention read about 200 times. I don't think my niece has ever forgiven me for Moo Baa La La La (by Sandra Boynton). She said she could hear it in her head!

But what makes a good board book? Not just indestructability. I've stood in front of the board book section in bookshops for hours, pulling out one after another and despairing at how banal they are. Maybe I'm expecting too much, but maybe also some publishers are starting to realise they can do more than just present an array of farmyard animals or dogs or numbers. It's why I love Sandra Boynton's board books, and why I have my own copy (not for lending) of But Not the Hippopotamus. It does everything a good picture book does, include a surprise funny ending. That's my kind of board book!

Recently I was sent a board book for review*, and it did have a lot of the features that make it worth reading. Lulu's Lunch is written by Camilla Reid and illustrated by Ailie Busby, which is interesting as I'd say 98% of board books are written by the illustrator. The story is very simple - what Lulu has for lunch - but the extra in this book is the stuff you can touch. I emailed my niece to ask her, "Did your kids like board books that had things to touch on them?" Her answer was yes, so I guess that adds extra points. I wasn't so sure about the spaghetti at the end (wriggly string). I gave it a couple of good tugs but it might not last the distance with a strong toddler. There are also some lift-the-flap pages to add interaction.

It's not a fabulous board book but it is interesting and provides a fair amount of interaction - that's got to be better than more TV, surely?
I suspect there's a real skill to writing board books. They could be harder even than picture books, and as I can't illustrate, it means that most publishers wouldn't be interested in anything I wrote. Have any of you had a board book published? What was your experience?
If you'd like to go in the draw for a copy of Lulu's Lunch, just leave a comment!
(*By Bloomsbury)

Different Jobs, Different Skills

2011-04-19T15:40:00.003+10:00

Recently I found myself in a completely new situation - a hospital, to be exact. Among other things, being confined in one place with not much to do and nowhere to go forces you into a lot of quiet thinking time (when people are not poking holes in your arms or machines aren't beeping!). And also quiet observation time. You get to see and hear stories from people that you mightn't otherwise come across, let alone have time to really listen to. And you get to see people hard at work in an entirely different profession.

A remark by my doctor stuck with me for a long time. He said, "In here, everyone has to do things by the book. Whoever comes along after needs to know exactly what came before." He was referring to records kept of medications and treatments, of course. But it started me thinking about how different our jobs are. In the hospital, it's vital that everyone does things exactly the same way. In the writing world, it's the kiss of death. Editors are after something original, the fresh, different new voice. If we all wrote the same way, we'd end up with a pretty boring bunch of books out there.

But the other side is also true. In medicine, sometimes it's a sudden insight or inspiration (maybe even waking up in the middle of the night) that can shed light on what seemed unsolvable. In medical research, no doubt it can be the same. For all the plodding through experiments, a flash of inspiration can provide the breakthrough. And in writing, for all we want to create something original and different, we still have to be proficient at the rules of grammar (so readers can understand us clearly), and we still have to be professional in how we submit and present our work. That way, we are taken seriously.

The key is to know when the rules are helping, and when they are hindering. Free writing with no punctuation or grammar can break through a writing block. Flowery paper and scrolly writing in a submission letter will make you look like an amateur. A deadline can be overwhelming for one writer and stimulating for another. I know with historical fiction that the line between providing a rich background and being over the top with my factual material is a thin one indeed! What rules help you? Which ones hinder you?

Whose Fault Is It If I Don't Understand?

2011-03-30T17:01:00.003+11:00

Two writer friends raised the same issue today, and both were talking about poetry. What do we do when we read a poem that we don't understand? Is it our fault, or the poet's? This question often comes up when talking about the poem published in our Saturday newspaper here in Melbourne, The Age. Most readers and writers of poetry that I know just shake their heads each week. What am I supposed to get from this poem? they ask. I don't understand it, no matter how many times I read it. Am I dumb?

I'm teaching poetry again this year, after a long break, and I think it's a good issue to raise. Sometimes in workshopping I've had a student who insisted that if the others didn't understand the poem, that's just too bad. No changes, no compromises. But at the point at which you put a poem out to the world, or even just one reader, isn't what you are hoping for is communication? Surely as soon as you want or ask for a reader, you are trying to show or tell them something.

In class, we've been reading some of Ted Kooser's book, The Poetry Home Repair Manual, and discussing the points he makes. One is: If a poem doesn't make sense to anyone but its author, nobody but its author will care a whit about it. He also says: I favor poems that keep the obstacles between you and that person [your reader] to a minimum. I agree, and I think some poets are deliberately obscure, and deliberately use language that creates obstacles. Does this mean they don't care about their readers?

Kooser suggests that some poets write difficult poems because they think that's the way to be a poet, and that in some circles, writing poems that are accessible is sneered at. But he agrees that many people give up on poetry because they think it's too much like hard work, in the same way that readers stop reading literary fiction because, at the end of a long working day, they don't want to be challenged, they want to escape. A difficult poem will require you to think, to ponder, and to puzzle (and sometimes to look words up). A deliberately obscure poem, however, won't even let you close enough to read it with a basic level of comprehension.

The reason poetry teachers use Kooser's and Billy Collins' poems so often in the classroom is because they are wonderful examples of how to write something that's both accessible on a first reading and also offers deeper levels if you want to dive in. Ultimately, once a poem is out there, whoever reads it will take from it what they want. They will interpret it in their own way, from their own experiences, and create their own meanings.

As a poet, I want to open the door for the reader, not slam it shut in their face. I hope that my verse novels will cause a child to welcome poetry in the future rather than grimace whenever it's mentioned! (I've seen that awful expression many times!) But I also, as a writer, want to challenge myself. I don't want to write poems that are easy for me. I want to experiment and explore, swoop and dive into language and imagery. But still, ultimately, to remember the person on the other side of the door.

Ebooks and Libraries

2011-03-11T16:23:00.002+11:00

One snippet of news that skimmed past me recently was about publishers who want libraries to pay more for ebooks. Specifically, pay more money once they've lent the ebook out a certain number of times. I think 26 times was quoted as a figure, but I can't remember which publisher/s (hence the 'skimmed'). This set me thinking about how libraries pay for books, and what publishers receive.

I can see why a publisher might want to make more money this way. After all, the ebook is going to be lent electronically with no damage, whereas a hardcover or paperback tends to start falling apart after 20 or 30 borrowings (especially if a borrower drops it in the bath, for example). So a well-borrowed book might need to be replaced, and in that case, the publisher would get more money. You can kind of see their logic.

But ... that's likely to only happen for the Grishams, Roberts, Pattersons and Meyers, surely. What about all the books a library buys (and they buy lots of hardcovers that most of us can't afford) that don't get borrowed 40 times? That might only go out of the library 10 times and still be in good condition for many years? Doesn't it really even out in the long run? What do you think?

Need Some Writer's First Aid?

2011-02-27T16:18:00.003+11:00

I first met Kristi Holl back in 2004 at the Chatauqua Writers' Workshop, where she was on the faculty and critiqued my novel. Right away, I thought she was someone whose advice I could trust - it was clearly from long experience! I bought a copy of her book, Writer's First Aid, and was impressed - here was a book about the writing life and how to manage it. Lots of what she wrote in WFA stuck with me, especially the stuff on writing better by being a healthy writer.

Now, after four years of thrice-weekly posts on her Writer's First Aid blog (which has 60,000 subscribers!), she's published a new collection - More Writer's First Aid, and I was lucky enough to read an advance copy recently. So then I had to ask her a few questions!

l. Who is this book aimed at?

It may sound presumptuous to say this, but I truly think the book is aimed at all writers, no matter where they are in their career. Maybe because it has surprised me personally, but over the years I’ve realized that some writing issues never change: finding time, dealing with rejection, juggling families and day jobs, and all the other life issues that can derail our writing dreams. Because I write about those subjects, and those things apply to every writer I know, I believe the book is for all writers.

2. What kinds of aspects of writing does it cover?

The 48 articles are grouped under four subject headings: ENJOYING THE WRITING LIFE—EVERY DAY, WRITING HABITS THAT HELP YOU, A WRITER’S EMOTIONS and FAMILY MATTERS. I cover similar kinds of topics to my first writing book, WRITER’S FIRST AID, but in addition, I felt the “family matters” section was important to add. So many writers today are juggling family members along with their writing—from babies to adult children who have moved home. Other writers are dealing with family members who are sick, those newly retired, you name it. And unless we learn how to set boundaries and juggle our writing schedule to meet family demands, we are too likely to give up the writing—or be miserable while doing it. My goal is for writers to enjoy their writing life! Besides family and health issues, I also wanted to cover areas that weren’t an issue when I wrote the first writing book: social media, e-mail and Internet issues, online platforms—and the writing time it can steal from us.

3. Why did you write it?

I have heard so much in recent months about the “e-book revolution” and the future of e-books and how Kindles (and other formats) are outselling paper books online, etc. I wanted to try doing an e-book/Kindle version and see!

4. What do you hope writers will gain from reading it?

We writers are all in this together. You don’t stop having writing issues to deal with just because you get published—or even published a lot. We all deal with disappointment, writer jealousy, emotional and physical pain, procrastination, tiredness… Study after study has shown that the writers who succeed are NOT the writers with the most talent and are NOT the writers who “know someone important in publishing.” They are simply the writers who didn’t give up. I hope readers gain a “don’t give up” attitude from reading MORE WRITERS’S FIRST AID.

So if you want a copy direct from Kristi, click here. And if you want a Kindle version (because of course you have a Kindle!), you'll find it on Amazon. Yes, I know Kristi personally, and yes, I do recommend it!

To Review or Not to Review?

2011-02-25T18:49:00.002+11:00

When I first started this blog, it was destined to be my own personal reading record of books I loved and hated, with comments. I read tons of books and when someone would ask me for a recommendation, my mind would go blank! So a blog seemed like a good idea. This was about six years ago, so it really only was just for me. Then I started to add stuff about writing, and teaching writing, and it grew.

Now things are changing again, and I'm having to think very carefully about content and audience, which of course is what most writers do about everything they write! I've been contacted now by several publishers asking me if I'd be interested in reviewing their books. Well, yes. And no. Because previously I had focused on books I either loved (like "Matterhorn") or hated (like "Twilight") - from a writer's point of view.

So today my first two "review" copies arrived. And I have had to think seriously about what I am going to do (I think we can assume I have now declared my "position" as required by US law). If I hate a book, usually my response is to say why, or ignore it. What if I hate everything publishers send me? (It's possible.) I guess I am going to continue being myself - looking at each book from the POV of a writer. What works, what doesn't, and why. That's my "thing".

But there will no doubt be books that I can't say anything about, good or bad. They're just ... books. People complain about bad reviews in newspapers and magazines, while others say any publicity is good publicity. I thought - what if every newspaper or mag had the policy - if we don't like it, we won't review it. But then if your book never got reviewed, you would have to assume they hated it. What a downer! (You can tell I'm still thinking like an author, can't you?)

Regardless of all of that, this is not now a review blog. I include my reviews now and then when I think they will be useful (or I love a book and have to tell you about it). We'll see how we go ...

How Accurate Do We Have to Be?

2011-02-15T19:17:00.002+11:00

Last night, against my better judgement, I watched A Current Affair on Channel 9. For those of you not living in Australia, it pretends to be a current affairs show, dealing with "news of the moment" that affects "ordinary people" (my quote marks, not theirs - goodness knows what they think they're doing). I usually avoid this show, and its twin on Channel 7, as they have proven time and again that what they show is either a beat-up or something manufactured out of very little.

I watched because they previewed a guy who is battling with his council over vegetation and trees. I was interested, having had similar experiences. What I got, instead of a decent news story with information and facts, was this:
* people interviewed who were never identified
* the council concerned was never identified, apart from one muffled voice during a film clip that mumbled "Redlands" (I think)
* a camera crew following around police officers and council officers with no real information about what they were doing or why.

Is this supposed to be reporting? Barbara Cartland gave more facts in one of her historical romance novels than this TV show gave in their "news" coverage. As a writer of historical fiction for younger readers, I try really, really hard to get my facts right, and to slip them into my (fictional) narratives. Today, for example, I was looking again at a map of Melbourne in 1900 to make sure the Fitzroy Gardens were called that at the time. Yesterday I spent more than half an hour tracking the history of the Church Street bridge across the Yarra River. Because I didn't want my characters driving their buggy across a bridge that didn't exist back then.

I'm sure all of the Our Australian Girl writers do the same amount of research as me. When I work on my big pirate novel, Pirate X, I try my hardest to make sure the information, which is the very real background, is as accurate as I can get it. It continually astounds me how people put up with the shoddy, inaccurate reporting that our commercial channels dish up as "news". Is turning off the TV enough of a protest? I don't think so. So I emailed them. And silence was the stern reply!

When the Bestseller Eclipses Your Other Books

2011-01-30T16:45:00.003+11:00

Today I finished reading Lionel Shriver's novel, So Much for That. I had wanted to read it for a while, simply because I loved We Need to Talk About Kevin (which is about a fictional school massacre, told by the killer's mother in letters). The thing was, I'd read several reviews of So Much For That, and all of them had been quite lukewarm. It's the kind of thing that puts you off buying a book, sadly, and so I got my copy from the library.

Of course, it's not the same story. Kevin is an amazing novel that had me engaged and stunned (in equal parts) from the beginning, not just for the subject matter but also for the insights, the style, the depth and its ability to really, confrontingly, make you think about what it means to be a parent. It was a book that stayed with me long after. But So Much For That has the same depth, the same lingering after-effects. It deals with, among other things, what it's like for a family with a member dying horribly of cancer, and the cost of the US health system and the farce of their health insurance system.

The characters are very real, with many flaws, but never unlikeable. No, this book didn't have the same impact on me that Kevin did, but I still thought it was terrific, and didn't deserve the lukewarm reviews. Is this the legacy of a bestseller?

I thought about different bestsellers that I'd read - Cold Mountain, The Shipping News, Snow Falling on Cedars, The God of Small Things - and what having a major bestseller means to the author's other books. Even if they've sold well before, or there had been other good ones since, somehow they all pale against The Big One. I've read lots of author interviews and what comes through a lot of the time is a weary impatience that this should be so.

It must feel like having several children you love equally but all anyone ever asks you about is the one who won an Olympic gold medal! And if that major bestseller is your first novel, how pressured an author must feel to 'do it again', knowing that it's probably not possible. Still, if nothing else, the bestseller usually sets you up for a great many years of writing without having to worry about how you'll pay the next power bill!

A Writer's Nightmare - Hard Drive Failure

2011-01-23T11:46:00.002+11:00

It's been an eventful week here in the computer room. It started on Wednesday with what we thought was a virus. Several long, extensive scans later, nothing major showed up. And then my computer stopped working. It wouldn't start up and kept looping but wouldn't go any further than the motherboard information screen. Without going into boring details, we tried everything but to no avail, so a computer expert was called in. I found a company on the net called Geeks2U who promised to send someone the next day.

The verdict was a corrupted hard drive. Which meant a lot of stuff was lost. Including all of my emails. The tech guy got a fair amount back (and we extracted a lot more later with a different program) but basically I was faced with the nightmare that all writers dread - loss of files. I had been using a back-up program but it was set to automatic and if the computer wasn't on at that scheduled time, it didn't happen.

I'm lucky - I had seen several friends lose their computers and everything on them over the past couple of years, so I'd become a bit anal about losing my own stuff - that led to the back-up program and a new external hard drive. I really only lost a few things I'd been working on this week and was able to get new copies without too much trouble (from the editors). But what I may still have lost is all of my emails. I've seen people discussing the email issue online before. For some reason, most email programs are notoriously hard to back up because of where the actual In and Out Boxes and folders are kept (nowhere logical to me).

A couple of people have said I should be using Gmail, where everything is kept on the server for you. But I don't like the Gmail interface (and I hate Outlook too). I'm confessing to being a dinosaur in this area because I still use Eudora! It's simple, it shows me everything I need in the places where I put them, and I'm used to it. Now I need to decide if I'll keep using it. Sigh... With two books with editors waiting for my revisions and a dozen other pressing jobs to do, spending hours sorting out my computer now (or a new one) seems way too hard.

But it's my workhorse, my connection to the cyberworld, a cheap, convenient and fast way to do all the things I need to be able to do as a writer, including blogs and websites. And when all is said and done, at least I've been able to retrieve most of my files, unlike many people in the floods who will have lost the lot.
So have you had a similar disaster? What do you do about backing up? And is anyone else going to admit they still use Eudora? :)

Back-to-work Blues for Writers - Solutions

2011-01-16T13:18:00.004+11:00

Yesterday in "The Age" newspaper there was an article on all those people suffering back-to-work blues after being off over Christmas and New Year. It was interesting as the writer compared the "syndrome" with post-natal depression! And said that for some people, the normal feeling of being depressed about going back to work can slide into real depression and be dangerous. But the key thing, of course, is that the people who suffer the most are the ones that hate their jobs.

You would think this was a given - if you hate your job, then it's natural to feel depressed about going back to work after two or three weeks off. But most of the year, we understand that we need an income, we have to work, and we squash down all those feelings about our job because what's the point of moaning? The break, however, gives you time and headspace to realise how bad the job really is, and the thought of returning to it is even worse.

We're lucky in Australia that we have low unemployment at the moment, so if you really hate your job that much, it's a great time to look for a new (better) one. But for writers, there's more at stake - psychologically and logistically. (You knew this was going to be about writing sooner or later, didn't you?) These days, if you have a spouse who is willing to work and support you, and you're making some kind of income from your books, you get to stay home and write. And read. And think a lot. All of these are things that make you a writer, and help you be a better writer.

For those who have to work to pay the bills, I think one of the key problems is not whether you hate your job or not but how much it takes away from your writing. Obviously, it takes time away. 40 hours out of your week, more or less. Throw in sleeping (50-60 hours), eating and all that living stuff (12-20 hours), exercise (0-5 hours), there's not much time left for actual writing. Although there would be a heck of a lot more if you stopped watching TV!

So your holiday break could well have been days and days of slobbing around in your trackies and T-shirt, writing, reading, dreaming, thinking - feeling like a real writer for once! Suddenly, you have to be up early, dress nicely and be at work by a certain time. But more than that, for those 40 hours, your brain is going to be chock-full of work stuff. Paperwork, work emails, phone calls, people complaining, people wanting you to fix their problems, more paperwork ... No wonder some writers prefer to work on a building site or in a factory, where their brain isn't so overloaded with other people's words.

What to do about this? The first thing is probably to get a grip - the sooner you come to terms with the reality of this, the better off you'll be. Because then you will be able to look for ways to solve the problem. Here are some ideas:

* Get up half an hour earlier, don't talk to anyone, or turn on your computer. Read or write. You will be starting the day as a writer, and from there, it will all look much better.

* Take a proper lunch break (I need to work on this one). Get right away from your workplace. Find a quiet cafe or a park. Either write or read. Or edit something in your current project. Breathe. Daydream. Don't talk to anyone. Why would you want to? This is writing time, your time.

* Carve out one hour at night. If you have a family, tell them how much you need it and then make sure you get it. Start your hour with a few minutes of relaxation and breathing - don't just launch madly into trying to write. You've had a day full of eight hours of other people's stuff. Give yourself some time to let it all go. If you're having trouble, journal it away. Then write.

I think one of the things that can hurt us is putting too much pressure on ourselves. By maintaining the reading and thinking and dreaming, as well as the actual writing, you can hopefully keep your job where it belongs - in the job part of your brain, not the imagination and creating part. I'm sure you have other ideas on how to maintain your writer's life after you have to go back to work. Share them with us!

Our Australian Girl (TM) - book trailer!

2011-01-10T18:59:00.001+11:00

When a Story Just Won’t Gel

2011-01-07T16:06:00.001+11:00

I’m sure it’s happened to everyone at some point – you have a great idea for a story or a novel, and you start work on it. The initial idea is great, you can see how it might pan out, you make notes, develop characters … then for whatever reason, it starts to die on you.

Sometimes it’s because you leave it for too long and the passion fades, or you forget what made you think it was so good, so original, so full of potential. Sometimes it’s because it stops working on the page. You write and write, and it all feels like rubbish, or a waste of time. Or the vision you had for the story has turned into cottonwool or mud.

You leave it for a while, and a while longer, and it becomes harder and harder to get back to. You procrastinate, tell yourself you’re giving it room to breathe, and if you just leave it a bit more, it’ll bloom without you realising. You’ll come back to the beautiful plant you always knew it could be. You hope.

Sometimes you avoid it, revisit it, try to prop it up or inject it with a new idea, and nothing works. What do you do then? Abandon it? Yes, that always has to be an option. Sad but true. Maybe you just left it for too long, or maybe you beat it to death with too many meaningless words and boring characters.

But sometimes, when you least expect it, the original magic returns. You pick up the notes and the draft (what you have of it) one day and sit down with a coffee and suddenly, there it is again! This is what has happened to me over the past two weeks or so. A novel I have been working at for eighteen months, one that I thought had died on me, despite various attempts to re-energise it … I’ve found it again. Whatever “it” is. The characters are talking again, the plot has launched itself into more enticing waters, and I feel excited about it all over again.

Thank goodness! I really didn’t want to let this one go, but I couldn’t see what it needed. I’m still not sure why it came to life again, but I strongly suspect it’s because I’m not teaching and I finally have some truly creative headspace back. Now to make the most of it.

"Matterhorn" by Karl Marlantes

2011-01-02T19:23:00.003+11:00

Towards the end of the year, when holidays loom and I'm looking for some good books to read, I look through various recommendations on websites and blogs (after discounting all those pontificators who try to tell us they're going to read Evelyn Waugh or Eudora Welty on the beach). This year, it seemed like half the blog world was recommending Matterhorn: A Novel of the Vietnam War.

I have a friend who has been writing for some years about the effects of the Vietnam War on the families of vets, so this caught my interest. What would it be like? Gory? Over-inflated? Movie-like? I started reading "Matterhorn" on 27th December. I got 40 pages into it and stopped. Did I really want to read this? Could I bear to? The reasons for my hesitation? Already by Page 40 I could tell this was not going to be an easy read. It would be heavy, long, gruesome and probably really depressing. I wasn't sure if I was ready (sometime you have to be "ready" for certain books). I decided to keep going, mainly because already I had such a strong sense of setting and character, and also a sense that I was about to be taken on an unforgettable journey.

I finished it today around 2pm. I had brushed away tears more than twice, but more than that, I had been angry, astounded, gutted, marveling, head-shaking and shaken. It's only 2nd January and already I think this is going to be my top book of 2011 (anything else will have to be absolutely amazing to go past this book). No, I didn't enjoy this much. It's not light and fluffy. It's eye-opening. It made me wonder how any vet who fought on the front line in Vietnam came back even moderately sane. And it left me feeling despair about the overwhelming futility of war.

What's it about? Basically it follows the story of Bravo Company, most specifically a Lieutenant Mellas (although other viewpoints weave in and out of the story) and a disastrous couple of months in the monsoon season, trying to fight the NVC along a range of mountains near the DMZ. The author, Karl Malantes, apparently was a highly-decorated Marine and fought in the war, and it shows in the level of detail but also in the way he depicts each and every Marine as human and real. Nothing is simple, least of all a war fought behind a sham wall of politics at all levels. Malantes focuses on the Marines in the jungle, the insane missions they are expected to carry out, and the officers safe in their little command posts who have no idea of either the terrain or the conditions.

Like the Marines in the story, I wanted to grab those officers and strangle them, and it made me wonder if troops feel the same way in every war (like Afghanistan and Iraq). It apparently took Malantes 30 years to write this book. It shows, in that you feel all the way through that this is the work of his whole heart and soul, let alone those 30 years of writing and revision.
Yes, not an easy read at all. Every night I kept having dreams about it! But if you're up to it, you'll probably be like me and want to recommend it to everyone you meet.

The Advantages of Journaling

2010-12-29T16:34:00.002+11:00

I know there will be many of you who already journal and don't need to be convinced, but at the end of a long year, it has been lovely to rediscover the power of journaling and what it can provide. My friend, Kristi, journals regularly and uses the method as a way of sorting out her thoughts and ideas. Lots of writers do. Journaling is not about writing a first draft. It can be used for many things, including planning and goal setting, as well as just sorting out what's flying around inside your head.

I often suggest to students that they keep a writer's journal, where they can collect ideas and explore them. They look at me as if I'm crazy! With all the writing and assignments they have to do for the course, why would they want to do more? But it's up to you how you choose to use a journal, and what for.
Here are some ways you can make use of it:

1. Write in your journal every morning to clear your head of "life" and get ready for the writing day ahead.

2. Explore ideas for stories and novels - explore why the idea interests you, where it could go, what it means to you. Expand it without pressure - experiment.

3. Journal about your dreams and goals, and how you are going to achieve them. Explore possibilities, let your imagination roam. Often putting this stuff down on paper helps you to make it more real, and gives you a starting point for planning and action.

4. Use your journal to get rid of negative emotions and experiences that stop you from writing. Pour it out on the page and it won't interfere with your real writing.

5. Journal about aspects of your life other than writing. If you have a problem (like a job you hate but need), journal about ways you might get out of it. The more ideas you have, the more likely you are to find one that will work. Writing it all down is also a call to action.

6. Use your journal as a place to come up with new ideas. You can be more focused with this - look for writing prompts like this one at Writing World.

7. Use your journal as a way to record stories from your life. Include photos and mementoes as prompts for yourself. The pieces you like can form the basis of something to leave your family.

You may like to buy a book to get you started. A Year in the Life: Journaling for Self-Discovery by Sheila Bender is one (I haven't read this but her book on personal essay writing is great).

Do you journal? What do you use your journaling for?

Which Blogs Do You Read?

2010-12-22T18:41:00.002+11:00

Writer friends and I often discuss which blogs we read regularly, and why. As a teacher of creative writing (with a strong publishing industry focus), I read a lot of blogs by agents and editors. They're useful because they give an inside view on what's going on. An agent like Miss Snark (sadly no longer blogging but the archive is still there, and immensely valuable) can give new writers a very clear insight into what agents think, what they want, and what they don't want.

Some agent bloggers also provide lots of helpful information. Kristin Nelson has several 101 series of articles attached to her blog for writers. I'm sad to see that Editorial Anonymous, a children's editor, seems to have stopped blogging. Not sure why - hope she hasn't been laid off!! Publishing companies tend to have blogs that just promote their books, but other smaller ones provide great bonuses. The Monthly, which is a magazine here in Australia, has a section called SlowTV which is interviews and recordings of authors.

This year, for the first time, I've had to cut back on the blogs I read. It's been a time issue, as in "many deadlines, no time". I was quite surprised in early December when I realised how many blogs I'd stopped reading! Did this mean they were all useless and I was better off without them? Not at all. There were some that I'd signed up to (like Craig Harper and Seth Godin) whose blog posts came to me as email. A quick read and I was caught up, and often enlightened. Otherwise I would've cancelled them.

It's been nice to have time to do some catching up, and also to re-think which blogs I want to read regularly. The same with newsletters. This week I unsubscribed from three email newsletters, and might do the same with a couple of others. Basically, my needs have changed and those newsletters were no longer of interest.

What I'm interested in with you is this: how many blogs do you read regularly? Do you read everything you subscribe to? Which are the most useful ones to you? As we go into some nice down-time over the holidays, please share your favourites!

Writing Time in the Holidays

2010-12-17T17:05:00.002+11:00

Holidays are wonderful! While other people dream of beaches and sunshine and frozen daiquiries at all hours of the day and night, I check my pile of saved-up books and can't wait for the time when I can start on them. My brain is free of work stuff, and I'm able to finally focus and tackle books that at other times of the year seem "too hard". I'm planning to read, among other things, Wolf Hall by Hilary Mantel and Freedom by Jonathan Frantzen. I've got Matterhorn by Karl Malantes on order at the library, and Mockingbird by Katherine Erskine on order from an online bookseller (ready for when it's available in paperback).

I've also been stockpiling a few good crime novels, including some new Swedish writers, and the third Ranger's Apprentice book by John Flanagan. As I'm teaching Poetry 2 next year, I'm also reading poetry and delving into anthologies for gems to use in class. But with all this reading lined up, am I going to write as well?

The thing is that reading great books inspires me to write more than anything. I love to soak up all of those words and then go write lots of my own. I have two major editing and/or revisions to work on, so reading reminds me about sentences and language. But I also want to work on something new, and seeing books that other writers have written and rewritten (because none of them are going to be first drafts!) reminds me that putting my backside on the seat and writing is the only way I'm going to get a finished manuscript, too.

Funnily enough, even though holiday times are when we believe we have the most time to write, I can't tell you how many people admit to me that they ended up doing no writing at all! It's easily done - there are parties to go to, sleep to catch up on, family commitments, time with the kids, TV and movies to veg out in front of, video games, Facebook ... While telling yourself you really need that time off and you really need to do some family stuff etc etc, you can end up spending your whole time doing everything but writing.

Not trying to make you feel guilty, mind you. Just saying....

What Would You Tell a Reluctant Reader?

2010-12-15T19:30:00.002+11:00

Those of us who love books and love reading almost can't imagine a kid who doesn't like reading. "What?" we say. "What's wrong with you? How can you not love books?" Or if we don't say it, I know we're thinking it. I do, and I see kids all the time in schools who are just ho-hum about having a visiting writer, and shove the books aside while making out books are just dumb.

Because who wants to admit they feel dumb? You know how many kids actually aren't very good at reading? When everyone else is doing it just fine, how would you feel if you were the one the teacher had to hassle about books, about how little you read, about how far behind you'll get if you don't read more? As reading adults, we wonder how on earth these kids could possibly not be able to read (apart from the ones who have dyslexia or eye problems, perhaps).

We're doing that adult-arrogant thing again. Sigh. Assuming everyone else should just go with the flow. Forgetting totally what it's like to be small and not good at something. How you'll do anything to cover up, including insisting you hate reading. The teachers and librarians who said Harry Potter books were great, simply because they got kids reading who hadn't read before - they were right! Very often, once a certain level of ability and confidence is achieved, what a kid needs to get them into reading is ... a book they fall in love with.

Not a "required reading" book or one the teacher insists on. No, one they discover themselves, either by accident or because some keen adult decided to give them a certain book and it is just the right one!! So ... if you had a reluctant reader in front of you, what would you tell them? What book/s would you recommend? What would you buy them as a gift this year?

My first pick would be the Ranger's Apprentice series by John Flanagan. I recently read the second in the series and think it's great for 10-14 year olds (yes, even girls who want a bit of action!). I've had Diary of a Wimpy Kid on my reading pile for ages now and never got around to reading it (soon, soon) but it's very popular and with the cartoons in it, might hit the spot for a 10-14 year old boy.

For girls (especially if you want to get away from the endless awful fairy books), try the Billie B Brown books by Sally Rippin. They're active and exciting and good for readers 6-9 years. I also always recommend Aussie Bites and Nibbles, because the two series have lots of different authors and a wide range of stories accessible to kids from six through to nine or ten.

Now, if you've got kids (or if you're a keen reader of kid's books), what would you recommend for that reluctant reader? And why?

Books I'd Recommend for Christmas Gifts 2

2010-12-12T19:26:00.002+11:00

This post is about poetry, and more novels for adults. This year I discovered Chase Twichell's poetry, via the journal from the Association of Writing Programs - the article quoted lots of bits from her poems, and I liked so many of them, I bought the book. I'm savouring a few poems each day, which I think is the best way to do it.
The title is Horses Where the Answers Should Have Been (Copper Canyon Press, 2010).
I always recommend Billy Collins and I'm currently on my third re-reading of Sailing Alone Around the Room and am very excited to see a new collection, The Trouble With Poetry, is being released. The title poem is one I use in my poetry classes all the time!

Black Inc has released its end-of-year collections, The Best Australian ... Poems, Stories, Essays. (OK, I confess that I'm in the Stories collection!) These are excellent gifts for readers of each form, and always provide a wide range of voices and subjects. Also released are the American versions, and I buy the Best American Short Stories as soon as it's available here. I like it because the stories are so different, a mix of experienced (such as Alice Munro) and new. I often end up using one or two of these stories in class. This year's is edited by Richard Russo. If you want something different, try Best American Science and Nature Writing - marvellous.

You may have missed Nam Le's The Boat, but it would have been hard to do as it won so many awards. It's great to see short fiction writing coming back into favour at last. Check out the short fiction section at your independent bookshop! I'd also recommend Cate Kennedy's Dark Roots - it's been out for a while but is a wonderful collection of stories.

My other fiction recommendation to finish with for now is Caroline Overington's I Came to Say Goodbye. I was sent this ages ago as a galley copy to read for review, but never got around to commenting on it as it took ages to actually be released! But I loved it. If you'd told me it was a book narrated mostly in flashback by a 60+ year old man, and dealt with child abuse and poverty and a host of other social issues, I would've maybe said 'no thanks'. But Overington's narrator is so engaging and convincing, and his story is so real, that I couldn't put it down. I wasn't surprised to read later that the author was a journalist who reported on these issues extensively - it shows in her commitment to creating a story that strikes at your heart without preaching. An excellent accomplishment!

Books I'd Recommend for Christmas Gifts

2010-12-08T17:46:00.002+11:00

Every year, the literary pages in our newspapers here publish big double page spreads where well-known Australian writers give their recommendations of what to read (or give) for the holiday season. And every year I look at their lists and wonder if they are serious. They nearly always list the most literary or obscure books possible, which makes me wonder if they're being honest or just trying to sound intelligent! Occasionally, someone (often a crime writer) will list books that actually sound both readable and enjoyable.

My big thing this year is to try and encourage as many people as possible to give books as gifts, instead of lawn mowers or scented candles or plastic toys. So I thought I'd better give my recommendations, which I have simply picked off my pile of books I've read this year and enjoyed. And if you aren't sure what a person might like, try giving them a book voucher/card instead. If you want to buy online, fine, but maybe also try to buy at least one book from an independent bookseller.

Crime/mystery - A Beautiful Place to Die - Malla Nunn - set in South Africa in the 1950s, it is a great portrayal of life there at that time as well as being a good mystery
61 Hours - Lee Child
Blood Moon - Garry Disher (set on the Mornington Peninsula near Melbourne)
The Broken Shore - Peter Temple (I know Truth won all the awards but I liked The Broken Shore better)
Blood Sunset - Jarad Henry (also set in Melbourne but with bushfires as a backdrop)
Bleed For Me - Michael Robotham
Much as I would like to, I can't recommend the latest Val McDermid, Trick of the Dark. Waaay too slow.

Fantasy - I discovered Joe Abercrombie's books a while ago - I guess they're fantasy but they feel historical - great warrior action scenes and fascinating characters.

Historical - if you love details and descriptions totally based in great research, Conn Iggulden's books about Genghis Khan are terrific. The first in the series is Wolf of the Plains.
I'm also halfway through Bernard Cornwell's Azincourt but the detail and descriptions overpower the characterisation a bit too much for me. Others will disagree.

This year I have also fallen in love with Kate Atkinson's novels. I read Case Histories because it was labelled 'crime' at the library, but it's so much more than that. The recurring character, Jackson Brodie, appears in all four books, but shares the stage with a wonderful range of other characters. The plots weave in and out, and I'm never disappointed. Now I'm heading for her other novels.

YA fiction - If you want something really unsettling and creepy, Mice by Gordon Reece just blew me away. One book I could not put down.
With the ongoing, neverending hype about Meyer's vampires, I was very hesitant about Shiver by Maggie Stiefvater, but it completely won me over and even made me cry. Leaves Liar by Justine Larbalestier for dead.

That's enough for now. I'll consult my book pile and add more another day!

Writing in Hong Kong and Shanghai

2010-12-03T19:24:00.006+11:00

Where you go in Shanghai if you want a novel!
Wen Chang, the Chinese god of Literature (this is from the Temple of the City God in Shanghai).
The ultimate window display - a pair of shoes that should come with the warning - Do Not Drink and Attempt to Walk.

Yes, I've been away. Mostly in Hong Kong, but also in China, where I discovered that I couldn't log in to either FB or Blogger. So I had to spend my time going out and visiting some amazing places instead (I'm trying to be apologetic...).
But while I was away, I did manage to finally get to the 50 big ones in NaNoWriMo. It did mean not watching TV the whole time I was in Hong Kong, but as 99% of the channels were in Chinese, I guess it wasn't so hard!
All right, I lie. It nearly did me in, but it's the first time I've finished as a winner and even thought I know I have to throw this novel away and start it again, I've learned a huge amount about what not to put in the story!

Hong Kong 1

2010-11-22T11:03:00.004+11:00

This is Day 8 in Hong Kong and I feel like I have been here for several weeks! It's been incredibly busy but excellent in so many ways, starting with all the great schools I have been to. Very often I do author talks, which are a lot of fun as you never know what the kids are going to ask you. One day I'll make a list of the most unusual questions.

But this time I am doing mostly writing workshops, many of which are poetry. It's been so good to see them all (even the ones who have never, ever written a poem) tackle the exercises I've been giving them, and coming out with some great poems. I've also been doing story writing with a wide range of students from Grade 5 up to Year 12. The photo above is a class of Grade 5s at the Canadian International School, all busy on their story beginnings.

Schools here in Hong Kong are multi-storey - I don't think I have been to one that is all on one level, like most Australian schools. Neither are there expansive playing fields, gardens, huge gyms, etc. There isn't room. (Above is the view from the classroom door at a school I visited last week.) One school I've been to here spanned about 15 floors down the side of the hill (lots of hills and mountains in Hong Kong), and most are at least 6-8 floors, with basketball courts on top of car parks or school buildings. But the kids adapt - one day I kept interrupting a very serious game of 'What's the time, Mr Wolf' and got frowned at!

All of my classes have wowed me with their willingness to write whatever I set them, whether it was an ususual poetry exercise or the beginning of a story. And lots of them were brave enough to read their work out, too! I hope they all keep writing and having fun with it.

NaNo - Writing in the Cracks

2010-11-10T19:01:00.002+11:00

I've surprised myself. I'm up to 21,000 words and still going with NaNoWriMo. I'm not even sure how! Maybe because this is a book that has been in my head for 2 years, and I'd already had one disastrous attempt at it in another form. I can sense that, as I write, I am padding enormously. Putting in heaps of description and character stuff - thoughts, dialogue, emotional reactions - that might well come out later or be trimmed. But isn't that the whole point of NaNo?

It is for me. It's the chance to break new ground, to get stuck into a whole new project or even (although I know it's kind of cheating) to finish that book-of-the-heart that you've never been able to before. About three years ago I used NaNo to rewrite a novel I've been working on for about 9 years. I didn't look at the old draft at all. I sat down and started it as if it was completely new. Lots of stuff came out that ultimately was really useful. That book is now on its way to being published. No, it's not a NaNo book as such, but NaNo helped me get a whole new perspective on what it could be.

I'm about to head off to Hong Kong. I have (by my calculations) about five days in which to write as many words as I can. After that, teaching and consultations take over and I am so brain-dead that writing is almost impossible. But I will keep trying. If I can get past 35,000 by Monday night next week, I might have a hope of snatching time and head space to finish the big 50.

Often that is what NaNo becomes - a frantic search for the cracks in your life. The 15 minutes or half an hour in which you can madly type (like I did in my lunch hour the other day), or that hour before bed when you firmly turn off the TV and write. If nothing else, I think NaNo teaches you that you can write anywhere, any time, if you really want to!

The NaNoWriMo Race

2010-11-02T09:26:00.002+11:00

I spent most of October trying to decide if I was going to do NaNo again this year (all right, not most, just a few moments every now and then!). That's the thing with NaNo - it's easy to build it up into this huge thing when the whole idea of it is to simply write. And write. And write. For the past five years, November for me has meant Hong Kong. I go there for two weeks or so, teach lots of writing classes, run training seminars and do school visits. It's pretty full-on, and although I try to write, by the end of the first week, I'm kind of short on headspace for writing.

So the question for me is: how many words could I write in two weeks? Can I get such a good head start on NaNo that I could coast the last two weeks? If you've ever done NaNo, you know the answer to that is nearly always NO. So I know from the outset that I'm unlikely to reach the 50,000 words. That would be enough to put off a lot of writers I know (the ones who stay up all night on the 29th to get to their 50 big ones).

But I see NaNo as an opportunity to launch into a whole new project. To obsess about it for at least 15 days, to get a huge amount of words written that I otherwise wouldn't manage. It's the focus of NaNo that works for me. When you have to write every single day, and write as much as you possibly can (no measured 1667 words a day for me), the story fills your head. You go to sleep thinking about it. You wake up thinking about it. This morning I woke up and thought about my story and realised I'd left out a crucial element in my first chapter. So today my first job is to go back and weave it in (that'll give me another 300 words or so!).

Are you doing NaNo this year? How are you going? Did you get off to a roaring start? Share your thoughts!

The Littlest Pirate on YouTube

2010-10-29T16:24:00.001+11:00

Finally managed to get the Littlest Pirate book trailer finished!

Do You Lend Your Books?

2010-10-24T10:18:00.003+11:00

Once upon a time, my books were my books. Even ones I wasn't particularly fond of were still mine - that meant I would never lend them to anyone. Ever. Why not? I think I just had a thing about owning books (no, I didn't have lots of my own books as a child). Perhaps because I'd been a librarian, lending out thousands of books every week to everyone, and seeing the state they came back in - if they came back at all - maybe that made me paranoid!

But gradually I met up with lots of writers who felt the same as me, and cautiously I entered into an agreement whereby we would very occasionally lend to each other and return the books as soon as we could. Anal, I know. But not unusual, from what I've heard. When I started buying writing how-to books, which were often very expensive, I "teamed up" with my friend T, a writer and teacher like me, and we decided we'd try not to duplicate books and build a joint library, and lend to each other. This has worked really well, and if we borrow one that we end up loving, we can then buy our own copy.

But I was still loathe to lend my other books, the ones I'd enjoyed and planned to read again one day. Because lots of people forget to return books, and unless you keep a list (anal again) how can you remember who has what? Then the prices of books starting rising, and rising, and rising. Currently, a new trade paperback is around $36 (yes, if you live in the USA you can start hyperventilating now). A mass market paperback is around $22-25. Don't even ask what a hardback sells for - all right, it's between $45-50.

I have cut down the number of books I buy simply because of cost. I am going to the library a lot more. But at the end of the tax year this year, when I added up my receipts, I had spent around the same amount as in previous years - but I knew I'd bought fewer books. One of the results of all of this, strangely enough, is that I've started lending! Somehow, I've come to the conclusion that if a book is going to cost me that amount of money, I want to make better use of it. So rather than stick it on my shelf and let it collect dust, I'm lending.

When it comes to ebooks, I think this might be the crucial make-or-break factor - whether you can lend your ebooks to friends. I see that Amazon are already looking at a scheme where you can lend your Kindle book to a friend for two weeks (and then I think they rip it back off you - which I think is a very weird strategy and will backfire on them).

So what about you? Do you lend? Who to? Do you keep lists? Do you borrow? Are you a chronic non-returner?! Or are you a hoarder/non-lender?

Creating Original Characters

2010-10-17T16:26:00.002+11:00

This morning I was reading the Sunday newspaper and various magazines that come with it, and found an article on sweet food. Everything from the cake shops Melbourne is famous for to city walks that take in gourmet food shops. Maybe it was because I'd just had breakfast but somehow the cupcakes and chocolate fountains looked very unappetising. Why would you eat a cupcake just for the super-thick icing? Why would you walk around the city just to eat yourself silly on chocolate or cream cakes? Before you throw something at me, I realise that most people wouldn't have a problem with either of those things!

Then I got to thinking about characters - one who couldn't stop eating cupcakes and chocolate, and one like me who couldn't be bothered. The big question is Why. If I was a fictional character, I could tell you (if it was part of the story) that I grew up on a farm, hence my aversion to cream. And that a long time ago, to earn extra money, I spent three weeks making hand-crafted chocolates and it took me five years before I could face chocolate again. Just the smell made me feel ill. And even now, chocolate and sweet stuff are not my things.

Why can't that other character stop eating chocolate and cupcakes? Is she compensating for something she's missing? Is she lonely? Is she addicted to sugar? (I know a couple of people like this.) If she was my character, I'd need to know all of that, and more. I'd want to know how she feels about the people who stare at her, how her mother treats her, if she's married. Was she a fat kid? (Been there.) As for my anti-sweets character - is she anorexic? Is she diabetic? Was she a fat kid? Was she Weight Watcher of the Year a while ago?

I confess I think about this stuff a lot, especially while watching TV. Nothing annoys me more than characters in TV shows who have no depth, who are just walking through the story like a cardboard cut-out. (OK, one thing annoys me more - my husband walking in halfway through a show and saying a character is stupid because he hasn't seen the set-up!!) British shows seem to do a great job of complex characters, ones with flaws and inner conflict. That's how we get more than just the plot - we get character arcs, and characters we empathise with.

At the moment, there is a new show on the ABC called Luther. He's been in trouble before the show starts, and things don't improve for him at all, but he is good at his job - police detective. He's the kind of guy who observes others very closely and can work them out, but can't work himself out. He's an uncomfortable character to watch, but you persevere in the hope he'll change and grow, just like you do with characters in a novel.

I also watched the last episode of The Bill (I haven't been a regular watcher, but it was the last). And marvelled at the way each character, in quite a large cast, was an individual. I had no idea of their names - it wasn't that important, really. It was more about how each one reacted to a horrific crime, and what they did next. It reminded me of another key element about characters - their need or lack. I often talk to students about "what your character really needs or wants" and forget about the other half of the equation - what is the lack inside your character? I'll return to my current work-in-progress with that question to answer.

Resistance to Reading

2010-10-10T12:16:00.003+11:00

Last week I requested a book from my local library - a historical novel - that was set in an era close to one that I'm researching. I was curious as to how the author had gone about weaving the historical detail into the story. It's something all historical novelists wonder about, I think - how others do it! But I'm struggling with this novel. I've read about 50 pages so far, and I feel like nothing has happened. There has been plenty of detail (that I examined with my writer's eye!) but the main character and the story are just not grabbing me.

When I get to this point with a book, I ask "Is it me?" Am I just not in the mood for it right now? Usually I know. I put aside The God of Small Things for nearly a year because I knew I wasn't in the mood for it - it was going to be a book that would require concentration that I just didn't have. When I did finally read it, I loved it. So it's a question worth asking. I've been reading a wide range of stuff lately, so I know it's not that I'm wanting more crime fiction (I can get on a roll with that and read ten in a row).

I think the problem with this particular novel is that it isn't offering me anything substantial. I have a writing book on my shelf that talks about how "a story is a promise". While we hear things like hooks and story questions talked about - in terms of that first chapter - what we really want in a novel is the promise of a great story and interesting characters, and I think this one (so far) is letting me down on both counts.

The main character is passive and her secret passion feels boring and derivative, and the story promised in the blurb is still a long way away from me, even after 50 pages. Maybe I'm too impatient, but I'm about to give up on it. I'm resisting any more pages because I don't want more of the same. But ... this got me thinking about how kids read. How does a child feel when they are expected to read a book, expected to enjoy reading, and yet find it a total chore?

Imagine everyone around you kind of watching you read. Teachers, parents, maybe siblings or friends. You're probably not too good at reading, but you know you're expected to do it, and do it well. But when you try, nothing interests or excites you. The grownups keep telling you that you just have to find a book you like. You think, How hard is that? But every book you take off the shelf is boring or stupid or has a lot of big words that you don't understand.

So you pretend to read and hope one day it'll happen for you. And maybe it will, or maybe it won't. There are lots of kids in your classroom and the teacher leaves you alone if you're pretending to read really well. As an adult, I have the option of throwing a book across the room if it bores me. As a kid, you have to read whether you like it or not. At this point, I think is it any wonder Andy Griffith's books sell so well? If you're resistant to reading, and suddenly there's a book that's rude and funny and makes you laugh out loud, and makes reading something you can do and something you WANT to do, wouldn't you want more of them?
(And no, I'm not going to say which book is going straight back to the library because it probably is me!)

Set Yourself a Writing Challenge

2010-10-06T18:27:00.002+11:00

Every year for the past five years, a teaching colleague and I have set off for Hong Kong, where we teach writing classes, run PD sessions, do lots of writing consults/critiques and I do school visits. Our aim is simply to get people writing - any kind of writing. Last year we did a session on writer's block - this year we're taking HK writers on a writing walkabout. It's all about challenging people to think differently about their writing, to break out of "rules" and "shoulds" and enjoy the process and the ideas generation experience.

Last year, we set up a writing challenge - write one page a day for 28 days, and report in weekly by email. We had eight writers take it up, and when we arrived in HK, we got together and compared notes. It was a lot of fun, and many of the participants said they'd written a lot of pieces that otherwise might never have seen the light of day! I've tried similar things on my own. Once I bought a small school notebook and wrote a poem every day for 28 days. Yes, some of them were awful, a few were OK and a few were worth working on.

What surprised me the most was that, several years later, I found this notebook and realised that more than half of the poems I'd written had re-emerged later as new poems - or should I say, I'd thought they were new poems, but in fact I'd written a very early draft of them during the 28 days. Nothing is ever lost! It's simply filed away in your brain somewhere.

Now, of course, the ultimate writing challenge is gearing up. The conversation among writer friends is about "Are you doing NaNoWriMo this year?" Nano is the National November Write a novel in a Month frenzy. Last year, a friend who usually only writes short poems spewed out 160,000 words in the month! Others are inspired to write whole drafts of novels they've been thinking about for ages. Sometimes a writer will sit down and something completely new and unexpected will come out.

One day, that'll be me (the unexpected one). For now, I'm actually working on a different Challenge altogether. It's Angela Booth's 100 Day Challenge, working on nonfiction. I only have to do 20 minutes per day (I won't bore you with my list of tasks and goals) for 100 days. Let's see, that's ... 2000 minutes of writing, which is 33.33 hours, to be completed by 1st January 2011. Not 50,000 words in one month, but I figure I'll get just as much out of it, and along the way I'm cultivating the writing habit.

So if you feel as though your writing has been stagnating, or you're blocked in some way, the best strategy for moving yourself up and out of there is a challenge. Buy a notebook, commit to writing a page a day (or a poem a day) for 28 days, and stick to it! You will be surprised at what happens. Give it a go.

How Historical Does Fiction Need to Be?

2010-09-29T16:15:00.003+10:00

This seems to be my year for writing a lot of historical fiction, mainly the Our Australian Girl series, but also a big revision of my pirate novel, Pirate X. I have one book about writing historical fiction on my shelves but it's old and pretty useless, so I was interested to see a new one out - The Art and Craft of Writing Historical Fiction: Researching and Writing Historical Fiction by James Alexander Thom.

I've only just started reading it, but already he's saying some interesting things about what historical fiction is, and what history is. A few years ago, there was a bit of a stoush about Kate Grenville's book, The Secret River, with historians complaining that she'd taken liberties with "the facts". Thom makes some good points about this, such as:

To be blunt about it, much of the history of many countries and states is based on delusion, propaganda, misinformation, and omission.

Certainly, I think people now realise that, for example, in war that the history is written usually by the victors. And that the history of women and the poor is almost non-existent because scholars and historians of the time believed it wasn't relevant or important. Thom also says:

A good historical novelist has the same obligations as a good historian: to convey a truthful history, not perpetuate pretty myths.

He seems to be the kind of historical novelist who prides himself on deep research and accuracy, and perhaps that's a choice you make when you write historical fiction - whether you are going to stick to the facts you discover, or make history fit your story/plot.

I'm sure you've heard the saying, "Never let the truth stand in the way of a good story". With some historical fiction, it can be more a case of truth hampering a well-constructed plot. There's nothing worse than a plot that ambles along in a series of small episodes that don't ultimately go anywhere, and sometimes history is like that. Life does just trot along. Perhaps the key is in choosing a period in history where there is some cataclysmic event that you can lead up to, that will be your natural climax. From there, you have to make sure your characters also have the same rising arc in their personal journey through the story.

In revising Pirate X, I used, as extra research, two new books that hadn't been published when I wrote earlier drafts. I decided to take the new (different) material into account and change my story, but ultimately what I really focused on was the characters and how events affected and changed them. I think there is a spectrum in this genre - at the one end you have HISTORICAL fiction, where the author sticks absolutely to the facts and can cite a bibliography.

At the other end is historical FICTION, where history is a background but the author adapts if necessary. Pirate X is much nearer the first than the second, but I have quite a few imaginary characters in among the "real" ones. The key for me is to try to imagine what it was like back then, to imagine myself into my characters, and see through their eyes. That's the real challenge for a novelist.

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Novels for Research

2010-09-24T16:30:00.002+10:00

The other day, someone asked me if I ever read novels as part of my research, and my answer was, "Yes." I know some writers would throw up their hands in horror, because there's always the spectre of accidental plagiarism, or the suspicion that you'd possibly end up writing more like the novelist than yourself. But I read lots of books all the time, of all kinds - it's when you stick to one author that problems like that can arise.

So why would I research by reading fiction? The same reason I watch movies. The atmosphere. The setting. A good writer takes me into their imaginary world (even if it's based on fact - which most historical fiction is) and helps me to imagine my characters in a similar world. For me, it's another version of actually going to that place. I was lucky to be able to go to South and North Carolina this year to do more research for my novel, Pirate X (due out in 2011).The trouble was that much of the coastline is now filled with houses and tourist developments, but it still helped when I found an isolated area to imagine it all looked like that once.

However, I wasn't able to go to Nassau, and I'm sure it looks nothing like it did in 1717 when it was a pirate hangout, filled with tatty tents, garbage and empty bottles! However, I did get hold of an old copy of James A. Michener's Caribbean, and skimmed parts of that for a sense of place. I did the same with sailing ships by reading some of C.S. Forester and Patrick O'Brian, and watching the Hornblower series and Master and Commander. I also crawled all over the Endeavour replica ship in Darling Harbour, Sydney.

Some time ago, as part of my research for a completely different story, I tracked down a copy of The Scourge of God by William Dietrich, which is about the Romans and Attilla the Hun. The level of detail and description in this book is astounding, and when I later visited Toulouse, it gave a whole new resonance to what I saw in the museums there. Historical fiction for me began (as it did for many readers my age) with Georgette Heyer, Mary Renault and Anya Seton, among others, but books like Dietrich's go far beyond these in terms of historical detail. I often read something that leads me into new research, and books with good bibliographies are even better.

Authors like Dietrich and O'Brian also remind me that surface research never works - that there's always more to discover, if you persevere. Occasionally Wikipedia has led me to something useful (usually if the entry has a good bibliography), but more and more I'm going back to books as my best source of the kind of in-depth information I need. What I'm finding the internet useful for now is images! I use old photos and images and maps a lot, and these can be both easier to find (thanks to library collections) and more valuable for things such as finding an image of a character.

Currently I'm working on the Australian Girl series, and I now have a collection of old photos I've printed out of children around 1900. In those, I have at least three characters - when you know your character really well, you can look at photos and think, Yes, that's Abigail. She doesn't usually look that tidy, but I think her mother made her dress up for this! It's a lot of fun to do it this way.

SCBWI conference - Sydney

2010-09-22T09:04:00.004+10:00

It certainly was a great conference, with lots and lots of authors talking (dinner each night was incredibly noisy!), meeting each other for the first time after being FB friends for ages, meeting publishers and editors who turned out to be completely human and nice (!), and plenty of information to send you home with your brain reeling. In Australia we tend to cross paths with each other in all sorts of places - above are two fellow authors that I've met in Canberra, in Sydney and online - Mo Johnson (L) and Tracey Hawkins.

This is Nette Hilton, whose latest book, The Innocents, was launched at the conference. Everyone who's read it says it's creepy (in an excellent way!).

And this is the line-up of publishers who shared with us all sorts of information about the process from submission to bookshop. I think the part that had most authors feeling a bit stunned (the "pre-published" ones anyway) was the list of things, in their own words below, that you must not do:
* do not ring/call me
* do not tell me everyone loves the manuscript
* do not tell me it will win awards
* do not send it to me if I don't publish that kind of book
* do not send me gifts of any kind!
* do not put stuff in your envelopes, like glitter, fairy stars or sand!
DO:
* read the submission guidelines and follow them
* your research so you know what I publish (one publisher said 95% of what she is sent is not what she publishes - that is astounding)
* send your best writing
* only send when the manuscript is REALLY ready - many people submit too soon (often sending what is really a first draft)

And the quote of the conference? From the lovely Susanne Gervay who had everyone in stitches: Plaigiarism is good because it guarantees good writing. (She really was joking!)

Barbara Trapido and non-plotting

2010-09-16T15:27:00.002+10:00

Having listened to a number of authors talk about their writing over the past few weeks, I thought I'd heard every variation of "to plot or not" - until I listened to Barbara Trapido talk about her process. Her descriptions of how she writes a novel started with "a habit of talking to made-up people" and then writing down their conversations. No plot. No idea of a plot. Just lots of pieces of characters and conversations that gradually fall into patterns, and then into a story. She says they are puzzles that fit together rather than plotting.

For her, the characters are the plot. The story is there "under the water somewhere" and if the characters are well-realised enough, it will come together. She also said "your brain is grinding away and making this intricate spider's web in which everything connects". But she admitted that she finds chronology the biggest headache - where characters go and when, the plans of houses, moving people around. I think this involves a huge amount of trust in your subconscious, believing (or perhaps knowing after doing it for a long time) that it will all work out. She did originally throw out bags full of pages before things started to work with her first novels.

I also went along to a library event this week with crime writers, Michael Robotham and Malla Nunn. Often crime writers are the ones who will talk about plans and plots and clues and red herrings, but both of these writers said they have no idea what will happen next - they just keep writing. Michael said often he'll be about 10,000 words from the end of the novel before he starts to see what the ending might be. He also said he's written 30,000 words of something and had to throw it out.

The seminar I went to with RJ Ellory and Peter James was like an extended conversation rather than a class. Ellory keeps a notebook of what he has written so far - events, characters, etc - but he also doesn't plan ahead. Several authors mentioned Jeffrey Deaver who apparently writes 150 page outlines for his novels! I have to say that I need to know where I'm going in order to write. I might change my mind, because all kinds of things can happen as you write, including characters who take unexpected turns and detours or reveal new information. But I diagram what I think will happen, and keep it as a safety net.
What do you do?

Louise Welsh - crime fiction writer

2010-09-08T09:24:00.002+10:00

Melbourne Writers' Festival - Session 4

Before this session, I'd read one of Welsh's books about a guy who performs as a magician-come-illusionist. It was one of those unsettling books, in which the main character is not very likeable and you end up feeling sorry for him more than anything. So I wondered what the author would have to say. Firstly she talked about the issue of being sensationalist as a crime writer - how far do you go with the blood and gore? And what ethics should we have as writers? She didn't really answer it for herself, but crime does has a broad range of subgenres, so it's up to the reader.

She said that she thinks all crime novels are quests, both internal and external, for the main character, and she likes the idea of a character going off into the wilds (probably mentally as well as physically). All of her main characters so far have been male, but her comment on that was that putting yourself inside another 'person' is a huge leap, so changing gender is not that much further. She was asked whether there was a continual challenge to be innovative, and she said most writers don't think about that - but I had to disagree with her!

She likes to use historical objects, and touch them, as a way of reaching back into the past. In the same way, her characters are reaching for the truth but it's not always possible. A book takes her three years to write, but the level of intensity changes. The last 6 months are intensive, but the first year involves a lot of thinking. She's become more of a planner, and spends a lot of time laying the foundations of the novel, using mind maps and taking lots of photos.

She did a Masters of Creative Writing and then joined several writers' groups early on. She had two short stories published quite quickly, then nothing for ages, and finally her first novel. The degree gave her the confidence to keep writing and sending out, and helped her to take her writing more seriously. This was a fairly interesting session, and her new book, Naming the Bones, sounds interesting, so I might give it a go!

Bryce Courtenay in conversation

2010-09-05T16:52:00.002+10:00

Melbourne Writers' Festival - Session 3

I had a gap between two sessions and decided to go and listen to Bryce Courtenay. I haven't read one of his books for years, but I admire his hard work and tenacity, and he usually has something entertaining or thought-provoking to say. This session was certainly both, and included Bryce lying and crouching on the floor, and acting out some of his stories. He is a great storyteller, and believes that without stories we have nothing - stories of the past are what we're all about.

But he also feels we have become self-indulgent - that too many authors turn inward and write about themselves instead of going out and writing about the world around them. He believes there are many stories still to be told about Australia and who we are. When asked about the children of today, he said "everything I was taught at school has proven to be wrong". Yes, there is too much information around - for adults. Kids are the new generation and are able to take it all in. This generation is the brightest there's ever been. A further question on reading, and he said he thought kids shouldn't be given reading lists, but needed to be guided to lost treasures and special books they might otherwise miss.

He takes research for his books very seriously, and spends $100,000 a year on it (last I heard, he had four researchers working for him). He believes in writing stories that stick to the facts, and never changes history to suit his story. There is always someone who knows, and will tell you if you have even the smallest fact wrong. He loves language, and had read all of Dickens by the age of eleven, and loved the words he used.

He feels descriptive narrative is dead because of the visual world we live in. You don't need to spend pages on description because readers now imagine so much. You should only describe the things in your setting or story that are unique. The writer writes two thirds of the book, the other third is written by the reader when they pick it up and read it. He has never written for money (after being in advertising, he didn't need to) - he writes because he wants to know for himself. He likes to write chapters of about 28-30 pages, just long enough for someone to read one in half an hour before they go to sleep!

Two pieces of advice he had to offer:
1. Never leave the spoon in the sink when you're going to turn on the tap (in other words, think ahead).
2. Listen with your eyes.
I didn't leave this session wanting to read any more of Bryce's books, but I did take away a strong sense of a man who is passionate still about his writing, and cares very much about stories and language and readers.

Nicholas Shakespeare

2010-09-03T17:06:00.002+10:00

Melbourne Writers' Festival - Session 2

Usually I choose sessions at the festival with writers whose books I have read. This year, I went for a few writers I didn't know, and tried to read at least one of their books beforehand. With Nicholas Shakespeare, I read Secrets of the Sea and around 60 pages of In Tasmania. At first I thought Tasmania was all he wrote about! But he began by talking about his latest book, Inheritance, and how the story was given to him by Murray Bail who read about it in a lawyer's office. In a nutshell, a young man accidentally attends the wrong funeral and, by signing the condolence book, ends up inheriting a large amount of money from the dead man.

I can imagine any writer leaping on an idea like that - it appealed to me, too. (Yes, I bought the book!) He said that he thought that this gift of a story meant it would be fast and easy to write, but it took him three years. Whatever the idea is, you have to find your own story in it, and that is what takes the time and effort.

He said he thought this book was about a man trying to learn how to be authentic, and that just to learn how to be yourself is a big enough job for any life. Celebrity can create a crack in a person so that the devil or other people can get in and contaminate you. An interesting viewpoint. He also said any novel is an exercise in failure - you know it's not going to be as good as you want it to be, but you put your best into it and acknowledge its flaws, just like you do for your children.

His father was a diplomat so they lived in some pretty dangerous places when he was growing up, including Cambodia and various countries in South America. Inheritance is his first novel set in England, where he was born. He moved to Tasmania to get away from Bruce Chatwin, as he'd spent 7 years writing his life story and wanted to go somewhere Chatwin had never been. And then found a village of Chatwins in Northern Tasmania. He said another reason he moved there was so he'd have time and headspace to read all the books he'd always wanted to. He tries hard not to let his writing time be eroded by technology and all its distractions.

Secrets of the Sea has many beautiful and arresting images in it, but the one that stuck with me (whether I wanted it to or not) was of the child, Zac, "who had been discovered by Tildy at the age of eighteen months with a large spider sticking out of his mouth." The spider was a huntsman. In question time, I just had to ask if that had actually happened, and he said yes! At his local childcare centre, a boy had eaten a huntsman. A later metaphorical reference to legs dangling from the child's mouth only served to make the image stay even more firmly in my head. Such is the power of words.

Michael Robotham: Ghostwriting

2010-08-30T19:35:00.003+10:00

Melbourne Writers' Festival - Session 1
The first session I attended was on ghostwriting, and one of the speakers (Tom Noble, who wrote Mick Gatto's life story) was unable to be there, so Michael Robotham went it alone. As always, he was a very entertaining speaker with plenty of stories to tell! He worked as a ghostwriter for many years, after being a journalist, and has written the life stories of Geri Halliwell, Rolf Harris, Tony Bullimore, Lulu and a couple of SAS soldiers, among others. He actually got his first job after the original writer had a falling-out with the subject, and went on to write 15 in all. He now writes great crime fiction.

It was fascinating to hear what goes into ghostwriting someone's life. I've done a couple of oral history collections, and many of the skills are similar - interviewing, drawing the person out, getting them to remember things they thought they'd forgotten, and then endless hours of transcribing the tapes. Michael said he can do up to 60 hours of tapes and transcribe more than a million words before he gets to the point of choosing what to include and how to put it all together so it flows.

As with oral history, it's also vital to find the right "voice". You can't use a child's voice at the beginning and then change it later - it has to recreate the person's way of speaking so that, for the reader, it's as if they can hear the story being told. You get very close to the person, and as well as drawing out those forgotten memories, you're also drawing out old pains and regrets. He said you can end up being like the person's therapist, and sometimes they don't want to let you go! Whereas others forget you after a week and convince themselves they wrote the book.

The ghostwriter should bring two things to the project - ignorance (a blank canvas, ready to take it all in with no preconceived ideas or bias) and a knowledge of what readers will find interesting. Often subjects will think their childhood is irrelevant or boring, for example, but for many readers, this is the most interesting period. We love to see how people are formed or influenced in their early years, and how that affected them later. It's also about showing the growing wisdom and experience of the person, and how they came to it.

When asked about the movie out at the moment - The Ghostwriter - Michael laughed as in this story the writer is expected to write the book in three weeks. To do a really good job takes 12 months, and you could maybe manage it in 3 at the least. Before a ghostwriter gets the job, they need to meet the subject. It sounded like an audition process! You need to get on together to make it work. And is an autobiography, ghostwritten or not, all true? He says what comes out is "their truth", and no two people see or experience the same event the same way anyway. All in all, a really interesting session!

It's All Hard Work!

2010-08-27T08:45:00.003+10:00

On Wednesday I attended a seminar on ebook publishing - it was a full house, about 30 people who all, for various reasons, wanted to know more about ebooks and their potential. Note I say 'potential' - this wasn't a doom-and-gloom session about how ebooks will be the death knell of authors. Instead the speaker, Madisen Harper, spent six hours telling us everything we needed to know about how to research, write, publish and sell an ebook.

Of course, the marketing part took up a large amount of the afternoon. There's no point producing a great book of any kind unless you can sell it to lots of people. It's the same problem that traditional publishers face. But the internet, being another electronic resource, is on our side! Madisen is a very energetic speaker and I doubt anyone there could possibly have nodded off, even if they'd wanted to. I came home with a head full of ideas. But more importantly, a huge amount of information that I kind of knew or had read about suddenly had all been organised and presented in a way that I "got".

I think some people went home overwhelmed. Epublishing isn't going to make most things any easier. The book still has to be a good or great book. The cover still counts. But you don't have to pay for printing (with boxes of books in the garage). However, the marketing side of things tends to take centre stage. Nearly half of all books sold on Amazon now are ebooks, so you are competing with a fast-growing market. Yes, a lot of the dross will fall away, just like it does in self-publishing. There are opportunities and cost savings that will tempt many writers to try it out. But overnight fame is the exception, not the rule.

I loved this quote from a Guardian article about David Almond. "I used to look at my output before Skellig and sigh," he says. "People say to me, you're so prolific, and I think, now I am! It's the payoff for all the time I spent getting sentences to work properly. Like anything, you develop a skill through hard work."
Same with self-publishing fiction. You shouldn't do it until your writing can stand up against what's selling in the marketplace!

What Do ebooks Mean to Me?

2010-08-24T18:38:00.002+10:00

Tomorrow I'm off to a one-day seminar (put on by the Australian Society of Authors) about ebooks and epublishing. While I've been reading a lot of blogs and commentaries and opinions about ebooks, and listened to publishers talk about where they're at and what's coming, and read news items about things like agents setting themselves up as epublishers for their clients ... what does it mean for me?

I'm not an author who's been around since the 60s and has contracts that don't even mention epublishing, or electronic anything. If I have anything still in print, the eclause in my contract usually specifies something vague like "all electronic mediums not yet thought of". That kind of covers everything, doesn't it?

My interest in epublishing comes from two things - one of which is books of mine that are out of print and may benefit from being available in an electronic format. For instance, I have the rights back for my verse novel, Farm Kid, and several teachers have already asked me for an electronic version that includes classroom materials. Note that additional request - not just the book, but lots of added extras that will give them a range of stuff to use with their students. My other interest is a novel or two that I personally have faith in but that publishers have said No to.

I suspect that the move to ebooks in children's publishing might lag behind adult novels and nonfiction, simply because of the way kids view computers and anything that looks like "work". I know a few who have laptops for school. These laptops are not for fun (you get that on the internet by hogging the family computer) - they're for school work. Thus reading on screen equals school work. Would that make you want to launch into ereaders?

I also suspect that if there is a move into picture books on the iPad, it will come from parents. Guess what - little kids like parents to read to them, from books they can touch and grab and flick pages over and then sit on, or take to bed. While parents are madly grabbing their iPad back and wiping off the grubby fingerprints! Parents will be the ones who gasp over the little app that shows the illustrator colouring in the dog or talking about ideas. Little kids will want the story - again and again, and then they'll want to take it to bed, while Dad wants the iPad so he can read the newspaper...

But I'm going along tomorrow, hoping the person running the seminar will be able to ask all those thorny questions about formats and marketing and covers and Kindle and different ISBNs. If I epublish one of my novels that no one in traditional publishing wants, can I get it out there? How? I'll report back!

What Other People Think Writers Do

2010-08-22T17:05:00.002+10:00

With the online class I teach in writing for children, the topic came up this week about family expectations. Several students commented on how, since they'd started the course, their families seemed to expect that any minute they'd be churning out a best seller. As our focus this semester is chapter books, that's not very likely! But then again, I doubt any writer's family (apart from the kids, perhaps) would even know what a chapter book was, and how it was different from a picture book or a novel!

My very first published children's book was The Too-Tight Tutu (Aussie Bites). It's a chapter book in the Puffin series and came out in 1997. Thirteen years later, it's still in print, and has been published in the US and the UK, and about to be published in China. In Australia it's sold around 46,000 copies, which sounds like a best seller! But when you spread that over 13 years ... hmmm, not so much. And the illustrator gets a good part of the royalties, too.

My own family often hints at the idea of a best seller, possibly imagining us all swanning off to a tropical island somewhere where I'll continue writing while they lie around in the sun, drinking tropical-type drinks. Or maybe that's my version of it! After many years of writing and publishing, and a great deal of reading, plus a lot of market research and industry knowledge, I doubt anyone knows in advance what might become a best seller. Certainly Stephanie Meyer's publisher didn't, nor did JK Rowling's. It's an educated guess, at best, and a lot of hope.

That's what keeps a lot of us writers going. Hope. Hope we'll get that story published, the one we've reworked ten times. Hope we'll get good reviews. Hope that it sells well enough that it earns out its advance and the publisher won't frown at us. And faint hopes/dreams that the book might even win an award. Families and spouses don't understand the importance of hope. They want to see a book in print, and a cheque in your hand. That's what writing means to them.

And until you come up with both, your writing has no substance or meaning to them. They usually don't "get" why you persevere, why you keep secreting yourself away, turning down social events, hiding a stash of chocolate for the depressing days. They think publishing happens overnight, and are astonished when you tell them a book might take up to two years to arrive in the bookshop. They also wonder why you have a website and a blog and do all that marketing stuff - "isn't the publisher supposed to do all that?"

The Rowlings and Meyers of the world don't help! In the end, we all have to find a way to deflect the family expectations, either with some doses of "the cold, hard truth of publishing" or by simply keeping it all to yourself and being adamant about why your writing time cannot be subsumed by whatever frippery they're into right now. It's not easy. But sometimes building those walls around yourself, the ones that keep out the expectations, the tantrums, the sulks and the stupid, uninformed questions and criticisms, is what is going to get your writing done.

Two Good Books

2010-08-18T18:20:00.003+10:00

Over the past three weeks, I've been reading A Writer's Space: Make Room to Dream, to Work, to Write by Eric Maisel. I've mentioned another book of his on this blog - The Van Gogh Blues - but this one had been sitting on my shelf for months, and I'd kind of forgotten I owned it.

Until the time arrived when suddenly I no longer had the house to myself every day for writing (retired husband syndrome), and found I was really struggling. One day, I walked past my bookshelf, put out my hand and grabbed this book and thought - How come I've never got around to reading this? Well, because I wasn't in a place where I needed it. Now I am. And I've been reading and thinking and reading some more, and answering some of the questions Maisel poses at the end of each chapter. It's been incredibly useful, and given me plenty to consider, along with some hope!

A Writer's Space is not just physical. It's not just about having someone in the house every day. It's also about needing to be silent, alone, and to have constant headspace in which to stay in the world of the story you are writing. Having another person constantly talking, or being around, when you aren't used to it, is very hard to come to terms with. Maisel talks about other kinds of space too - reflective, emotional, imaginative and existential! I particularly liked his chapters on mindfulness, something that relates to more than just your writing life.

These days I am, shall I say, judicious about where I spend my book dollars. Quite a few writers who I would once have gaily bought without a second thought are now on my library borrowing list. When trade paperbacks are $32-38 full price, you think twice about what you buy! But some writers still remain on my "Yes, buy" list and Peter Robinson is one of them. Bad Boy starts without the usual hero, Alan Banks, front and centre, leaving the first half of the story to Annie Cabot, his sergeant.

This new story is satisfyingly multi-layered, and it was interesting to see Banks return to the fray without being an instant hero. He has more problems to solve than just his daughter being in trouble. One of the layers in the story deals with what our children do when they believe we aren't looking or don't care - the mistakes they make, and the long-reaching consequences. Like many well-written crime novels, I enjoy the setting of Robinson's books: the East Dales in northern England that, unlike Stuart MacBride's dismal Aberdeen, actually makes me want to visit there one day!

10 Things I Learned About Writing from Tenpin Bowling

2010-08-13T13:43:00.002+10:00

Years ago, I used to be a tenpin bowler. Hard to believe, I know. Harder still if you'd seen my pathetic sporting efforts at high school. I hated hockey, loathed netball, despised running, and although I could play tennis, I found it boring after a while. Basically, I disliked sports because I was no good at any of them. And I was no good at sport because I didn't like it. Didn't even like watching it.

But when I gave tenpin bowling a go (because I was living in a remote town where there was nothing to do except play a variety of sports, and women's touch rugby and soccer weren't going to see me turn up for training!), I finally discovered a sport that I liked, and that I was good at. Don't ask me why - I suspect liking and being good were connected. Sound familiar?

I don't bowl anymore. For a variety of reasons, but partly because it got too expensive, and I had to choose where I was going to put my time and energy - so I chose writing. But over the years, I've thought about the solitariness of being a writer, and how similar it is to those sports where, in the end, you're really playing against yourself. Bowling, golf, marathon running ... So here are my thoughts on how they connect.

1. It takes practice. Lots of it, if you want to improve and win. I used to have coaching once a week, play four times a week and try to add at least one more practice session on my own. That's a total of about 7 hours - do I spend that much time on my writing? The theory is that it takes 10,000 hours to achieve mastery of something. I never got close with bowling, but I am pretty sure I've passed that with writing.

2. Most of it is inside your head. You can be technically brilliant, have perfect technique and style, and know all the 'rules', but that's still only 5% of being good at it. The other 95% is about what's going on inside your head - a strange combination of being totally in control which then allows you to enter the zone and do amazing things, on a regular basis. Not once a year.

3. It takes focus. It means you don't take any notice of what anyone else is doing, whether they're winning or doing badly. If you take time to feel envious or gloat, you're taking time and energy away from your own practice and work. You ignore their tantrums (boy, I saw plenty of those on the bowling lanes, especially the guys!) and you ignore their amazing scores. Your own are all that matter.

4. In the end, your score doesn't matter. It can't. Everything that comes before your score - practice, training, focus, commitment, engagement, determination, technique - will make your score better (or get your books published), but you have to work at all those things first. A great score doesn't happen like magic, even if other people make it look that way.

5. Some people (a very, very few) are naturally brilliant. You can't do anything about that. Jealousy is a waste of time. Being mad at them for achieving something easily that you have to work really hard at is a waste of energy.

6. Perseverance, despite everything, is what counts. Even those naturally brilliant bowlers/writers might not last (being great at something can turn out to be boring). When you work hard, for a long time, improving your skills and growing in your practice, you will appreciate the success more, value it more. And feel really proud that you achieved it.

7. There's always more to learn. More training. More skills. New tricks. New ideas. New equipment, even! A new coach can give you a lift into a whole new level of achievement and technique. You can't ever stay in one place. It's not good for you, and in fact you will slide backwards. The challenge of constantly learning and improving is exciting, the prospect of getting better is exciting. And one day you might score the perfect 300 (the million-seller), but the next day you'll want to do it again, and this time, do it better.

8. What it comes down to is you. You alone. Alone inside your head. Shutting everyone else out so you can focus and do your absolute best every time you set foot on the lane/sit at the computer. Of course Tiger Woods (I'm onto golf for a moment) has a bad day now and then on the golf course. But if he went home and thought about how everyone must have been laughing at him, or criticising him, he'd never get out of bed the next morning. I bet he goes home and thinks about how he can improve his swing, or what little adjustment he can make to his putting, or, more likely, how he can stay inside his own head and focus totally on his craft.

9. It's great at the end of the season when you take home a trophy, or win an award, or get a lovely big royalty cheque. Or simply get that phone call that says 'We're going to publish your book.' But after the celebration, are you back on the lanes, bowling ball in hand, ready to train again? Are you back at your desk, writing?

10. When someone says, 'You play tenpin bowling? Isn't that kind of ... (insert insult of choice)?', what do you say? When someone says, 'You write novels? Yeah, I'm going to write a novel one day', what do you say? I've learned to be more polite these days, and have some handy answers ready. But for some people, unless you're JK Rowling, whatever you say will never be enough. So you have to know inside yourself that what you do, you do because you love it and you can't imagine doing anything else. You only have to answer to yourself.

Our Australian Girl (TM)

2010-08-01T18:48:00.007+10:00

Over the past few months, a few people have asked me what I've been working on - and probably regretted the question! Because my answer was to launch into a description of the series I have been writing - four books in Penguin Australia's Our Australian Girl (TM).* It's quite a job taking on a series - there are lots of things that you might not think about in the beginning, or if you do, might assume it would be a breeze. Like keeping a book under a certain word limit. If you're a big blabbermouth writer like me, that can be a problem!

I didn't used to be. I used to think a word limit was an excuse to stretch a bit. Not any more. But writing this series has been more than just word limits. It's been an incredible amount of research. When the series was first proposed, and I was given the opportunity to throw my hat in the ring, I thought about the various periods in Australian history that I knew something about. What I didn't know anything about was Federation - and wouldn't you know, that's what I was given! Good grief, I thought. So the states all got together and became one country. So?

But along the way, I've discovered many fascinating things - that's the nature of research. The deeper you delve, the more you see and the more stories you read and the more snippets and anecdotes you discover. For instance, before Federation every state in Australia "did its own thing". Which meant if you wanted to travel by train from one city to another, odds were you'd have to change trains at the state border because most states had built rail lines of different gauges (widths). And there were referendums to see if everyone thought Federation was a good idea, and NSW didn't because they thought Victoria would demand that the capital city be Melbourne (the insults flying around at the time are hilarious).

In the end, of course, the compromise was that an entirely new capital city would be built, which became Canberra. Despite finding out all of these interesting facts, I was writing a series that was historical fiction, so my job went a lot further than research. I created a character, Rose, who features in the four books, along with her family and friends. Rose turns eleven as the first book opens, and her birthday on 9th May 1901, closes the fourth book as this is the date of the first sitting of Federal parliament. There were amazing celebrations in Melbourne, with huge ornate arches in the city streets and light shows (for a city that had just started moving from gas to electricity, the lights were fabulous to the people there).

My main question as I planned out the books was: how on earth could I make Federation an interesting background? The answer came from more research. This was also the time of the suffragette movement in Australia, with Vida Goldstein leading the charge in Melbourne. How perfect! Rose has a 'spinster' aunt, Alice, who is a suffragette and goes to protest meetings and debates, and shows Rose what having a say in her country's future is all about. What would I do without a feisty aunt who causes trouble in the family?

But really the story is about Rose, who has her own battles against a corset (yes, at her age!), a horrible governess, and her overbearing, social-climbing mother. It all feeds her keen desire to learn and go to school and, eventually one day, to university. I'm still working away on these four books - they are all in different stages. It's exciting to see what the Penguin team are doing with covers, extra materials, page illustrations and the iconic charm bracelets. I'm devastated that I cannot find the silver charm bracelet I had as a child, but on the other hand, now I get to create a new one with the charms that are most meaningful to Rose.

There are several things that are significant in Rose's story - cricket, for a start. At that time, women's cricket was laughed at by most men, which is not surprising considering most games were played in long skirts and hats! Bicycles were ridden mostly by men, and women who did ride them often wore pantaloons (scandalous!). Rose gets to ride on her first cable tram and watch the grip man operate it, and she also has a hankering to ride in an automobile. A visit to St Kilda beach means a paddle with skirts held up - no full-length swimsuit just yet. And Rose also visits Coles Arcade in the city, with books, monkeys, parrots and toy machines.

I have a fascination with the food of the time. There was plenty of game on the table (Rose's family is well-off) but like most kids, Rose has food hates, especially sardines and tongue. You can probably see why I'm having trouble with the word limits - there's so much I want to include! But I spend a lot of time with the hatchet out, trimming and hacking as needed. If I can get young readers to enjoy the era as much as I do, I'll be happy.
* That's a trademark sign, because it's the way series go these days. You might be interested to look at the American Girl books and website as a comparison.

How Do You Create Tension?

2010-07-27T18:37:00.004+10:00

Last night, I watched two TV shows. One was brand new in Australia (Hot in Cleveland) and the other was just into its second series (Rescue Special Ops). I have to admit that I don't watch much TV these days. I suspect that five fantastic series of The Wire has kind of killed commercial TV for me! Although The Street (written by Jimmy McGovern and currently on ABC2) is so wonderful that it restores my faith in what is possible in television land. But after I watched the afore-mentioned shows last night, I got to wondering, as you do when you're a writer, why they didn't work.

And for me, it came down to tension. I think a lot about tension. I teach it in Story Structure, but I'm not sure the students really grasp how important it is yet - they're grappling with climaxes and outlines, but I think it does take a while to put all the elements together. Kristi Holl, who has written a lot of middle grade mysteries, has an ebook on Tension Techniques, and I've picked up lots of ideas from it. But really - what is tension? How do you create it?

Firstly, in Rescue Special Ops, I felt little tension at all. Very early on, there was a conflict between two of the rescue cops, and straight away I thought: One of them will save the other one's life to resolve this. Yes, I was right. And not happy to be right. It was way too predictable. Two episodes into Series 2, it feels like all the situational tension (rescues, death, survival) has been sidelined and the show has moved into competing with Packed to the Rafters (for readers outside Australia, this is like a slightly more grown-up version of the Brady Bunch or Full House!). Which is fine if you're writing a show about relationships.

I thought Rescue Special Ops was a police drama show, not a thing about romance and having kids and thwarted love, with a few explosions as a sideline. I am astounded that the writers and producers of this show have gone down this road! Do they think the only viewers in Australia are those who want soppy stuff? Hey guys, take a look at NYPD Blue sometime. And how they managed twelve series in which crime (hello?) was the key, and characters provided depth and colour.

So where do the writers of RSO seem to think tension will now come from? Yep, a cast of hot young actors who apparently all want to jump into bed with each other (just add sexy firies and more cops). The biggest moment of surprise came at the end of the episode where one of the rescue guys steps onto the street and gets run down by a speeding driver. Bang. No set up. No sense of anticipation. Just a dummy (we presume) smacked into the air and an actor lying on the ground. To me, this is fundamental stuff. Something like that in a story only achieves maximum impact when you set it up properly. The rest of that episode was not a decent, well-crafted set up.

As for Hot in Cleveland, the writers don't seem to understand that even in sitcom, we still want tension. We still want to be surprised. No surprises here, apart from how awful the writing was. I think I heard every tired old joke recycled. Tension can come from several things - firstly, from the reader/audience either knowing more or less than the character/s. It's especially effective when you think you know more and you're waiting to see if the main character works it out. Kind of like kids in a stage show shouting, "He's behind you!"

But it can also work the other way - you know less, and the narrator is keeping stuff from you. A good unreliable narrator, for instance, can create tension. If the situation is that you know what the main character knows, tension then must come from anticipation and surprise. You have to build up the tension, be aware of how it's working and have a good idea of what the reader's experience is going to be. Too often, a writer forgets the reader in this situation. The writer might forget to provide information, or not make things clear, or try to deliberately confuse. Or go for the quick pay-off, which is death these days in sitcoms. After shows like Frasier, some of us hope for more (but sadly, rarely get it).

I suspect this is why reality TV appeals, because even when a show is "scripted", you can't totally rely on the participants to "behave". I like a UK show called Relocation, Relocation, because even though people start out saying what kind of house they want, often they're wrong, or misguided, or have to face reality about finances, so you can criticise or be engaged, or imagine what you'd do if it was you. There's no plot, sure, but there is anticipation and the ongoing possibility of surprise. Like the Masterchef contestant whose dessert crashes and burns (hey, most of us have been there!).

Over the past few years, there has been a fair amount of comment about Australian scriptwriters, about the 'dumbing down' of TV drama, about the way in which only the ABC and the cable channels are prepared to take a risk on new writers and new ideas, while the commercial channels churn out the same old boring rubbish. But Packed to the Rafters rates, so what does that say about our TV viewing? That we get rubbish because we're happy to watch rubbish? Not me! I'm off to watch the next episode of The Street. You can catch two episodes on ABC iView if you like. Yeah!

What Do You Expect from a Writer's Event?

2010-07-21T09:07:00.002+10:00

Last night I went to my first writer's event at the Wheeler Centre (for those who live outside Melbourne, it's a new writers' centre/venue where they have lots of talks, readings and meet the writer things). I went along with a friend to hear Kate Jennings. She is an author of several novels, including Snake and Moral Hazard, as well as collections of essays. She also has been a speechwriter on Wall Street, and has lived in New York for about 30 years. I've always liked her novels, and also her earlier essays, but hadn't read any recent ones. Nevertheless, I went along expecting to hear her talk about her writing.

It's always an interesting question - what is the role of the interviewer? I spent about eight years doing radio interviews with a wide range of both local and international writers, and I occasionally now do interviews as part of our Writers in Conversation events at Vic Uni. So I think it's the interviewer's job to ask questions that inform the audience about the writer's books but, more importantly, about their writing life. And their writing. Not that awful question: Where do you get your ideas from? But more about the writer's passions and what drives each novel, what their themes are, how they write, how their books affect readers, what their experiences of publication have been.

To focus on the plot of a novel, or too much on the most recent book which many people may not have read, is not a good tactic - it leaves the audience floundering. There is no context for this kind of discussion. But we came away from the Kate Jennings session with a pervading sense of dissatisfaction, and I couldn't help but think the reason for that was the interviewer. Hilary McPhee certainly has the credentials as far as publishing and book experience goes, but it seemed that she went for the "let's chat by the fireside" kind of interview, which meant a lot of skimming, a lot of meandering across politics and history and very few questions that actually led Kate Jennings into deeper discussion about her writing.

Maybe it was just me (and my friend). We're both writers - we go to those things to hear writers, whose work we love to read, talk about the creation of those works, and how the writer engages in that creation. Every writer is different, every writer works differently, they form ideas differently, they have a voice and a unique perspective on the world that informs what they do. I love to hear about those aspects, not a whole heap of stuff about the world in general. I can hear that any day on the radio or even on the train!

I remember at last year's Writers' Festival I went to a session where M.J. Hyland was being interviewed, and it was an excellent session indeed. The interviewer asked great questions that allowed Hyland to relax and simply respond and talk openly - about her writing and her novels. What do you expect from a writer's event? Are you happy with a little chat? Or do you want to come away feeling inspired and intrigued?

Big Book and Writing Day

2010-07-18T09:34:00.005+10:00

Organising a book launch is both exciting and stressful, especially if you are trying something new or different. A couple of weeks ago, I had this brilliant idea that I would ask my friend, Kristi Holl, to launch my novel, One Perfect Pirouette. Kristi is a great writer with lots of experience, and we've been Skyping and critiquing each other's work for quite a few years now.

However, Kristi lives in the USA and the launch was in Melbourne, Australia, so my idea was to do the launch via Skype! Even two years ago, this would have been too much of a challenge, but now, with Skype and mobile broadband on my laptop, I was able to take everything to the launch at the Sun Bookshop, in Yarraville, set it up, and away we went.

Of course, anything to do with computers and connections can go wrong at any moment, so we had planned it and experimented and tried out everything we could, but we still knew it could all go pear-shaped! In the end, it went smoothly, everyone could hear Kristi clearly (even if she couldn't see us properly a lot of the time) and my first international book launch happened. We ate lots of cake (including the ones above - the blue one is chocolate, which was the favourite, of course) and everyone took lots of photos.

Then it was on to the next event of the day - the Write Out! We weren't sure how many people would come, but I think there were about 80 people, all together in the cafeteria at Werribee campus of Vic Uni, writing all kinds of things. Down my end, we all worked on our own projects, and with music playing in my ears, I managed around 1500 words in the two hours. I actually didn't ask anyone around me what they were writing! We all just revved up our laptops and got stuck into it.

The rest of the writers got to write all kinds of things - every 20 minutes someone gave a writing exercise and they all wrote madly. There were competitions, lots of laughter (most of which I didn't hear with my headphones in) and I think some people didn't want to go home! I'll be surprised if there aren't more Write Outs organised in the near future, so stay tuned.

Some of the 80+ writers, busily working, thinking, typing, dreaming, pondering, writing....

How Do You Sign Your Books?

2010-07-14T19:21:00.002+10:00

This seems to be a question that plagues many authors. How do you sign copies of your books? No doubt someone like Bryce Courtenay or Michael Connelly simply signs with a signature - when two or three hundred people are in the line, you don't have time to chat and do personal notes. Although I have seen Shaun Tan sign (he's a great illustrator) and he draws people little pictures. I've been at signings where the publicist runs along the queue and gives everyone little Post-it notes for you to write your name on so the author doesn't have to check your spelling.

But when you aren't signing for hundreds, the question does arise. A lot of the time, with my kid's books, I sign To... and then write Happy reading. Because I do hope reading my book will make them happy - for a while, at least. Sometimes I put something different, just for a change. But I always sign (unless asked just for my name) with a Best wishes. When it comes to signing for friends, what then? Do they want your signature - your writer's one? (Full name.) Or do they just want your first name that they call you by, because they're your mate? It gets tricky. You have to ask, and often they aren't sure!

My family sometimes scold me for not signing the books I give them, but it feels weird. Don't ask why, it just does! When it comes to friends who want more than a signature, I try to write something personal or funny, but it doesn't always work. On an early children's book of mine, I wrote something about gumboots. I'd talked to my friend about where the story idea came from, but a while later, she didn't remember what I'd said and asked me, "What does this thing about gumboots mean? Why did you write that?"

Today I was tidying up one of my bookshelves, the one that has my collection of signed books on it. It was funny to read some of the things authors had written. Markus Zusak, on his first ever YA novel, had written something about "dirty boys inside" - which refers to the story. At the time, I hadn't read the book and wondered why on earth he had written that! Martha Brooks, on "Bone Dance", has written "Dance to the beat of your own wolf song!" Melvin Burgess has written "Hi Sherryl - well met!"

Have you got any books that have been signed with something different or special?

What's a Write Out?

2010-07-10T09:26:00.002+10:00

If you live in or near Melbourne, you'll be able to participate in what I think is Australia's first Write Out next Saturday afternoon. Where I teach at Victoria Uni TAFE (in Professional Writing & Editing), we're always keen to try new things, especially when they benefit our community of writers (that's everyone who's interested!). We've been running very successful Writers in Conversation events for a couple of years, and now have a range of short courses as well as our diploma course and online subjects.

So - what is a Write Out? It's an afternoon of writing, in the cafeteria at our Werribee campus. Imagine a large room (with food and hot drinks, of course, for energy!) full of writers, all ... writing! For those who need some sparkers, there'll be writing prompts, exercises and games. For those who just want to come and write, and feel inspired to get stuck into their current - or a new - project by being surrounded by hardworking writers, there'll be a corner for you, too. That's the corner I'll be in, by the way, surrounded by pirate gear to inspire me.

Bring notebooks and pens, or your laptops (charge them up first because power points may be scarce), and if you think the noise might distract you, bring earplugs, too. Or your mp3 player to listen to. Everyone is welcome to come along and it is FREE.
Where: Cafeteria, Building 1A Werribee campus of Victoria Uni, Hoppers Lane, Werribee.
When: Saturday 17th July, 1pm-3.30pm.
More info: email Isabelle.Lebouder@vu.edu.au or phone 9919 2681.

Style and Language or Plot?

2010-07-06T18:35:00.004+10:00

What makes you love someone's books? Yes, it's the genre or the subject or the characters. But a novelist who writes different kinds of novels can still command a following, simply because they write so well that you feel like you'd read anything of theirs! I've felt this way about a few writers over time - Elizabeth Berg, Anne Tyler, Alice Munro, T.C. Boyle (even though at times TCB is so confronting!), to name a few.

Recently I read a Berg novel that left me floundering. Dream When You're Feeling Blue was a great read - I was particularly interested in how she dealt with historical details - until I reached the last 20 pages. At that point, the plot took a bizarre turn that, as a reader, I totally rejected. Perhaps if she had extended the novel by another 20 pages or more, she could have convinced me that what the characters did at the end was believable. Instead I felt short-changed, and somewhat tricked. Nevertheless, I do love her writing, her way with words, her ability to create a 'real' world and engaging, complex characters.

Sometimes we continue to read an author because they deliver the same quality goods, time after time. And then you grow out of it. I have loved Janet Evanovich's novels for years, and judged them by the number of times I laughed out loud or at least smiled. However, by Number 13, the whole scenario felt tired, very tired. There are only so many times a character can bounce between two hunky guys while solving crimes with a multitude of disasters along the way. When dollars for book buying are scarce, this is the kind of book I've stopped buying.

And sometimes, thanks to the public library nearby, we try someone new, or someone we haven't read for a while, and see how it goes. Some years ago, I did read a Nelson DeMille book - Plum Island. It was OK. And I watched the movie, The General's Daughter. So while browsing my public library shelves (something that's a lot harder to do online!), I thought I'd give The Gate House a try. Now, I have to admit that the story didn't totally grab me because the main character seemed a bit lame. Writers - beware lame characters! But at some point, around a third of the way through, I became aware that something strange was going on with the writing.

There was one chapter where the two characters kept smiling. He smiled, then she smiled. Then he smiled, and again, and she smiled. He smiled a lot more than her, maybe because he was lame and couldn't come up with anything more to offer her. But... hang on a moment ... isn't that the writer's job? To give us more from the characters than just a whole heap of smiling? If Mr DeMille was trying to convey that the main character was lame and all he had in his armoury of responses was a smile, then I think he needed to do a bit more work on his writing. From this reader's point of view, it wasn't technique, it was lazy writing, and maybe his editor needs to take this into consideration, too. (I know everyone always blames the editor, but I've worked with some great editors who do pay attention to this stuff and don't let you get away with it.)

Oh well, maybe I'm starting to sound like all those people who complained about JK Rowling's over-use of adverbs and dialogue tags. But writing is a craft, and a major part of that is both your use of language and your ability to rewrite and give the reader something that feels fresh and alive. That's what we have to work with - words. So let's make the most of them!
Have you got a great example of lazy language to tell us about? Or maybe you think that plot is more important and you can cheerfully ignore ordinary writing?

Hatchet Job

2010-07-02T18:41:00.003+10:00

That's hatchet (small axe) - not Hachette, by the way. But it's what I'm faced with right now. My big historical pirate novel, Pirate X, is to be published by UQP next year. I've been working on this for around ten years (on and off) and I guess it's a lesson in perseverance. Originally it was 120,000 words, whittled down to 115,000. That was before I learned how to make huge cuts to plot, rather than just a few words here and there. Then I went to an SCBWI conference in LA, where the person who read my 40 pages for a manuscript consultation basically shredded it with no encouragement whatsoever. (Warning: Beware compulsive shredders. This person was not an editor or agent or publisher.)

That was enough to make me put the book away in my bottom drawer for a couple of years and try to move on. But it wouldn't let me go. I wrote other pirate stories in the meantime, which sold very well, and kept talking about this story during school visits. Because kids wanted to know how come I was so obsessed with pirates! So finally I was able to go back to the manuscript and start again, keeping in mind that despite a lot of positive responses from publishers originally, they all said it was too long!

Draft Number 7 was where the hatchet first came out. I ended up with 80,000 words, and something that was starting to get a lot more interest from publishers, but ... After eight years, and many many thousands of words in different drafts, I had a hard time standing back from it and seeing what else needed to happen with it. Funnily enough, that was when I started teaching a new subject called Story Structure. No longer could I just think about how structure worked, I had to teach it in a way that showed students what it was and how to apply it to their own novels and scripts.

Cut to June 2010. I had a contract for Pirate X. The manuscript had a deadline. And when I pulled out all my research and then looked for what new references were now available, I received a bit of a shock. One new reference in particular basically blew the first half of my novel out of the water! I checked - yes, this new information was solidly backed up. What should I do? Continue on my original path? Or take in the new research? When I pulled out the manuscript (draft 8) and read it, the way was clear. That version had a big, saggy, boring middle. If I was a bit bored reading it, what about everyone else?

Decisions were made. New material was noted, with timelines and dates and names. A new beginning was necessary. After nearly two weeks, I'm still only about 25% of the way through the hatchet job on this novel, and I'm not worrying at this point about either characterisation, setting or the quality of writing. It's all about plot and structure. About hacking and cutting and moving great chunks around (or deleting them). I hope that in about a week's time, I'll have a "rough cut" of the novel that I'll print out in order to see what I have. It'll be rough, it'll be jagged around the edges, it'll probably still be bleeding! But hopefully it'll be story with pacing and excitement and plot twists and tension, and then I'll fix the rest.
(By the way, Queen Anne's Revenge is the name of Blackbeard's ship which does feature in my novel. Unfortunately the cafe wasn't open the day we were in Beaufort, NC.)

Now I Am Bigger

2010-06-28T09:14:00.004+10:00

Today - Monday 28 June - is a pretty amazing day for me. Two of my books are being released on the same day! As tomorrow I'm having a celebration for Now I Am Bigger, I thought I'd highlight this book today, and One Perfect Pirouette in a couple of days (it's being launched after the school holidays).

This is what the back cover of Now I Am Bigger says:

Now I Am Bigger captures all the excitement and wonder of a small child's world, when every day brings something new – new teeth, new words, new shoes, new bed – and every little change is very, very BIG.

And this is from the Penguin website (who distribute the book):

When you're very little, time doesn't mean anything. What is an hour? A day? Are we there yet? Time is measured in growing, and in accomplishing new things like walking and growing teeth and eating by yourself, and most exciting of all, discovering the power of words and learning to talk. So much of little kids lives is about is now - 'I can wear real shoes now with laces'. I wanted to try and capture their world, where everything, almost every day, is new. It's a very busy, intense and wonderful time!

It's a picture book, with beautiful illustrations by Nina Rycroft, published by Working Title Press. Working with Jane Covernton and Nina was a great experience, with a beautiful result. The story in the picture book is told in poems. It takes a child from birth to around age three - that time when you move from your cot into your first big bed (remember?)! The poems work on sound and rhythm, rather than rhyme, and I love to read them aloud.
In fact, tomorrow I'll be doing exactly that, at Story Time at my local public library. I'll be faced with around 20-30 little kids, and it'll be a good test to see if I can keep them enthralled!!
Here's a poem from the book:

DOG

who is this?
not my mummy
she isn’t furry

who is this?
not my daddy
he doesn’t have
a wet black nose

who is this?
not Grandma
she doesn’t bark

who is this?
not Grandpa
he doesn’t lick

who is this?
this is Dog
furry, wet-nosed
barking, licking
Dog

hello, Dog!

Also this week, Dee White is featuring me on the Boomerang Book Capers blog - it's a busy week indeed.

Truth in Fiction

2010-06-24T14:56:00.002+10:00

One of the things that children's authors often do is school visits. Some people dread them, but I've found it's a great experience and a chance to find out what kids think about all sorts of things. But it did take me a little while at the beginning to get the hang of it. Firstly, the kids don't want a pile of facts, nor do they want to hear advertisements for your books. What they want is stories - more stories like the ones you wrote, or stories about the stories!

Farm Kid was my first verse novel for upper primary readers, and although it started as a bunch of poems about me on our farm way back when, it did develop into a story about a family who lose their farm because of a severe drought. I show photos of a lovely green farm, and then I show one of a Victorian farm paddock that is totally dead. Just one lonely rabbit in the middle. And then I tell the kids that I wrote a fictional story about a family losing their farm because, to me, the newspaper articles never showed the real truth of that situation.

Then I say how often fiction can tell the truth and make something real in a way that facts never seem to manage - and the kids always get it! I see them nodding, and looking at the photos again, and I read some of the poems. This always makes me think about books that have pretended to be memoirs and turned out to be made up, and how this makes readers angry (not to mention publishers who then have to pulp the book). It's something we demand of fiction and non-fiction - the truth - but in different ways. Perhaps with fiction it's more about the emotional truth of a character and a story, and this is part of where voice comes from.

Today, in Australia, our government politicians went into a room and when they came out, we had a new prime minister. Julia Gillard. At lunchtime, there was a press conference on TV, with Ms Gillard delivering her first speech. Very lovely it was, too. Well-delivered, passionate, and said in a voice that promised many things, including a new and better future. And I thought again about truth in fact and fiction, and why we get so upset about politicians who lie and deceive. Perhaps it's because they continually offer hope (whatever you hope for, they'll promise to deliver) and so rarely carry out their promises.

We'll see how our new PM goes, and whether she'll be just like all the others. In the meantime, I'm going back to reading novels where the author has delivered on their promise between those pages!

Sydney and the CBCA Conference

2010-06-20T17:16:00.005+10:00

I've just spent five days in Sydney, with two highlights - a school visit to Avalon Public School, and the NSW Children's Book Council conference. It was a long but enjoyable bus ride to Avalon, with views out across the ocean and a great people-watching opportunity. The students asked excellent questions and I was welcomed by everyone.

The conference went for two days, and featured speakers such as Marcus Zusak, Bob Graham, Glenda Millard, Ursula Dubosarsky, Tohby Riddle and James Roy. There was a bookshop that I tried to stay out of (without success) and lots of fellow writers to catch up with. The conference went well and everyone enjoyed it. I got to meet lots of teachers and librarians and talk about books.

On Friday evening, we were entertained by the launch of Jackie French and Bruce Whatley's new book about Queen Victoria's underpants - including a version of Queen Victoria (above) who did indeed show us her underpants! It was quite funny to visit the Queen Victoria Building the next afternoon and see the statue of the real queen out the front. I also wandered through the Strand Arcade, which was built in 1890, and took photos to add to my historical research of that time.

One of the most interesting sessions was a panel of four publishers talking about ebooks - when are they planning to release ebooks (most said now) and how will the marketplace change. It wasn't at all reassuring to hear them talk about how they think writers and illustrators might be paid, or how much. One said she would happily pay her authors 50% of nett receipts, but her bosses would never approve. They also said they thought the prices of ebook readers would come down a lot in the next few years (like DVD players are now about $30 whereas once they were $1000), but also maybe the price of ebooks. Gulp. So instead of 15% of maybe 60% of $14.99 (if you're lucky), authors will get 15% of 60% of $4.99.

And after that session, on my walk along George Street, I ventured into the Mac store and watched about 20 different people playing with iPads, and not one person was reading a book. But also things are so up in the air at the moment, with so many possibilities and new options (and disputes looming), that I think it's impossible to predict where any of this might be in two years time.

So I'll keep writing, and instead of walking through the city, I'll be back walking in the bush - leaving skyscrapers behind and focusing on the tiny little cities that inhabit old, wet logs!

The Book Community Around You

2010-06-15T10:23:00.003+10:00

Quite a few years ago, I presented a radio show on 3CR, a community radio station here in Melbourne. It was called Writers At Work, and it's still going, now hosted by Jan Goldsmith (Jan joined me in the last year or two I did the show, and then carried it on). Now there are quite a few community radio stations around, providing people with the opportunity to have their own show and share their interests and passions with others.

Last week, I sat on the other side of the panel and was interviewed by Denise Hughes (who is also a PWE student) on WynFM. Which was a lot of fun! Denise records the show and then Jacqui, who runs the Collins Bookshop in Werribee, creates YouTube videos out of them, using photos and book covers. I'd never thought of doing this before - the focus on YouTube seemed to be film. But Jacqui has done a great job, and her bookshop has its own "spot". The first part of the interview is here, and it's been uploaded in four parts, so you can just click on the next one to continue listening.

Also this week I have been organising celebrations for my two books that are coming out very soon. Somehow they have both ended up being released on the same day - 28th June! But again, my local community have been really helpful. Now I Am Bigger is being launched at Story Time at my local library, and One Perfect Pirouette will be launched at the Sun Bookshop in Yarraville. Dates and times announced here soon! Also, a friend of mine has a stepson who happens to be a terrific graphic designer and has his own business, Juncture Creative, so he's been doing invitations and bookmarks for me.

In the drive to be on the bestseller lists (a nice dream...) or even just to get a bunch of great reviews for your new book, it's easy to forget the support and encouragement that's all around us. Thanks, everyone!

Eeek! Ebooks and Downloads!

2010-06-09T19:08:00.005+10:00

The book news this year has been all about e-books. Ebooks. E books. Well, maybe the consensus has come down on the side of ebooks. Who knows? BEA used e-books (and there has just been a conference called DigitalBook2010). The sellers are using eBooks (I guess to line up "capitally" with iPad and iPhone). Borders are now advertising their Kobo eBook reader. Maybe the sellers (as usual) will determine what we call these things. For now, they're all crowding into the market and the reviewers are scrambling to assess which one is best, or which one might do everything you want it to do. No one has yet advertised one that will vacuum my lounge room while I read, so I'm holding off for a while.

But while I was typing this, an email popped up, as they are wont to do. This one was from Optus (an ISP and mobile phone provider here in Australia), who wanted me to sign up for their new plan for the iPad. $50 Pre-Paid gets you UNLIMITED^~ data. Notice the funny little symbol next to the word "unlimited". I clicked on their handy little Buy Now button and in the fine print was told this:
Unlimited data voucher:Any data or credit on your service must will be used before unlimited data can be accessed. No rollover on Unlimited data expires after 30 days.
What on earth does that mean? Do I get free unlimited data download or don't I? What do I have to pay to get it? And isn't that a weird way to look at it?

My interpretation is that I pay X dollars, and I have to use what they give me first (3GB) and then after that everything is free - but only for 30 days. Then what? And this is the huge issue that is quickly emerging here in Australia. Maybe not overseas where mobile/cell phone costs are different and based on different modes and plans, but here the companies are falling over each other, trying to offer seemingly amazing deals, which nobody can understand when it comes to the "fine print". It's not just me. Quite a few reviewers are commenting on this as well.

This was all brought home to me this week when a friend told me about her latest phone bill. She has an iPhone, and has probably a dozen apps on it. She leaves it turned on all the time for incoming calls, but her latest bill shows that every night, the phone has been connecting to the internet without her knowledge and downloading updates for the various apps she has. For half an hour at a time, not just 5 or 10 seconds. She said she had set the phone not to do this, but it is still doing it.

I said to her that my impression was that that was where the big money was going to be. Not in the phones themselves, but the apps. "They're cheap," she said. "A couple of dollars each." But there are now 255,000 apps available, and quite a few of them are between $5 and $15. Not cheap. And not when they are using your download time to update themselves. So where does that leave ebooks?

A lot of people have a problem with the ebook being "unshareable". I don't lend many of my books, but I do have a sharing system with some of my friends. And when I lend to someone and they love the book, they buy one of their own. But so far, many ebook readers don't allow "sharing" (although this does seem to be changing a little). I was horrified when Amazon was actually able to "take back" books that buyers had downloaded. Connecting to Amazon for a new download apparently gave them access to what was on your Kindle and they decided to take some titles back! I'd like to see them do that with the custard pie I ate today.

Compared with 12 months ago, ebooks have leapt into our world with a resounding thump. All those in publishing who were saying true taking up of ebooks was 2-3 years away yet have been proven waaaaay wrong. Now publishers and suppliers (like Apple and Amazon etc) are battling over price structures and who gets a cut of what. As an author, I can see a lot of feathers flying out there in the arena at the moment, and am cautiously checking my contracts to see what I agreed to in terms of ebooks (up till now it's usually been phrased quaintly as "electronic publishing" or something similar). Any contract that says ebook rights will be negotiated separately in the future gives me hope.

What is happening now is both exciting and scary. I'm not buying an ebook reader until the dust settles a bit. I still remember someone years ago who had a Beta video player!! And I want to play with them first. I want to see what each one does, and whether they do what I want in terms of reading needs. I already know an ebook reader would save me several kilos of luggage weight when I go away. But I want more. Anyone for a version that vacuums?
And what do you think about ebook readers? Do you have one? Are you going to buy one? Do tell...

First Draft, and then...

2010-06-01T19:11:00.002+10:00

It's easy to hang on to your first draft. And hard to let go of it. Especially when it seemed to come in a fantastic rush of inspiration. It was like a gift, seemingly so perfect and original when it burst out of you that you can't imagine how it could be improved. 99 times out of 100, that usually means it needs a heap of reworking! Yes, very occasionally (less often than you think) a story does come like a gift, placed in your lap with reverence and awe. I've had one or two poems like that, and hardly had to change a word. Goodness, one of them was even semi-rhyming and every rhyme worked like magic. It's never happened again!

But mostly what we come up with in a first draft is actually us finding our way into what we really wanted to say. It's only in subsequent drafts that we hone in on the real story, the real poem. And I think it's only in those drafts that we find ways of deepening and strengthening what was, very often in the beginning, more like an anecdote. Developing layers of meaning and creating something that leaves the reader with "something to go on with" takes time, patience and, most of all, a willingness to acknowledge that the piece needs more.

Often in workshopping, that's the puzzle to be solved. What you read sounds great, reads well, flows, entertains. But at the end you are left with a sense of ... and? You can't quite put your finger on it but something is missing, something that would satisfy the deeper part of your reading self. You're not sure what it is, but it's not there yet. This can be a huge challenge when it's time to make your comments. To say "something's missing" is of no use to the writer. "What?" they ask. "What is it the piece needs?" And unless you can answer, you're no help at all!

Today, I had to answer this question for someone, and despite years of workshopping and grading student writing, I still struggled to define it. I said words like "substance" and "depth" and "meat". They sound a bit pathetic, don't they? And theme didn't quite cover it, because when you talk about theme, sometimes people go haring off and starting inserting messages instead. It's partly about showing instead of telling, but it's more about what's holding the story up underneath. How would you define the urge to tell a story that "means something", without falling into moralising?

In the end, I came back to the question: why? Why does the character feel like this? Why do they perceive the world in this way? Why do they need to behave in this way, react, act, think? What drives them? How can you show this through the story, without explaining? How can you go beyond the surface to the hidden depths? What, in the story, will subtly reveal what's really going on? Lots of questions, but that's fine. A one-line prescription doesn't work for anyone. It's only by questioning, over and over, that we gradually sink further and further into what truly propels our characters through a story.

And no, this wasn't War and Peace we were discussing. It was a picture book! Thank you to the person I was talking to, because it made me really think about it yet again.

Mentors and Monsters

2010-05-30T19:02:00.005+10:00

This week I've been reading a very interesting book of essays, lent to me by my friend, T. There are some great experiences between these covers - yesterday I read about a woman whose mentor/monster was Susan Sontag. It can be a crucial turning point in a writer's life, to have the kind of mentor who changes your writing, your way of regarding the life of writing, and how you put words down on the page. Mentorships have been gaining in popularity here over the past few years. First the Australian Society of Authors offered them, then the Victorian Writers' Centre. I read some of the early reports from the ASA scheme, and those being mentored talked of having someone experienced to simply engage with and bounce off. No manuscript editing was involved (a common perception of a mentorship - like having a personal editor).

One of my favourite essays was by Alexander Chee, whose 'mentor' was Annie Dillard. He uses the term loosely, as she was a teacher who had a great influence on him. What I found interesting was that, like many others writing for this collection, he didn't really understand her influence until later. I loved the line: "In that first class, she wore the pearls and a tab collar peeped over her sweater, but she looked as if she would punch you if you didn't behave." When told they had to hand in their drafts triple-spaced and questioned it, she replied, "I need the room to scribble notes in between your sentences."

Other contributors talk about famous writers as mentors who barely talked to them about their writing but nevertheless inspired them in some way. Joyce Carol Oates, as I imagine many writers would, talks about several different people who influenced her - The Rival, The Friend, and the early influences of particular books. Julia Glass talks of finding an editor who becomes a lifelong friend, mentor, muse and confidant, as well as editor of her novels. Elizabeth Benedict describes her relationship with Elizabeth Hardwick, as do several other writers in the book. Hardwick was a teacher at Columbia and seemed to have had an effect on many of her students, both positive and negative.

As well as finding this collection quite inspiring, it's also making me curious about the novels the various contributors have written. Alexander Chee appears to only have one novel published so far that is still in print; Mary Gordon has four or five. Without spending lots of dollars, I'd like to track down their work and read it. On the other hand, Jonathan Safran Foer's insistence on calling his early romances with girls attempts to "mate" sounded so weird that it coloured the whole essay for me! And set me thinking about another blog I'd read recently where a writer's performance at an event had put that person off his books forever.

This writing life can be so tenuous at times. And it's clear from this book that new writers can be so easily influenced by the literary and/or famous. While the ASA mentorships sounded helpful, I've heard of others where a new writer has been influenced by their mentor to change and rewrite crucial parts of their novels, damaging both plot and an original, vital voice. Is this the mentor's role? To me, this is the danger. One writing teacher here in Melbourne is notorious for creating whole classes of students who come out at the end of the year sounding just like him. How can this be a good thing?

Yes, it's easy to be influenced. What female poet (including me!) hasn't gone through a stage of sounding like Sylvia Plath? But if you read widely, and read as a writer, you move through it and past it, and your writing and your own voice grows and strengthens. What it takes is practice, weeks and months and years of reading and writing LOTS. Not just one piece, or one style, or even one genre. We have so much to draw on these days - it's like an incredible banquet. If all you do is stick with the chicken wings, you won't get far.

When Readers Respond

2010-05-25T19:07:00.005+10:00

Sometimes I think that writers of fiction for adults miss out a bit. They don't get to do school visits, and although the famous ones get fan mail, no doubt, I wonder if they ever get a group response. Book clubs don't count because that's people talking about your book without you being there, and you rarely get to hear what they say. And I've stood in book signing queues and heard what adults say to their favourite authors. Mostly it doesn't bear repeating!

But kids are so honest that it's scary. They speak from the heart about what they thought about your book, and what they liked and didn't like. I'll never forget a letter from a kid who said one of my books was great but "my brother said it was boring". It made me want to withdraw the book from all of the bookshops and rewrite it. Last week I received an email from a teacher-librarian at a school I'll be visiting next month (Avalon Public School). Two of the classes have been reading my verse novel,Farm Kid , and I was sent a collection of their responses. Instead of being asked to "analyse" the story, they were simply asked to write about how it made them feel.
Here are some of them:

This book is great with its descriptions but it is also very sad and this is probably the only book that does not have a happy ending which is why this book is different to other books. It has made me realize that it is not easy to live on a farm. Kye Year 4

I think Farm Kid is a sad book and a happy book. The contents of Farm Kid make you really think about life on the farm. Zack is a wonderful character and he must have such a hard life with all those complications. The mum and dad must be really worried about Zack and his sister growing up. Emma Year 4

Farm Kid was a very funny, exciting book at first but then it gradually got sadder and more emotional. I loved Farm Kid especially when Zack talked about his friend that was a bit of a dare devil. This was one of the saddest books I have read or been read to. Issy Year 5

It is like losing a part of yourself. A sad, sad situation for any child like Zack. Adam Year 5

I think that Farm kid is a very moving and emotional book because they make jokes about bad things and the little one line sentences can tell a whole paragraph of a story. Louis Year 5

It hit a spot. It touched my heart. I am crying in my heart. Zacharey Year 5

Farm Kid is very emotional. Every poem gets sadder and sadder. Then finally they have to move. The first poem about the farm – I like the way it repeats ‘farm is’. It is funny at first but it doesn’t have a happy ending. At first I was a little shocked that it was actually the end. Julia Year 5

I'm planning to put all of the responses on my website because they are amazing. They are all different - they see different things in the story. Yes, it's sad (although it does have a hopeful ending) but for me it was always about telling a real story, not a Hollywood or Disney version. Thank you, kids, for all of your responses. That's why I love writing for children.

Australian Kids Left Behind

2010-05-21T08:43:00.003+10:00

Here in Australia we've just had this year's NAPLAN testing. Think "No Child Left Behind" transported (like a convict) to Australia, then add a government website that displays all the schools' results so the media can heap scorn on poorly performing schools, and that's what we've got. Many, many people are against it. Teachers were going to strike and refuse to administer the tests. John Marsden has made it clear that he thinks they are damaging and ill-informed. But somebody in our government decided it was a great idea. Maybe they'd been on a junket to the USA at the height of NCLB and thought: Gee, we could do that, too.

So I was fascinated to hear that Diane Ravitch, who was Assistant Secretary of Education under George W. Bush, and a great proponent of NCLB, come out and say I WAS WRONG. Here is a quote from her interview published in Slate:

People are being punished because of test scores. We've created a system where Mrs. Smith is going to teach nothing but what's tested. The arts aren't tested and the sciences aren't tested, and the conservative response to that is, "Well, test everything." But the problem is—and this is another thing I found myself recoiling from—then you'll do nothing but test. People tend to scoff at anything that's subjective, but it's the essays and the projects that make it fun for kids and give them an opportunity to show comprehension.

I don't know a huge number of people in the US, but many I do know are either teachers or know teachers. NCLB was wrong from the beginning, just as NAPLAN here is wrong. People will say, "What is wrong with testing if it shows which schools are under-performing?" I would say, "Under-performing according to who?" I was recently at a school where I was supposed to be doing writing workshops with the kids. That was fine. What wasn't fine was that I was supposed to teach them how to write a story that would get a good NAPLAN mark.

I teach writing all the time, to adults, who have a much vaster reading and life experience to draw on in order to write a good story. Most of the time, they don't succeed. Much of the time, despite my experience as a teacher and writer, I struggle to give their work a grade. We have transparent criteria, based on collective experience, that we use, but sometimes it's still like trying to measure air. How on earth can a government testing system possibly test story writing and create marking criteria that covers every single child in Australia?

How can you mark a story by a child who is a refugee, writing about their life, against a story by a child who has written about their summer holiday in Bali? Except of course some bright spark decided to make that easier by stipulating the thing they all have to write about. I thought we got rid of that antiquated story-writing tactic back in the 1950s. Well, never mind my gripes about creative writing. I'm on the side of the teachers who say that what inevitably happens is they have to teach to the tests. Again, I've heard many US teachers say they had to stop reading aloud in the classroom - in fact, they had to stop most things that weren't directly related to the tests.

And they wonder why kids hate school? (See Ravitch's comment again above.) She also said:
To me it's almost self-evident that No Child Left Behind is a failure, but people will say, "Well, Congress doesn't think so." It's like everybody agrees except for the teachers, who are the ones who have to do it.
And that is already our biggest problem here. Julia Gillard has signalled quite clearly that she's not backing down on NAPLAN at all, and has reluctantly agreed to make some changes to the website in order to make sure teachers did administer the tests this month. But once something becomes ingrained in a government system, they sure do hate backing down and dismantling it. Never mind the money they waste on other things.

Gillard is also supposedly running an enquiry into school librarians. As I've said here before, there are hardly any left so that won't take long. The bottom line is, if you really want to fix a state school system, you put more money into it. Not by giving kids laptops, but by giving them real, everyday, useful resources like books, more teachers and school librarians. It doesn't matter what medium kids will use in the future for work and leisure, if they can't read well, they'll fall further and further behind in this world. Nobody needs a test to tell them that!

Being Famous or Not

2010-05-18T18:47:00.003+10:00

A few years ago, two other writers and I got together for a day in San Antonio to talk about writing and publishing, and share our experiences and ideas. One of the things we did was to look at a book I had bought called Word Work: Surviving and Thriving as a Writer by Bruce Holland Rogers. It had a lot of great topics in it, including discipline, procrastination, rituals and whether you should quit your day job. He also talks about "Matters of State" - meaning depression, affirmations, negative thinking and those around you who may encourage or block your writing.

The strange thing is that we sat there and did an exercise from the book called Pig Will and Pig Won't. Strange, because I've just gone through that book twice and I can't find it! Pig Will and Pig Won't are from a picture book by Richard Scarry. How the mind does like to trick us. Nevertheless, the exercise is about imagining what might happen if you are incredibly successful with your writing - what might be the great things about this, and what might be the negative impact. The results, when we shared them, surprised me. We all had entirely different ideas about both answers. (And if I could find my notes, I'd share them, but this must be my week for losing stuff, so I'll add them to the textbook, bill, magazine and brochure that are somewhere in my office).

I remember that some of my negatives were to do with not being able to walk down the street without being recognised, and much higher expectations on your next book. The positives are always to do with being able to give up your day job! Except then you have to entertain yourself at home seven days a week, and procrastination becomes a major issue instead of a small worry. All this, of course, was brought back to mind by the documentary I watched on Saturday night. It was "J.K. Rowling: A Year in the Life", made in 2007 while she was working on the final Harry Potter book (first broadcast Dec 2007).

I missed the first half, but in the second half the interviewer seemed to decide to get tough with the questions. Hence we had something along the lines of "The media says you have 574 million pounds - do you have that much money?". To which she eventually answered that she didn't have that much but she did have many millions of pounds. And the result of this is that she gets asked all the time for money. She has an assistant to help her respond to requests and decide to whom she will donate. And she does give away a lot of money, mainly because "unlike most politicians" she knows what it is like to be very poor and what it does to your quality of life.

99.9% of us will never earn as much as JK from our books. Most of us are doing well if we come anywhere near earning a living. Hence the term: don't give up your day job! But, going back to Pig Will and Pig Won't - what does being a famous writer actually mean? What restraints and extra expectations might it put on you? Can anyone understand what it means until it happens to them? When you're writing your first book, there are no deadlines, no one waiting for it, no one to tell you how it should be. With the second book (and those thereafter) comes a new set of expectations, issues and challenges. Something to think about.
And now I'm going back to find that darned Pig exercise!