Trust Me! and Ford Street - all you wanted to know

Not that long ago, I went to the launch of Trust Me! - I'm a proud contributor and rather than describe the launch (which was great fun, with 20+ authors signing copies), I thought I would interview the publisher, Paul Collins. Ford Street Publishing is his 'baby' and a fine, sprightly offspring it is too.

1. What led to you starting your own publishing company?

I actually started out as a publisher back in the 70s -- I published science fiction and Australia's first heroic fantasy novels. I had no intentions of being a writer. Unfortunately, back in those days the major publishers only distributed their own books -- and they weren't remotely interested in publishing fantasy or science fiction! So small press distributors, with one or two reps, abounded. They also folded regularly. After two did this to me, the second taking all my stock and owing money, I embarked on a writing career. Macmillan now distributes smaller publishers, so I've basically returned to what I wanted to do in the first place. I also felt a little stuck in the writing groove. Last year I had something like twenty books published. It was more like work than enjoyment. I now call the tune, and it's great.

2. What has been the most difficult aspect? The most encouraging, so far?

The challenge will always be name recognition, getting Ford Street titles into shops. The distributor's reps will always push their own books, and this is a given. I would, too. But I think with time booksellers/librarians will see that Ford Street titles are quality fiction, and dare I say it, better edited than some books from major publishers. I'm often appalled at the glaring errors that are appearing in books lately. I know the trend in the US is minimal editing, but I suspect that trend has crept its way into Australian publishing.

3. What do you think the role of a small publisher is in today's publishing world?

I think we catch the ones that "got away". The first book I contracted was Pool by Justin D'Ath. Both of his major publishers rejected it. When it appeared on the CBCA's (very short) Notables List, from which the short-list is chosen, I bet his publishers got the fright of their lives lol. Small presses take the risks that major publishers won't. I've published Trust Me!, an anthology comprising fifty contributors. Much larger publishers have published similar anthologies, but they received the contributions free, citing they were for charity, and besides, such large anthologies can't work financially because of the large contents page. Well, Ford Street has just made it work, and contributors were paid. Small presses can make this sort of enterprise work because the publishers work for free. I don't pay myself. Major publishers have huge overheads: rent and staff costs being in the hundreds of thousands, if not millions per year. I have neither, and I suspect other smaller publishers have minimal costs.

4. We are often told that fantasy and paranormal fiction are "hot" at the moment - what's your perception of the various genres and sub-genres of spec fiction in Australia right now? What's selling? (in adult and kid's books)

Ah, if I had the answer to that question I wouldn't be telling. I'd be "doing". But the one stand out at present is Stephanie Meyer. She even appears in Time Magazine's 100 Most Influential People of 2008 list. Now that's impressive.

5. Do you think Australian publishers are dealing with spec fiction in the best way, especially in terms of looking for new writers, publishing new writers and marketing? Are authors well treated? (e.g. Orbit advertised for 10 fantasy manuscripts and are going to work on them with the authors in a residential workshop soon)

Publishing has become pretty much a fly by the seat of the pants affair. It's 80% flop and 20% success. In days gone by publishers nurtured authors, spent money on them, grooming them. All of that's gone by the wayside. Now, if your novel's not "ready to go", it's doomed. Budgets have been cut, staff reduced to such an extent that the good editors can no longer afford to be in the business. Those proficient editors still around do it because of their love of working in the industry -- it really is a labour of love for them. Only the A-list authors get publicity budgets -- the B-listers either sink or swim. If you swim, you find yourself elevated. If you sink, you're gone. Flick. Just like that. People ask me why authors do it - - they "do" it because they, like the best editors, love doing what they do. Few authors in this country can survive on their writing alone. Most are either receiving social benefits, grants, receive awards (which pay), have hefty ELR/PLR/CAL returns because they've been prolific (it's this category that I fit into) or do a lot of festivals and workshops in libraries and schools, or take on miscellaneous jobs like assessments or part time jobs.

6. The Quentaris series was a collaboration between you and Michael Pryor in terms of developing the concept, creating the series "bible" and then selling it to Lothian. What was that process like? Can you describe it?

A couple of major publishers knocked back the concept - - more fool them, the first series went to 26 titles. Ford Street is now publishing series #2. It was originally Michael's concept. He asked me if I wanted to collaborate. Together we developed the guidelines and approached Helen Chamberlin at Lothian. She took it and published six titles a year for four years until Hachette bought Lothian. The scenario has been added to over the years, and now it's changed completely with Quentaris a floating city, thrust into the rift worlds via a vortex due to the Spell of Undoing. Michael and I are still having fun with the series, and there's no sign of it slowing. Alyssa Brugman has written book #2, The Equen Queen, and James Roy is now writing book # 3, The Gimlet Eye. As you'll note, it's now sequential, and the books are fully illustrated. The website's at www.quentaris.com

7. Ford Street recently published an anthology called Trust Me - why did you want to produce something like this, rather than another novel? What has been the response so far? Do you see it primarily as a school text? Who do you hope will buy and read it?

Truth be it known I was asked by an educational publisher to edit an educational text. I commissioned what I thought were sixteen pretty good stories. Then the crunch came. The publisher disagreed. I promptly gave the advance back and decided to publish myself. I let the authors know that it was now a trade book, and they could ramp up the stories, which they did. I also invited other contributors, such as poets and illustrators, because I wanted a Kids' Night In type book. The end result has been fantastic. I've seen five reviews to date, all of which have been excellent. It has great potential as a school text, yes, but it's trade quality, too. I suspect it'll be going into reprint very shortly. According to the reviewers, it's managed to get boys reading, so in response to the last part of your question, I think anyone who has a boy who's a reluctant reader, should try Trust Me!.

8. Where do you see Ford Street heading in the future?

I'm pretty much happy with the way things are presently going. I'd like to score some foreign rights sales, some awards for the authors. I'd like to employ someone to help with the workload, and this will only happen when I get that best-seller. It's a matter of time. Right now it's a seven days and nights a week career. Luckily, I am supported by people such as Grant Gittus (graphics), Nancy Mortimer (marketing), Liz Foley (FaceBook) and my partner, Meredith Costain (editing), all of whom have rallied around me free of charge. My brother has also printed a lot of bookmarks and stickers. I suspect all small presses rely on this sort of support.

9. What have you got coming up?

Forthcoming 2008 books include Jenny Mounfield's The Ice-cream Man, Dianne Bates' Crossing the Line and David Miller's picture book Big and Me. All three are issues based, so have levels deeper than just genre fiction. I have high hopes for all three. As for 2009, I'm already looking at publishing a Gary Crew picture book, a non-fiction (my first!) title by Sue Bursztynski and the third Quentaris book by James Roy.

10. What's the best way for people to find out about Ford Street?

The website is kept pretty much up-to-date: www.fordstreetpublishing.com. I also have an option for people to join the mailing list. Anyone who gets on that receives free posters, catalogues, bookmarks, as they're produced. I also email a Ford Street News every now and then. People just have to email me at: earthborn@smartchat.net.au to get onto that list.

Thanks, Paul - that's a fantastic response and useful info for all of us. (and my apologies to readers if the formatting goes haywire again!)

National Libraries - not just books

We've just had a budget here. Everyone hangs out to see if they've got tax cuts, or bonuses, or interest rate reductions, or maybe more money for education and health. Sometimes what seems like small stuff gets ignored. Like the cut in funding this time to the National Library of Australia. I know the NLA does things like archives copies of every publication produced in Australia. I know they have a great research library in Canberra. I know they host writers' events (I went to one last August). I know they have been producing a great history book series for kids called Making Tracks.

What I have also discovered, thanks to an article in The Monthly by Gideon Haigh, is that the NLA also holds an amazing range of artifacts (like Chinese woodblock-printed sutras from 1162), it is endeavouring to archive an enormous amount of web material that disappears daily, and is trying to retrieve some very important Nobel laureate material from 1980s computer disks. The Library is, on many counts, about preserving history through printed materials.

I blogged recently about digital photos - how my photos taken with my old SLR camera and printed on photo paper will last a very long time, and my digital photos on my computer might disappear at any time, thanks to a virus. The NLA is also breaking new ground in doing things like digitising old newspapers (so you can find stuff in them). As well as dealing with five semitrailer loads of material that gets deposited with them each year.

So what did the government do? Well, they cut funding, didn't they? Just like most governments, federal, state and local, are cutting funds to libraries all over these days. Who needs books, for goodness sake? One of the reasons I'm fond of apocalypse stories (the ones where the world ends for some reason) is that nearly always the thing that saves the survivors is they find books. Books that survive techno-meltdown, nuclear disaster and plague, let alone the power going off. Books that tell them how to do things like build houses, deal with injuries, make their own power and restore communications.

Funny how books can do that. Because they survive. As a librarian said, the Chinese book from 1162 can still be opened and read. Ten years from now, anything on CD or DVD will probably be unreadable, unless you've got a player stashed out in the shed somewhere that you can resurrect. But seeing as there are dozens of them in the local rubbish dump every week, how likely is that? Yep, buy more books. Treasure them. They'll last. Gee, you can even read them again in 20 or 60 years. Or give them to your kids!! Fancy that.

Critiquing/Workshopping

The past three weeks have been filled with workshopping of students' writing (some people call it critiquing - I think workshopping applies more to groups perhaps). Many of the students are in their first year of study in our writing course, so giving and receiving comments can be a very confronting experience. You may have been working on your novel for several months or years, and this might be the first time you have had a group of critical readers provide you with feedback. It can make you doubt everything you thought you were trying to do.

Or the story you have offered up might be the first "real" story you have ever written. Before now, everything you wrote was just for fun, or for your journal that no one else reads. How do you cope with people saying things like "I don't think you need the first paragraph" or "You've used a lot of repetition and it didn't work for me" or "You are not deeply enough inside the character's head so I didn't really get into the story". You might think your prose resembles Proust on a good day, or you might secretly feel that everything you write just plain sucks. Either way, the feedback is going to come right at you.

Giving feedback is a skill. It's hard to be critical without being harsh. It's hard to make comments on someone else's work when you think you don't know anything. Who am I to say what works and what doesn't? you ponder. Well, you're a reader, for a start. You read published books. I'm betting you've read quite a few that have made you think How the heck did this get published? This guy can't even write a coherent sentence. You stand in the bookshop or the library, read the first couple of pages of a novel and put it back. Something didn't appeal - the voice, the character, the plot that was beginning to unfold - and you move onto the next one.

In a workshop, you have to read everyone else's work. You can't just put it back. You have to put aside your aversion to fantasy or romance or what you think is literary pretentiousness, and focus on craft. Did the opening grab me? Why not? Did the voice work? Why not? Do I feel like I want to read more about this character? Am I already starting to care about what happens to her? Why not? The first part of workshopping is to see what works and what doesn't in this piece of writing. The second, and more important, part is to try and make helpful suggestions.

Why is this more important? Because it works two ways - it stops the writer from feeling like they're in a black hole (everyone thinks my beginning sucks, but I have no idea how to fix it!), and it adds greatly to the skills of the workshopper. It's a two-way street. Learning how to read your own work critically and then rewrite it effectively is one of the most difficult skills for a writer to learn. The best place to start learning it is in a workshop. It's not just what they all say about your writing, it's what you see in other's stories and the constructive suggestions you come up with that will feed back into your own craft.

Group workshopping that is a bloody free-for-all is not worth one cent of your time and effort. Good feedback is a lesson in tact and diplomacy. As the writer, you have to remember it's not about you, it's about the words on the page. You want readers? You want to get published? The workshop will help you down that path. Although having a critical reader or mentor can be a wonderful experience, I've also seen some people whose mentors have influenced their work and not helped to make it better. The group provides a variety of readers and comments - even though not all may be useful, you learn to take what is and make your writing better.

The Depths of Character

A character template is a handy thing - you start with gender, age, family background, physical description and, of course, the thing your character most wants or needs (the thing that drives them throughout the story). Really, that thing is what they believe will make them happy, just like us real people. A guy might believe a Maserati will make him happy, a girl might believe having Mr X fall in love with her will make her happy. But the question goes deeper than that. What both of them really want is to be loved and made to feel special. The guy believes the Maserati will attract the kind of gorgeous girl who will love him for himself, not the car - the car is "bait" and will make him look cool. Sadly, this kind of guy usually still loses out, or finds a girl who rips him off.

The girl who wants Mr X, on the other hand, may well find he is a horrible person and falls in love with his friend, Mr Y, who loves her and is perfect for her. Both of these situations could make a story. So you can ask yourself - what does my character believe (at the beginning of the story) will make them totally happy, and what actually does make them happy by the end? Just that shift alone develops your story in more depth, and in more interesting ways.

Another question to ask is what your character is most afraid of. Not spiders or heights, but deep down. Are they afraid of being abandoned? Of being poor? Of being unloveable? Some people have a fear of intimacy because of things that have happened to them - major betrayals, significant deaths. If you can place that character deep into the one situation they are most afraid of, you have instant conflict and a meaty story problem that is both external and internal.

You could ask what your character's secret dream is. Is it to win Wimbledon, when he is a good tennis player but not a world-beater? Why do people have unrealistic dreams? How close will he get to achieving it? What will he discover along the way? That he is a failure? Or that he is really the world's best coach and he finds a kid that will win Wimbledon and who he can help? And again, what does that dream really mean? Does he want fame and fortune, and sees tennis as a way to get it? He can still have it by being a winning coach, perhaps. Or maybe he ends up envious and vengeful.

I also like to ask what happened to my character in their life that makes them who they are. With someone who is only, say, 12, probably the thing that will affect them forever is going to happen right in my story, so I have to work with knowing enough about them to make the story real and meaningful. I also need to think about how they will deal with the terrible things that are about to happen to them, and how they will change and grow.

In writing about someone who is 40, I look at their childhood and their teen years. There is great potential to give a character backstory that deeply affects the story you are telling in the here and now. Did she witness a murder? Did he lose his father? Not every character has to be abused, by the way. It might be a good idea to avoid that, as it raises a whole other bunch of issues that may have nothing to do with the story you want to tell. Be judicious about this - you are the architect of this life. I like to ask students to write about their character in this way - what was something that happened to them as a child or teen that somehow changed the way they saw the world forever? What is their world view now? Optimist or pessimist? Do they believe in God or not? Are they cynical or fatalist? Are they trusting or wary? WHY?

I do a lot more than this - small things and large. It depends on the character. Some of them, like Tracey Binns, spring into life as if they were just waiting for me to come along and find them. Other characters I struggle with and have to write a lot of the story before I "find my feet" with them, and then the revisions change a fair bit. There are lots of small writing exercises that can help. A fun one I set in class is this: your character rushes out their front door (you decide where they're going and why they're in a hurry) and finds something dead (you decide what) on their doorstep. Write a scene that shows how they react, how they feel, and what they do about it.

Getting Inside Your Character

In all of my classes at the moment, we are workshopping (critiquing). This means I am reading and commenting on around 52 lots of pages over 3-4 weeks, ranging from short stories to picture books to novels, which includes fantasy, crime, literary, humorous, YA and little kid's stories. For many students, this is their first experience of getting multiple comments on their work, from people who may not read the same genre or have done any past critiquing of other's writing. It's a lesson in diplomacy, tact, encouragement and helpful feedback.

The one thing that comes through for me is the lack of depth in characterisation and point of view. It's totally understandable - you come to class, you spend a lot of time reading, writing, discussing - and then suddenly you have to produce something. It's been hard enough taking in all the information and how-to stuff. To put it all into practice at once is a big ask. But my main feedback in 90% of what I am commenting on is: you are not deep enough into knowing your viewpoint character and seeing the world through their eyes, speaking with their voice, acting with their impulses and motivations.

My new book Tracey Binns is Trouble is just starting to get reviews (brilliant one in the Sunday Age today - very exciting!), and as part of my own publicity efforts, I created a Tracey Binns website. What was fantastic about this (apart from the fact that I had a lot of fun with it) was the way in which it really helped me get even further inside the character of Tracey. I had to stop being me (old, boring writer) and become Tracey (12 year-old smartypants with lots of energy and kid humour). I imagined what the site would look like and sound like if I turned it over to her, what kinds of stuff she'd put on it, what she'd say about things like Teacher's Notes that the publisher kindly gave me to add in.

Tracey is not polite. She likes to say what she thinks, she has some weird likes and dislikes, but she also is good at sharing - so she shares her favourite recipe with you. As I am writing another book about her, creating this site became part of getting back inside her head and hearing her voice and what she says about the world around her. She'd love you to visit!

Very few people are going to create a website for their character, especially when the book isn't even finished, let alone published. But it's that kind of character development and work that helps to create a strong voice in the work, and also goes a long way towards the reader feeling that this is a real person, with a story that is interesting and engaging. In class, we start with character templates and timelines, but that's just the beginning. There are other methods that help - free writing, drawing pictures, imagining dreams and daydreams, interviewing the character, writing other stories about them - and all of them help the writer move more deeply into their head and heart. I think it's an essential part of what brings a story alive, and worth the hard background work.

Where Reading Takes You

First of all, let me send out a million commiserations to all those poor Australian kids who had to sit government-orchestrated tests today. Trust me, whatever the results try to tell you - you are doing OK. And the tests are crap. You want to know how your teachers feel about those tests? Read this. I cannot believe that this government is venturing down the road of No Child Left Behind. To me, it's like saying our teachers are useless and need a good testing kick up the rear end to make them better. NOT. Who knows more about the kids in their classroom than a teacher? Who knows more about where those kids come from? For crying out loud, we have kids entering our schools every year who don't know which way up to hold a book! You think a test is going to solve that?

OK, time out for a few moments while I try to calm down.

What does reading do? I've already gabbed on here about what reading does for someone who wants to be a writer. I'm seeing students right now who want to write children's books who read 5 or 10 and think that's it. No, it's not. You have to read 20 or 40 or 100, and then think about who those books are speaking to, what the voice is doing, what the language is doing (not dumbing things down), how things like pace and action and dialogue are all working together to create a "cracking good read" (shades of Basil Brush there).

But it's much more important for us to think about what reading does for our kids. I was talking to someone today (Hi, M!) who said her son (8) is writing a book. And he's doing a pretty good job of it too, even with the grammar and punctuation. Straight away, I asked her, "Is he a keen reader?". Yes, she said. And that just proved to me yet again that reading lots of books leads to an innate, basic understanding of not only how a story works, but how a sentence works. If you read plenty of books, of any kind, or poems, articles, even encyclopedias, you just come to understand how sentences work. You don't need to know subject-verb-object in parsing terms, you just know it by reading it over and over.

I read something today about the nose-dive in the amount of reading that 18-30 year olds in the US do (it was from a magazine called Narrative) and how the editors have decided to try to do something about it by focusing the magazine on that reading age group. But they also talked about much younger readers - how kids in the 11-13 age group are also reading less. There's been a lot of stuff about this recently, and every project designed to get people reading again is great. But it does ultimately come back to schools - primary schools. If someone isn't reading by Year 7, you're unlikely to get them back.

There is a big push here to refund schools so that they all have teacher-librarians (a dying breed). A librarian from the NT blogged about how he wasn't sure if it was worth going back to uni to train as a teacher-librarian. Hello? If you are already a teacher or a librarian, why do you have to go back and pay HECS and study some more? They teach or work in a library, they love books, they love reading, they want to get kids to love reading. Why do you need one more piece of paper (that cost you more than a few thousand dollars) to prove it?

I have commented before about how reading is reading, and any kind of reading is great. It is. But now I'm going to go one step further and suggest that what fiction reading can do is set your imagination on fire. It takes you to other worlds, it shows you things about the world in a way that facts seldom do, it tells the stories of other kids like you, it shows you about issues like refugees in a way that newspaper reports don't (or show falsely). Reading a book takes stamina, but a great story will carry you away to a world you didn't know existed. A poor reader who finally finds a book they love, a book that transports them, that gives them hope and courage - how is that reader going to find that book on their own?

New Syndrome reported

In the Age newspaper this weekend came the information about a new syndrome, and I believe I am suffering from it. It's LLHCS - Late Life Holden Caulfield Syndrome, recently discovered by Michael Leunig, writer and columnist. He named it after Holden in The Catcher in the Rye, a character who "saw clearly the world's phoniness and despaired because people always applaud the wrong things."

Leunig also says that along with this syndrome, as he gets older, his bulls*** detector just seems to get stronger and stronger. This could be a curse or a blessing. I'm with him there. My tolerance for BS at work is getting lower and lower which, when you work inside what amounts to a bureaucracy, is not a good thing! As for the rest of my life, no doubt my friends would say, "That's not news to us!!"

On the other hand, George Clooney observed that this may finally be the time in US history where young people are going to stand up and vote at last, and have a say in who runs their country. I guess it might all come down to their BS detectors too. Have they got them turned on to full power yet?

More CBCA Conference notes

This is the wonderful Liz Honey, signing one of her books after our poetry session. Talking to people now about the conference, a week later, means I am remembering more of the highlights and things that stuck in my brain. Such as the way that, as the conference went on, more and more people started to say how sick of the word literacy they were. How often it was used an excuse for doing stupid stuff like testing (instead of helping kids to enjoy reading), how so many "experts" used it as a topic to beat their chests about and make a noise while contributing little of value. How it is used as a big stick to threaten schools and teachers. So inevitably the suggestion came that we ban the word and go back to talking about literature. I'll say yes to that.

There was an inevitable small stoush over the CBCA shortlists being elitist, and how any "popular" book that made it to a shortlist was a token gesture (to whom, I wonder). The other main point of disagreement was over what some called "trashy" books, suggesting they should be banned or children actively dissuaded from reading them. One would have to ask why. Reading is reading is reading, isn't it? I'm often amazed at those who do studies on reading and forget to include things like websites, comics and nonfiction books, focusing only on fiction. Lots of people don't read fiction, but they do read. And then of course there are people like me (and I have discovered some of my students!) who will read anything, even the back of the cereal box at breakfast.

There were lots of book launches, not just mine, and piles and piles of new books in the Trade Fair. The Fair is definitely freebie time, and I came home with several new books that were being handed out like those food samples at the supermarket. I avoid the food and love the books. (I also have to celebrate winning a door prize at the Saturday night dinner and - lo and behold - the prize was books. Yaayy!)

One interesting panel session was about the survival of picture books. Ann James would have to be one of our best illustrators in Australia, yet she said although she is doing better work now than ten years ago, she is earning less, due mostly to deep discounting practices, where a creator can end up being paid five cents per book for deep discount sales because those royalties are not based on RRP. Five cents compared to $1.30? Tell us about it! Unfortunately, the guy from ASO, where a lot of those dd sales often go, said he had no idea that was the case. I say unfortunately because after the session several people said they had heard him speak before and he certainly did know that was the case. Logically, how could you not?

One issue that did come up in informal delegate discussions quite a few times was the cost to attend the conference. I knew several people who couldn't afford to go, even for one day, although the keynote speaker talks were open to the public for $25 each. However, if you wanted to attend the whole thing, you were looking at around $700. Not a problem if your school or library pays for you, but out of range for most others who were genuinely interested. Who do we want to attend these conferences? Obviously teachers and librarians from schools and public libraries, and other professionals in the children's book arena. Does the CBCA want new authors there? What about those interested in books simply because they love reading and maybe have kids? It's an ongoing problem - obviously they have to cover costs, and venues now are expensive, as is catering and organising. It is something to think about before the next one.

CBCA Conference

Where to start? Some terrific keynote speakers were the highlight for me. Shaun Tan (below) spoke about his life as an artist and illustrator and used an amazing array of images. This one is from his book The Lost Thing. He also showed his drawings from his first day and second day of school, and one of a T Rex from when he was seven - absolutely gobsmackingly good!
Another great speaker was Neil Gaiman. His session was one that was open to the general public, who swelled audience numbers by a hundred or more. He included poems based on fairy tales in his talk, and said some very interesting things about the craft of writing and ideas that come from 'what if'. Emily Rodda was also good, and made us laugh.

My favourite speaker of all, though, was Bernard Beckett from New Zealand. Text launched his book Genesis and Bernard spoke for about five minutes. I could have listened to him for another hour or more. He was very genuine and passionate, and kept everyone entranced. I have bought a copy of his book, which was recently optioned for a movie. The guy from Text made a point of saying how they were actively looking right now for great YA novels (got one in your bottom drawer? it has to be really good!)

The top photo is of Elizabeth Fensham launching my book Tracey Binns is Trouble. She said some lovely things about the book and read some bits from it. The launch was in the trade fair so it was very noisy, but we gathered a small crowd. (Yes, that's me hovering in the background.) I was pleased to be able to get Tracey's website up before the conference, and it was a lot of fun. Plus an excellent way to get even more in tune with the character. She kind of took over and wrote the site herself.

On Sunday, I chaired a session called Wild About Poetry, and we had Liz Honey, Meredith Costain and Moira Robinson on the panel. Lots of issues raised and discussed, and the outcome is a proposal for an Australian Children's Laureate. Now wouldn't that be wonderful! All we need is some money. And lots of people to get behind the idea. In the final session I sat behind two women who are part of the conference committee for the 2010 Brisbane event, so I hinted in a big way that another poetry session would be very popular.
More reports soon.

How/Why do you Read?

My day started today with Blogger sending me a comment from a post I wrote a long time ago, about Melina Marchetta's third novel On the Jellicoe Road. The commenter castigated me for criticising what was apparently his/her favourite book. How could I? How dumb was I? It was a reminder of how differently people read, and the reasons why they read. I can't tell you how many times we have read a novel in class (Cold Mountain was a notable) and had a number of students absolutely loathe it, and a just as vocal group love it. House of Sand and Fog is a great novel for dividing a class between those who support one character and those who are barracking for the other.

Why does this happen? For the same reason some viewers love Lost and others hate it, and some viewers love House and some hate it. I often look at the highest rating TV shows, or the bestsellers list in the Saturday paper and wonder how on earth that show or that book became so popular. It's about personal taste. The biggest divide I've seen (which still seems a bit strange to me) is between the science fiction fans and the fantasy fans. Both seem to think the other group has no taste at all!

Very often it's about who you are and where you are (in your life) when you read a book. I was given a copy of The God of Small Things but it took me a year to get around to reading it because I never felt in the right frame of mind - in other words, I felt too darned tired to get my head around the language and ideas. I was glad I waited because eventually I loved it. I read a lot of crime fiction, but not indiscriminately. By that I mean that there are certain authors whose voice and characters I enjoy, and others who leave me cold or fail to engage me by page 30. One divide in crime fiction is between those who are Hercule Poirot fans and those who are Miss Marple fans (and never the twain shall meet).

Sometimes we try to read a book at the wrong time. It's a funny book when we feel depressed and not in the mood for silly stuff (even though we might need it). Or it's a literary novel when our brains just can't cope. Although this blog is called Books and Writing, I don't really post reviews. I write comments on books I read because they stir me in some way, either positively or negatively. Often I will write about a book from a writer's point of view - what I learned from it - rather than purely a reader's stance.

I always have a pile of books next to the bed (and another one in my office, plus a library pile). At the moment I'm reading Creativity for Life (writers' and artists' book), Killing the Possum by James Moloney (YA), Firebirds Rising (anthology of fantasy short fiction) and Compulsion by Jonathan Kellerman (crime). And sometimes I dip into a short story collection by T.C. Boyle, and I've got Best American Short Stories 2007 waiting. Oh yes, and the new Sarah Dessen YA novel. If I am going to comment on any of these, it'll be because I have an opinion - not a paid one, either - and I'm keen to share it and hope someone else out there wants to chip in.

At the beginning of this year, we asked students to follow Chris Baty's example (the NaNoWriMo guy) and make two lists - one of things they love in books and one of things they hate. It's an interesting exercise because it really tells you the kind of book you want to write. One student said he hated books that used haunted objects. Another loved books with slapstick humour. It's a great thing to do - you might surprise yourself if you try it.

Books about Dying

I've just read two books in a row in which a major character (or the main character) dies. And in one of them, the viewpoint is first person. Obviously in that story, the death is on the last page. I didn't mean to read these together, but that's the order they were in on my book pile. First up was Miss McAllister's Ghost by Elizabeth Fensham, who managed to win a CBCA award with her first book, Helicopter Man. First thing I have to say is the title doesn't do the book justice. Apart from anything else, I kept expecting a ghost story, which it isn't.

The three kids in the story meet a very old woman, Miss McAllister, when the youngest, Wilf, sees her at the window of an old house and thinks she is a ghost. But she is very real, if very old, and during the course of the story, turns around the lives of the three. Their parents are not only busy working, but Dad is prone to thumping them all or throwing things, and is not someone you'd go to for advice or help. I'm not going to tell you who dies, but it's another reason I don't like the title because I think it gives the ending away. It's a quiet story about people thrown together in an unlikely way, and has humour and surprises to keep you reading.

The second book was Before I Die by Jenny Downham, the story of a seventeen-year-old girl dying of leukemia, so you know the ending before you start. I was wary of this book, even though I'd heard good things about it. Being in first person meant it was going to tread that fine line of melodrama and sobbiness - however, the voice of the narrator is tough and angry, and her situation leads her into all kinds of risky behaviours as she attempts to complete her list of ten things to do before she dies.

It's a very real story, and made me cry simply because it wasn't sentimental at all. The scenes at the end are written so well that I wondered if the author had been very close to someone who died like this (it was a stark reminder for me of when my sister died). When I Googled for information, I discovered that Downham has not had this experience but is an actor and is good at working her way into a character. She kept a diary for two years as Tessa, the narrator, and the amount of time she spent working on this book shows in the depth of characterisation for all of the characters, especially Tessa's father.

I think writing about death is, in some ways, like writing about sex. The more simple and clear and direct you are about what your characters feel and think and do and say, the more you evoke the "real-ness" of it. It all comes back, yet again, to your use of language, your choice of words, your ability to be in your narrator's or character's head. In a world where we see people die, either for real or in fiction, dozens of times in a day (more if you watch an Arnie movie!), the fact that we have writers who can make one death in a story meaningful is a wonderful thing.

Books vs What?

Tonight I happened to be watching a bit of a TV show on archaeology, during which they looked at a 16C drawing of a tattooed woman. Someone said, "Why is this the only thing we have? How can we know what other people of this era looked like?" The obvious answer was, "Because they didn't have cameras back then, with people taking a million digital photos of everything that moved or looked mildly interesting." But it is an interesting question, one that historians grapple with, if they're any good. Who records history? Why? Is the history of war, for instance, recorded mostly by the victors? Is our social history recorded by the rich and literate? In that case, where are the stories of the poor and illiterate?

This question has given rise to the oral history, where someone interviews a wide range of people in order to get their experiences of being alive during a certain time. In Australia, Wendy Lowenstein has done this with Weevils in the Flour, and in the US, Studs Terkel is famous for his oral histories. They tell us the realities of poverty, starvation, and women killing themselves with Lysol because they couldn't afford a more expensive poison.

But this led me on to thinking about other issues with recording who we are, as well as what we are creating that reflects our lives. Think about this - any photos that you take right now are almost certainly digital. If you save them on your computer, or on a CD, or on a USB drive, you have absolutely no guarantee that they will survive. Your computer will die (any writer will have had the experience or know of someone who has lost everything through a hard drive failure). CDs, once thought to be the ultimate indestructible storage, are now being shown to fail within five to ten years. I've had a USB drive fail on me recently, and another that is showing signs of dying.

If you print out your photos from your digital source, as I do, they are often printed on cheap paper with cheap inks. How long will they last? Not as long as those old prints your grandparents owned, that's for sure. If you print them on your home printer, probably even less. As for text, again anything on your computer can be gone in an instant. (Computer failure has overtaken "the dog ate my homework" as the prime excuse for late assignments - no, we still don't believe most of them.) When I got married, we asked the celebrant for a copy of the ceremony text, which she printed out on her thermal printer - I don't dare go and look because I know from experience that it will have faded and now be unreadable.

Scrapbooking? How many people are using acid-free products? If not, within time your paper and glue will both cause staining and irreparable damage. A friend of mine spent many years on a family history and has spent the time and money to have it printed on acid-free paper and bound in leather. Gee, just like they did in the old days. Her work will still be around in 500+ years. Not much else that's being produced right now will do the same.

What if we have some kind of nuclear winter (caused by goodness knows what)? What will survive? For a start, anything digitally stored will probably be useless. Remember all those old 8mm home movies? Who still has the old projector setup so they can be watched? And if you transfer them onto digital video, in twenty years time you'll be in the same boat. I may well sound like a total Luddite, but for me, digital technology and storage is incredibly fast and convenient, but I never assume it will last. Books will. And so will language. We are still reading texts produced hundreds of years ago (with a little translation help) because they were recorded on paper and stone and parchment - things that, despite weather and other disasters, have lasted and endured.

I suspect that the paperless office will continue to be a myth, simply because at some level, most people believe digital records are not permanent. As for the ongoing razzamatazz about ebooks and digital books and all that other stuff - yes, our next generation may well discard books as a way to educate themselves and entertain themselves. But if it all disappears, they'll be back begging for a library card in five seconds flat!

Outlines Stage 2

This week I started reading a book on writing called The Anatomy of Story by John Truby. Although Truby usually focuses on screenwriting, this book, he says, covers novels as well, in terms of looking at how to develop a novel-length work. In the beginning, he tells you to put aside your traditional methods of structuring a story (hero's journey or three acts) and approach it from a new perspective. Initially, this means putting character and premise together and looking at how and why your main character changes during the course of the story.

So off I went. I've been working on a new novel, but having trouble with the first few chapters. I had already worked out the plot - what would happen, the climax, etc - but I couldn't work out how to get my characters to that point (one problem was a jump of two weeks with nothing happening). I decided to use Truby's initial planning steps to try to work out what was missing in my story. I answered all the questions, I had the premise and story design, I figured out his seven key steps for story structure (weakness and need, desire, opponent, plan, battle, self-revelation and new equilibrium). It seemed to be kind of working for me.

Then I stopped. I remembered how I had done a similar thing once before for a novel, and in the end it was no help at all. It made the novel into something I had never intended, and something I had a really hard time writing - and getting right. After eight drafts and some major changes, I think this novel is still not working. I tried too hard to "make it right" before I wrote it. That's not the best way for me to work. I got too cerebral about including all those key elements that a story should have, and lost my grip on character and voice.

Character and voice, for me, is what counts most in making a story work. I can always come back later and fix plot holes or add tension or rewrite beginnings and endings. But if I get off the track with the character, if I analyse or diagnose or try to put that character into a straitjacket of shoulds before I tell my story, I kill everything. I start doubting what I'm doing. I lose the voice. And strangely enough, I have a much harder time keeping the plot together.

I think that's one of the things we have to learn as writers - what our happy medium is when it comes to outlining. I mentioned in another post that mostly my outlines are diagrams and lots of scribbled notes. It took me a long time to realise that, messy though it seems, that is what works for me. That, and sometimes a grid of major scenes to back it up. No outline at all makes me extremely nervous, because I need to know where I'm going. Too much planning and setting down what must go into the story freezes me up.

So no more Mr Truby. I'll read him again when I'm much further into this novel, and the character and the momentum are leading me where I need to go. Your happy medium might be starting with one sentence and then writing into the wild blue yonder. Or it might be a 50 page detailed outline of each scene. How-to writing books are great, and often very useful, but you also need to know when to put them down and just write.

Playing with Words

Earlier this week, I created the following as a bit of fun (OK, so I was procrastinating instead of working on my novel!)

THE NOVEL WRITER’S DEDICATION

Write placidly amid the noise and haste,
and remember what peace there may be
in a room of your own.
As far as possible without surrender
be on good terms with all publishers.
Write your truth quietly and clearly;
and listen to others,
even the dull and the ignorant;
they too have their story.

Avoid loud and aggressive writers,
they are vexations to the spirit.
If you compare yourself with others,
you may become vain and bitter;
for always there will be greater and lesser writers than yourself.
Enjoy your achievements as well as your deadlines.

Keep interested in your own career, however humble;
it is a real possession in the changing fortunes of publishing.
Exercise caution in your business affairs,
especially your book contracts;
for the world is full of trickery.
But let this not blind you to what marketing potential there is;
many persons strive for websites and platforms;
and everywhere life is full of shelf hangers.

Be yourself.
Especially, do not feign affection for your editor.
Neither be cynical about your rewrites;
for in the face of all aridity and disenchantment
they are as perennial as the grass
and if you don’t improve your novel
you’ll have to rewrite it again.

Take kindly the counsel of your writing group,
gracefully surrendering the things that suck.
Nurture strength of spirit to shield you against reviews.
But do not distress yourself with dark imaginings.
Many fears are born of low sales and deep discounting.
Beyond a wholesome discipline,
so many words per day,
be gentle with yourself.

You are a writer of the universe,
no less than the poets and the screenwriters;
you have a right to put words on the page
but not to expect people to appreciate them.
And whether or not it is clear to you,
no doubt the universe is reading as it should.

Therefore be at peace with your agent,
whatever you conceive him to be,
and whatever your labors and aspirations,
in the noisy confusion of life
keep peace also with your writer’s soul.

With all its sham, drudgery, and broken dreams,
the world of books
it is still a beautiful world.
Be cheerful.
Strive to be happy.
Keep writing.

(yes, inspired by the Desiderata).

Outlines vs Vague Thoughts

One of my big jobs this week was to write outlines for two books (my biggest job was to mark around 40 student assignments, but we won't go there). These two are supposedly going to be Books 2 and 3, featuring the same character. When I wrote the first one, I had no intention of writing any more. It seemed a complete story to me, with a fairly resounding ending. None of this Hollywood doubling back and tricking the reader at the last minute with a new monster being birthed. Then the publisher said the character was so good, how about another story featuring her?

Of course. (Lesson 1 in writing and publishing - never say No way, Jose when a publisher asks you to write a book, unless it's something horrible that would destroy your rep forever. You can always negotiate what the book might be, and get it closer to what you want.) In this case, it had been a while since I'd written the first one, and I also really liked the character. Not sure where she came from, but we get on well together.

Then it became 'We'd like to see outlines for two more books, please'. Hmmm. I don't have any problems with outlines, especially the ones done my way. My way starts with scribbles and circles and arrows all over the page, then it progresses to more diagrams and grids and notes. When I'm happy, I start writing. But that's not what a publisher wants to see. Because they'd never understand my scribbles and diagrams in a million years.

A publisher wants to see it all written out, like a summary or a short version of what the whole thing will be about, who will be in it, what will happen, and what the outcome will be. It's also good to indicate what the outcome will mean to the characters, the result of their journey. For me, this is not a synopsis. A synopsis is when you have written the whole thing and rewritten it, and then you write down everything that happens so an editor or agent reading the first three chapters can see whether you've got a solid grip on the rest of the story.

These outlines are saying what I'm going to write about. What I have planned will happen. There in lies the rub. What if I change my mind? What if a better idea or ending presents itself halfway through the writing? What if I get to Chapter 4 of my planned novel (according to the outline) and I hate it and it's not working how I thought it would, and I want to burn it? That's why outlines freak me out a bit. What if I get it wrong?

The plus side of this, however, is that while I had a good idea for Book 2, Book 3 wasn't even a twinkle in my eye. I had to start from scratch and explore a whole new idea. I came up with something I liked, then I came up with something big and exciting that really made it all come together. And in turn, that showed me where the weakness lay in Book 2. That's what I'm working on right now - how to find that big, exciting extra element that I think Book 2 still needs to pump it up to a top-notch story. It's mostly there, but I want to add one thing more...

April is Poetry Month

Actually, it's only Poetry Month in the US. Australia doesn't have a Poetry Month, or even a Poetry Week. I think we have one Poetry Day on 1 September, but my guess is that more Australians know that 17 September is World Talk Like a Pirate Day than know about Poetry Day. Arrrrr!

There are currently lots of websites and blogs promoting poetry for kids, in the classroom and generally. The CCBC Discussion Board is talking about poetry anthologies, and the ongoing issue of why more teachers don't teach or use poetry in the classroom. Mostly it seems to be because they don't know how to teach it. A few people have commented that if a teacher doesn't enjoy poetry and doesn't read it, there's little likelihood they'll include it in their classroom activities.

Some of the other issues are about "killing" a poem by dissecting it to death, using poems in classroom comprehension tests (another way of strangling a poem) and the teacher who reads out loud in a way that condemns a poem to the Boring Bin in a second. People also complain that they don't understand poems, that they're "too hard", and I can sympathise with that. But who said you have to understand every single thing? That is the joy of a poem - when it speaks to you on some other level that you can't pin down, but it makes you feel that you have just experienced something amazing and true. And there are hundreds of great poems that are easily understandable and still offer much to the reader. Accessibility in poetry is not about dumbing down!

When Billy Collins was Poet Laureate, he created a website of 180 poems for teachers (or everyone) to use - poems that weren't obscure or meaningless, poems that would provoke discussion, poems that showed the world in a different way. Even if all you did was read one poem per day out loud (without analysing it), you could create sparks of inspiration and maybe the desire to write a poem or two.

I like the idea of reading lots of poems and simply talking about what one of the poems says to you, then writing something in response. I don't think you can give kids a whole bunch of poem exercises to complete without first surrounding them with word music, imagery, rhythm and language possibilities. I think if a teacher enjoys poetry, they can't help but pass that on to their students (of any age). I like nothing better when I teach poetry writing than sharing my favourites. Here's one by Billy Collins - Introduction to Poetry. And another by Margaret Atwood - You Fit Into Me. Anyone got favourites of their own?

CBCA Shortlist

Around this time of year, some major awards here in Australia announce their shortlist. So we have the Miles Franklin, the NSW Premier's Literary Awards and the Australian Children's Book Council Awards. If you have a book in the running, it can be a nerve-wracking time. In 2005, my book Farm Kid was shortlisted for the NSW award, which was a huge surprise for me. When it won, I made the most of it and celebrated and went to the awards dinner in Sydney. It was like a huge, excellent, late Christmas gift, something to totally enjoy.

This year Sixth Grade Style Queen (Not!) has been shortlisted for the CBCA Younger Reader awards. I can't tell you how many fingers and toes I had crossed! I could hardly walk. Although the Newbery Medal in the US doesn't have a shortlist beforehand, the effect on book sales and everything else that goes along with being a children's author is the same. It's mind-boggling, actually (I've talked to others who have been shortlisted and won or had Honour books), and exciting. And sitting around on Tuesday morning waiting for the shortlists to go up on the CBCA site was unbearable. So I went to the movies.

When I was a teenager, one of my favourite movies was Anne of a Thousand Days, so I really wanted to see The Other Boleyn Girl. It was great - lots of strong minor characters to fill out the story with subplots, two very different actors in the main roles, and a different perspective also on Anne. Yes, I did manage to forget about the shortlist announcements until the movie was over. Then I arrived home to a lovely message from my publisher on my answering machine, and the sight of my book on the website. It took a while to sink in, but the champagne helped!

There is now a long gap until the winners are announced - 15 August - which allows for lots of discussion and time for kids to read the books and decide for themselves. This year there will be another Junior Judges happening, where schools can get involved and be part of it. In early May, the CBCA conference takes place here in Melbourne, and I'm going to be leading a session on Sunday on poetry for children (which was organised months ago).

Yes, I am trying very hard here to sound serious and "worthy" - my friends would all laugh and give me a good poke in the ribs, because they know that inside there are a dozen elephants still doing a mad, happy dance! So now I will go off and do some writing, because I have a deadline, and later on I'll let the elephants out and we'll watch the footy and drink nice wine and celebrate some more!

Awards and Rewards

Last night, my writing group went along to the FAW (Fellowship of Australian Writers) Awards night. We had received a Commended in the community writing group section for our group novel. Of course, we thought we would have won if we'd been able to submit the whole book! The rules said only 30,000 words, so we had to cut it off halfway and say it was only Part One. Mind you, as someone in the group said, if we'd been able to put the whole novel in, we would have been struggling to finish it in time! As it is, here we are at the end of March and we're still about 10,000 words away from finishing (we think).

Still, the competition was a great impetus for us to do something different. We have all created characters for the novel that now seem real - we sit around the table, plotting what comes next, and refer to each other by character names. Plotting is such fun, with everyone throwing in ideas about who will do what next. At the function last night, another writer asked me how we did it, and then seemed amazed that we managed to plot and write without huge arguments.

I think the key is ego. None of us want or need our part of the novel to be "the best" or the biggest or the most exciting. We're more interested in enjoying the process and seeing where it will lead us. One of us has developed a very snooty, nasty character and is now loving being able to write in her voice and "let it all hang out". Another writer has created a male character and is practising her skills in terms of voice - making sure he sounds like a male. We intend to self-publish the novel when it's finished, just for ourselves.

The great thing about the Awards night is seeing so many people so excited about winning or receiving acknowledgement that their writing has been judged as darned good. In many ways, our society hates high achievers and likes to cut them down to size. The FAW Awards give prizes and commendeds to more than 100 writers, and it's a celebratory occasion. Some people come from interstate to receive their awards, and it's lovely to share their happiness. The awards also are for younger writers - one young man who won a poetry prize said his English teacher had told him that poetry was obviously not his strong suit, and it was good to have another educated opinion on that! No doubt he'll take great pride in showing her his certificate.

There are always writing awards around. The new Prime Minister has announced two major prizes for fiction and nonfiction writing worth $100,000. Yes, that's nice, but wouldn't it be better to spread it around a bit more? Sometimes you hear people say that there are too many awards, but I think it's great to have many rather than one or two. Judges differ widely in their choices (just look at the State writing awards for children's and YA books compared to the CBCA choices for their awards) and it means more books get promoted and praised.

We writers tend to tuck ourselves away in the back room and write, hoping for publication and recognition, hoping we'll find readers who love what we've created. Prizes and awards, both large and small, help us to feel validated, help us to keep persevering, just as much as actual publication does. Every bit helps. And I can't say enough good things about my writing group (go, girls!) - their encouragement and critiquing skills have kept me going over the years, more than anything else. If you can find fellow writers who understand what you are trying to achieve, and who can offer you (and you, them) that vital support, that's a prize in itself.

Who Made/Wrote This?

While the holidays mean reading lots of books and writing and relaxing, I also try to fit in some movie viewing. Unfortunately, these holidays the cinemas are crowded with not-so-good children's movies (sorry, I have no desire to see Horton Hears a Who although I might give the Spiderwyck Chronicles a go) so I need to look further afield for entertainment. I watched Margot at the Wedding. I give myself four stars for lasting the distance. The movie gets zero. this was one of those movies where you keep watching because you just can't believe - a) it's as bad as you suspect it is, b) you keep hoping it will improve, c) you keep looking for something good in it, and then have to give up.

Who paid all that money to make this movie? I'm a fan of the dysfunctional family story - I loved Little Miss Sunshine. That movie had a great cast of characters and a story with a goal and destination. Margot has two characters - sisters - who spend the whole movie trying to be nice to each other and failing to even be successfully crazy or bitchy or vindictive, or in fact any emotion that might transmit itself to the audience. Nobody in this story (sorry, scratch the word story because there isn't one) has a relationship with anyone else that comes close to interesting. It's a sad day when I realise the only character I kind of liked was the one played by Jack Black (who I don't like).

I checked out some reviews on Rotten Tomatoes to see if it was just me - they were mixed, but most people agreed that there was little plot, a lot of depressing misery and none of the characters sparked enough to carry the movie to any kind of decent ending. I think what I hate are movies where all of the characters are just plain stupid, act in stupid ways, fail to make any kind of decisions that create a possible storyline, and aren't funny even when they are supposed to be.

How hard is it to write a story with tension, action, consequences and empathetic characters? Was Margot nuts? Was she having a breakdown? Who knows? Who cares? And the who cares question is the killer. If we don't care about any of the characters in a story, we aren't going to watch it or read it. This is something we teach our students from Day One. If you are going to create a character who is unlikeable, there had better be other great things going on in the story to hook the reader in. Is it unfair to compare Margot at the Wedding to Little Miss Sunshine? I don't think so. That's what we do as readers and viewers - we pay our money and we get to judge whether it was worth it or not!

Review Round-up

Over the past couple of weeks, I've read six or seven books, probably more, mainly due to the dire offerings on TV. I've been known to take myself to bed by 8.30pm with a pile of books, diving into whichever one holds my interest most. Some haven't. After being intrigued with Denise Mina's Sanctum (a clever play on diaries and case notes that leaves you wondering afterward how much was fiction - well, all of it, probably, but she does well to keep you thinking), I tried another one and gave up after twenty pages. The Field of Blood had two things against it for me as a reader - the main character seemed to be too ineffectual and passive to hold any hope of future engagement, and the first pages were so overloaded with a huge cast of characters that I was having trouble following any of it. Yes, harsh and fast judgement, but there were other more enticing books waiting.

I read Boy Toy by Barry Lyga first out of my pile, and am still considering what I think of it, and why it made me uncomfortable. I have decided it was intended to do so. If you haven't heard of this book yet, here's a short summary. Josh is seventeen and about to graduate from high school, but he's not coping. He can't relate to girls his own age, he feels the whole world stares at him and knows who he is, and he doesn't know what to do about baseball and college. The reason? Josh had an affair with his teacher when he was twelve and she went to jail for it. The story moves back and forth in time, so that we alternate between Josh now, struggling to keep his head above water despite help from a therapist and his friend Zik, and Josh at twelve, being seduced by his teacher.

I'm not going to spoil the book for you by telling you what the dark, emotional twist is in the last section, but it does explain why Lyga goes into such excruciating detail about the affair. This book is all about Josh, about how and why he is struggling still at seventeen. Cases like this in real life always make headlines (they certainly have here) and I wonder if one of Lyga's intentions was to show young males exactly what damage this kind of relationship can do to you (rather than assume it would be an exciting and "maturing" experience, which I can imagine a lot of young males doing). This was not Josh's experience at all, and I think perhaps the discomfort I felt in reading this came from the way in which it made me aware that perhaps I had made my own assumptions too. Another reminder of how the media can distort the truth or fail to show more than one side of a story. I highly recommend this book, but be aware of its content.

I like to save up some good crime fiction for holiday weekends, but Killing Fear by Allison Brennan wasn't really it. The sticker said Love this or your money back. Well, I didn't love it. I kind of thought it was passable. Does that qualify me for a refund? Maybe it's because the serial killer genre is getting tired, and I've read too many really good ones to tolerate one that doesn't do anything much fresh and new. Mind you, that might be asking too much. Fresh and new serial murders. Hmmm. I think my biggest gripe with this book is that it was a bit shallow. I never really felt a sense of place, and third person omniscient POV felt too distancing. This might have worked better (for me, anyway) with a closer POV, but as one major character was the villain, I'm not so sure.

Anyway, I went from that to Travel Team by Mike Lupica, and did that book grab me and keep me reading all day! It's middle grade fiction, about a basketball team, and a really short kid who is a terrific player but doesn't get picked for the travel team (the team that travels around to play in the league). The kid, Danny, has a father who was a star basketball player until he crashed his car, and now he's a bit of a no-hoper who decides to start his own team so his son can play. While the story might sound familiar, Lupica's characters bring the book alive with action, humour and hope. Right from the start, Danny is the skeptical one who thinks it's all a waste of time but goes along with it, which adds unexpected conflict from all angles. He's a multi-faceted character who carries the story with depth and emotion, and is honest and direct in a way that continually refreshes the novel.

It's books like Travel Team that help me as a writer. I can re-read it for dialogue, characterisation and the whole show-don't-tell thing, and learn as I go. Books like that go on my closest shelves, so I can use them for class or for my own benefit whenever I need a good example to follow. Have you got any books like that on your shelf? (I mean novels, not how-tos.)

I'm Alert!

The other day I signed up for Google Alerts on two topics, one of which was my book Sixth Grade Style Queen (Not!). I'd heard other people talking about how handy the alerts were, so I thought I'd give them a try.
Imagine my surprise when I started getting alerts almost immediately, and it was an even bigger surprise when one of them led me to the Australian Publishers' Association site. The big news is that my book has been shortlisted for the Book Design Awards - twice! Once for the cover and once for the whole book.

Now I can't claim any credit for the design of the book, apart from my first suggestion that perhaps the inside could have kind of doodle-like drawings in it, as if my main character had drawn them herself. From this, the amazing designer, Elissa Christian, went ahead and created a pretty stunning and unusual book. For a start, everything inside is green, including the text, and the cover you can see above is like a colourful doodle too.
Go, Elissa! Hope you win.

With Easter coming up, that means lots of writing time for me. We don't have family obligations (as in visits to in-laws and out-laws) so it's pretty much a time to relax, and for me to write. I'm in revision mode on a novel, and am writing lots of poems, and plotting out a new novel. I'm sticking to quite a few of my 2008 resolutions, amazing for me, which means walking every day, sleeping more, eating well, doing the stretches and exercises for my neck/shoulder problem, and working steadily on two-monthly goals. Thinking about that is a great encouragement in itself. I might have to splurge on some chocolate! Just a little bit.

Dumb Questions

I used to think there was no such thing as a dumb question. When I first took over the "boss" job at work, there was no handover from the previous person and I was pretty much floundering. After my tenth stupid (to me) question of the admin staff, I apologised for asking so many dumb questions. The other person said, "I'd much rather you asked a million dumb questions and then did it right, than guess and have to ask for help to clean up the mess." What a pleasure she was to work with!

Since then, I've worked on that principle a lot of the time, in class as well as out. New writers can't be expected to know everything when they first start (that's why they're in a class - they want to find out) and that's how I learned too. I will never forget the wonderful help Michael Dugan (famous Australian children's writer and poet) gave me when I first started writing and publishing children's books. It made a huge difference to me, and I like to try and pay that forward whenever I can.

Mind you, I do still hear an occasional question that really does indicate the asker needs to rethink their words. Like the person in a seminar last year who said "I have an idea for a story and I want to know how to get it published". The audible intake of breath from everyone said it all. If you haven't even written anything before you start asking about publication, then you're probably better off trying something else.

These days, I am no longer the "boss", thank goodness (they let me escape back to being a teacher), but I still have to deal with a lot of admin as part of my job, and my new pet hate is the burial expert. As in "I didn't know what to do with this so I pretended it didn't exist and buried it on my desk under all the other things I am supposed to be doing". Coming a close second is the duck-shover - "I didn't know what to do with this so I shoved it into someone else's In Tray". When I'm feeling negative about these two, I can't help but think of all the extra hours of work they create for other people, and then I think that in my case, those hours are writing time! Shame on them!

Friday Thoughts

My first thought is where the heck did the week go? My second thought is that I have managed to write three days in a row on two different projects. That's got to be a good week!
My friend Tracey recently posted on writing in the zone, how it feels when the words zing along and everything seems so easy. And how rare that can be. A writer writes no matter what, and waiting for the zone is guaranteed to end up in no writing at all.

I've been reading a new acquisition this week - Creativity for Life by Eric Maisel. I had enjoyed his A Writer's Paris so much that I wanted to read another by him. This one is a lot more complex and deep. So much so that I can only read a few pages at a time, then I have to go away and think about it. But today I was reading about the artist's personality, and the factors which go into it. Under Discipline, he talks about leading all-day workshops for writers who are blocked, and how these people can come and write for a whole day with him when previously they haven't been able to write a word.

What causes the block to disappear? Is it the man up the front giving them permission to write? Or ordering them to write? Maisel asks the question - if the gap between being blocked and writing is so small that it goes in a few moments, why does it seem so insurmountable at other times? I think it often comes back to the title of that section - Discipline. If you discipline yourself to write, you will write. You won't write until you can convince yourself that sitting and doing is all that is necessary. Just sit and write. Anything. And when you are writing and thinking every word is awful, keep writing. It's amazing how persisting for ten more minutes will move you into that writing space that may not be the zone, but will be writing that satisfies you (maybe even because you did not give up).

In the Weekend Australian magazine there were two interesting articles. The first was on Joan Didion, the writer, who said some wonderful things including this: No one ever reads as passionately as a 12-year-old. Critic John Leonard said about her writing: She seems almost Japanese in what she can leave out and still have us know it's there. It's almost poetic. That made me want to read her books.

The second article was on comedians, and whether the best ones are those who have terrible childhoods, are depressive or have personality disorders. The writer, Oliver James, quotes a number of famous comedians with these pathologies to back up his claim. He says the urge to create humour stems from using it as a defence in childhood, and later on, against criticism, abuse and low self-esteem. I've read similar claims about children's writers - that they are somehow caught between being grown-up and being back in a certain period of childhood that was either traumatic or holds great memories. The key can often be to imagine yourself back then, at ten or twelve or fifteen, and be able to recreate it on the page. Food for thought.

What Inspires You?

As writers, we all know how a great book, poem or movie can be inspiring - how something that touches us or stirs us in some way can spark off new inspiration, or just firm up our desire to write and accomplish our dreams.
But there are other things that inspire us that are very personal and unique. Here are some of mine:

* building frames for houses - there is something about seeing a new house, seeing its bones and imagining what it will become, that inspires me

* a great singer (two of my favourites are Tina Arena and George Michael) - the sound of an amazing voice reaching perfect notes is astounding to me, and energises me

* crickets and cicadas - on a hot summer day, cicadas in chorus are ear-splittingly wonderful, and when I go for a walk at dusk and hear crickets in the grass singing at similar ear-splitting levels, and then think about how small they are, that amazes me

* people who simply inspire because they care and want to share their thoughts, and hope that you will gain something good from reading them - Julius Lester and Craig Harper are examples that spring to mind right now

* a terrific football (rugby union) player, Chris Jack, who is fascinating to watch in action because you can literally see him thinking, analysing, acting, moving - he is able to be in the play all the time, and be extremely effective, because of this ability - it's uncanny to watch

* people who don't give up, and who really do understand it's up to them and nobody else - seeing them achieve great things in any walk of life is wonderful (even better when you know them personally)

Those are some of mine, weird though they may seem! What about yours?

Are you a Socio-Economic Writer?

Sounds like a silly or weird question. Let me explain. In the past two days, there's been this synergy thing (I'm using the current buzz word) where several things I've been reading and thinking about have all come together. I have to warn you that I am about to leap up on my soapbox:

1. I've just finished a crime novel called Sanctum by Denise Mina. Mina was recommended by my friend G, and when I went to the bookshop, this was the title I selected. One of the elements of this story (which uses a really interesting diary/truth/lies quandary as its plot) is the point about who receives the most media attention. Is it the most attractive, middle-class victim? Because the lower-class, poor, drug-addicted or prostitute victim often gets short shrift from the media, thus leading to less public interest in their case and less assistance to the police.

2. Today's Melbourne Age newspaper has a large article about exactly this thing - Maddy McCann (the little girl who went missing in Portugal last year) has received a massive amount of media attention, and this has been fed by donations to the search mission by people like Richard Branson and J.K. Rowling. Whereas Shannon Matthews, who went missing (presumed abducted) on 19 February, has had little media attention because she is one of seven kids by five fathers in a very poor family.

3. Apparently critics are currently having another go at Jacqueline Wilson, asking why she has to continually write these depressing stories about kids in single parent, poor families who go through horrible experiences.

4. And me, small voice in a far-flung land (so to speak) is wondering how my editor is going to feel about another story featuring a child from a family that is basically broke and struggling, and who can't afford to give the kids what they want or need.

They are all good questions. I don't know enough about JW to say why she writes about the characters she does, but my guess is that, even if she doesn't come from a background quite so dire herself, she's met a ton of kids who do, who write to her, and who tell her their stories. She's giving them a voice, telling their stories, showing the world what it is really like as a kid to live in that part of the world where lack of money rules your life, where you can't be guaranteed a roof over your head, where you also can't be guaranteed a parent who can care for you.

While I feel deeply for children in the Sudan and Palestine and any other country where kids are suffering because of adults who are more concerned about killing each other than about making sure their kids actually grow up, there are huge numbers of kids in our so-called affluent Western world who are living miserable lives and who deserve to have their stories told too. No, we don't want a bookshelf full of misery stories, but there are kids out there who need to read stories that reflect the realities of their own lives and that give them hope.

Which brings me to the other whinge that critics often regurgitate every so often - that these dreary, doom-filled stories just make the kids' lives more miserable. I have yet to read any children's or YA book (apart from Dear Miffy, which has its own message) that ends so badly that the child or teen reader might come away feeling totally depressed. There is a huge difference between a realistic ending that offers some hope (and kids can tell the difference - they know when you are fudging it or making it happy-happy just for the sake of it) and one which sends you into the depths of despair. I don't know any children's writer who says they deliberately create horrible endings. JW always says her books are full of hope and strength and happy endings (just not endings where you win Lotto).

So I guess I need to go on writing stories that reflect what I know - that despite the media reports, not every child has a computer and Playstation and mobile phone of their own, simply because they can't afford it (there are some sane parents still out there too!!). Not every family can afford meat on the table every night. Not every family has working parents. There are many families where unemployment is the norm, where eating bad food is the norm (because it's cheaper), where single parents are the norm, where parents who can't speak English properly have to use their kids as interpreters (how likely are these parents to indulge in reading books to their kids every night?).

If you want to think further on the realities of life for kids in families below the poverty line, try reading What Came Before He Shot Her by Elizabeth George (article contains spoilers). Then read some Jacqueline Wilson books. Yes, kids love fairy books, and no, they shouldn't be unnecessarily exposed to stories about awful life situations. But pretending to your kids that the world is full of goodness and light is not helping them to understand what it is to live in our world today, and deal with the crap that will inevitably come their way. It is absolutely astounding what kids are capable of when they understand how other kids in the world are suffering. Your kids, too, can learn compassion, understanding and how to help others, simply by reading books about kids less well off.

So if you want to write books like that, books with meaning, books that will help kids cope and help them to become compassionate, caring people, go for it.
And as for you, Mr Rudd, cutting carers' benefits and old age payments - may you grow old and disabled before your time. You'll be getting a letter from me.

The Realities about What it Takes

Don't read on if you're feeling a bit vulnerable or depressed!

1. It takes time. Lots of time. It can take ten years to get to the point where you are writing publishable work, or it can take ten years to come up with an idea that's new and different. The ten years won't have gone to waste, because during that time you'll have written many words, and the way you write will have been improving and growing and deepening. You'll have come to understand what it truly takes, plot- and character-wise, to write a novel with impact, that resonates with lots of readers. You'll have written all of the dull, dead, done-before ideas out of your system and be discovering that, behind the daily clutter in your life lie many new ideas and voices that you are only just learning to explore. Why ten years? I'm not sure, but I know many writers who say their "overnight success" took ten years. Me, too.

2. It takes time. That's time in every day. A regular writing habit of an hour a day will get you a lot further than one day every two weeks. That's because writing becomes the focus of every day, you start to feel like a writer with a strong commitment, your project is constantly in your thoughts and you are constantly coming up with new ideas for it, to make it better. You don't need to spend a couple of hours working your way back in the voice and the story. It's right there, all the time.
Sandy Fussell has three books coming out this year (her first three, one of which is Samurai Kids). I have just read an interview with her where she says she writes from 10pm-1am every night, because that's the only time in her busy day where she can fit it in. For many people, that would be too hard. For many people, any kind of regular writing commitment is too hard. Not for Sandy. So she has three books coming out.

3. You need to read. Reading feeds your writing like nothing else. Poetry feeds the language in my novels. Crime fiction helps me with plotting. Reading great YA fiction teaches me about voice. A writer is always learning, always working on their craft, and reading as a writer takes you a lot further along this path than anything else. You need a reading commitment, just like your writing commitment. You need to see what else is being published, what publishers consider is the best, what is selling well and think about why. Those writers are giving readers what they want. You have to know what that is, and how to create it yourself.

Gee, all of this is taking up lots of your time, isn't it? You might have to give up some TV, or socialising, or even a bit of sleep.

4. You need to understand the publishing industry. It's a business. It's not there to make you feel better about your writing (although occasionally there are rejection letters that could be a tiny bit more encouraging, perhaps ... nah, we just need a thicker skin). Your submission is not the only one that publisher received this week. It was one of maybe a hundred, or several hundred. With so many to choose from, no wonder publishers are hanging out for the one that sings to them, not just one more competent story among many.

What are you doing to make your novel stand out? How many times have you rewritten it? Do you need a few grammar and punctuation lessons? You're supposed to be professional, so you need to understand that you are competing with thousands of new writers. You're also competing with lots of published writers.

Do you spend $2000 on a new bed because it looks nice and the person who owns the bed company needs a better car? No, you'd buy a bed that gave you a great night's sleep and was good for your back as well. So no one is going to spend $20 or $30 on your book in the shop unless you are going to give them a great story.

Editors and publishers love books. Otherwise they'd be doing something else that paid more money. Yes, they have to fight the bean-counters in the company, and convince marketing to come on board with books that are a bit risky, but they wouldn't do it if they didn't love the books. Make yours one that an editor falls in love with!

5. Whingeing doesn't help. Yes, this is a tough thing to do. Crazy even. Pour your heart and soul into a book and then not be able to get it published. But complaining and blaming other people only makes you feel better for about five minutes, then you feel worse again. Put that energy into writing and reading, into finding out about the industry, into finding other writers for a critique group (if that's what'll help you, and it probably will).
And think about this - any published writer will happily tell you that getting published does not solve all of your problems - they just become different problems!

6. Love the writing. Love the feeling of having written. Love having completed that tricky Chapter 11, even though you were scared you'd stuff it up. Love rewriting and making your words better. Love talking to other writers and encouraging each other. Love reading and discovering new writers. Love creating new voices. Love the writing, and the rest will follow.