Welcome to the blog of the Tasmanian branch of the Children's Book Council of Australia!

Saturday, 10 November 2018

IBBY Honour Books at Sharing Stories


Nella shares a rare treat to view the IBBY Honour List at a recent event in Canberra.
How do you deal with Book Lists – best of 2018, best YA, best picture book etc?  Eager to see if your favourites made the grade, use them to add to your TBR pile or avoid them for fear of being overwhelmed? How about the exquisite joy of being surrounded by such a list and being able to hold/read the books?
The IBBY Honour List is a biennial selection of outstanding, recently published books, honouring writers, illustrators and translators from IBBY member countries. The 2018 Honour list has 191 books in 50 languages from 61 countries. IBBY Australia began nominating its own creators for the Honour Books in 1962. Australia’s first Honour Book (nominated by its UK publisher) was Nan Chauncy’s Tangara.
The Honour books display had never toured Australia until October 2018 when IBBY Australia and National Centre for Australia Children’s Literature (NCACL) combined forces to host the display of the Honour Books 2018 (on loan from Basel, Switzerland), a display of all the Australian IBBY Honour books at Woden Library and to present the Sharing Stories program – a celebration of Australian children's book creators and translations.
First stop - some of the mini exhibits - Bob Graham’s Max at Dickson Library and at Woden Library - Alison Lester‘s Noni the Pony & Noni the Pony at the Beach, Bob Graham’s Let's Get a Pup and Margaret Wild & Wayne Harris’ Going Home.
Then the exhibition preview to hear Dr Robin Morrow AM, National President of IBBY Australia, talk about Australian Books about Refugees; and IBBY’s Call-to-Action, Claire Stuckey, Executive Committee member of IBBY Australia, Comparing and Contrasting Australian Indigenous Picture Books with Non Indigenous Titles featuring Rural and Urban and then Ursula Dubosarksy’s wonderful introduction to IBBY and to the exhibit. 

And the last Sharing Stories event for me, the official launch. Emeritus Professor Belle Alderman AM, Director, National Centre for Australian Children’s Literature, commenced proceedings and ACT Minister for Multicultural Affairs and Minister for Community Services and Facilities, Chris Steel welcomed guests. Jackie French shared her experiences with translations – the challenges and the joys.
Honour list presentation film

There are plans for the exhibit to tour other libraries. If it comes near you, don’t miss seeing it.
Even if your French is rusty, I am sure you will enjoy this presentation of Adrien Parlange’s Le Ruban, a French Honour Book. Let’s hope Gecko Press or Berbay Publishing decide to produce an English version.  
Adrien Parlange - La Ruban 

Nella Pickup
Reader
IBBY Australia Executive Committee member


Sunday, 4 November 2018

Emily Conolan – It's all about choice

At the recent CBCA Tasmania AGM were lucky to have Emily Conolan come and talk to members about her new series The Freedom Finders (released April 2018).

Emily Conolan is a writer and teacher known for her humanitarian work, establishing a volunteer support network for asylum seekers in Tasmania, she has been awarded Tasmanian of the Year, Hobart Citizen of the Year, and the Tasmanian Human Rights Award. The stories of courage and resilience she has heard in the course of her work with refugees, combined with tales from her own family history, inspired her to write the Freedom Finders series.

Emily started her talk with a game about choice “when you got dressed this morning, you didn’t

Most of us would remember the popular series; from the 1980s; Choose Your Own Adventure books (but can you remember the titles or the plots?).  The form of fiction these fall into is called interactive fiction, it was the precursor to interactive games and frequently reflected sci-fi or fantasy themes.

Emily’s series falls under this genre putting the choice in the readers hands but what she has also done with The Freedom Finders is to:
Read about Touch the Sun
know that your choice of clothes could affect what was going to happen to you today”. Some choices have unforeseen circumstances, some may have a clue to lead us to a certain choice or there may be a moral choice. Whichever one we choose there will be consequences whether good or bad. We make choices all the time without even realising it.
  • take the genre and apply real world scenarios;
  • give readers characters they can relate to and fall in love with and journeys they will remember and 
  • make consequences of the readers’ choices real – choices that migrants and refugees face e.g. separation from family, incarnation, even death.
Read about Break your Chains
Emily has added an extra bonus - fact files that provide background information on the social and political issues relating to the story line, along with a map of the journey undertaken.

Emily knew from her experiences as a teacher and humanitarian that her subject would be a delicate balance and didn’t want to trivialise stories of the migrants or asylum seekers. Even her publisher was initially worried that the topic was too heavy for this genre but as Emily explained to them (and us) asylum seekers are “active agents, resourceful and determined”. Due to her work and knowledge of the topics; from both research and interviews; Emily was able to gain the publishers trust.

The first book in the series, Break Your Chains, Emily consulted the local Tasmanian Aboriginal palawa kani community for information and for the second book, Touch the Sun she interviewed and worked closely with a Somalian migrant. She is currently writing her third book in the series about the Italian migrant worker community within the Snowy Hydro Scheme and a family curse. “This book poses the question about whether we can determine our own destiny, and what role luck and fate have to play.”

“Of course in real life we can’t rewind our choices. In this series, choices often backfire or are taken out of your hands to demonstrate that our lives are unpredictable and shaped by forces beyond our control.”

Emily’s books don’t simplify the issues – “the fact files help to unpack the issues and ask questions…There are big questions with complex answers and The Freedom Finders shows a more complex picture of migration than a linear narrative could.”

I thoroughly enjoyed Emily’s presentation about her experiences in writing these books. She is an inspirational women and writer and her topics are thought provoking.  I even went home with one of her books (Touch the Sun) and spent part of my Sunday reading it. In fact, I have just purchased 20 copies of each book for our Grade 7s and 8s to use in their reading groups.

Thanks Emily, and I look forward to book three next year.
Pennii Purton
Library technician, Reece High School.

Editor's note: Emily wrote a blog post about the challenges of writing interactive fiction that you might "choose to read".

Saturday, 27 October 2018

When kids read about a challenging situation


Join Tania this week as she shares experiences when students have been challenged by the content in the books they have been reading and the opportunities for thoughtful conversations that arise. 
I recently had a couple of books bought back to me from students with the comments along the lines of “I don’t think this is suitable for primary school kids to read”. I inquired as to why the readers felt that way and thus began an interesting journey.
The first book concerned Lockie Leonard Human Torpedo by Tim Winton. The student told me it “wasn’t appropriate” but just blushed when I asked for more information. So I took it home for the evening and read it. It has some mildly sexual content which the characters resolved in a mature and respectful way. Talking to the student again, I understood that this was the content that has unsettled her and we discussed her good choice in recognising that fact and stopping reading the book.
The second incident concerned the book Being Bindy by Alyssa Brugman. The student was reading the book as part of a Middle Years literacy program and bought the book to me saying it wasn’t appropriate. Her main objection was that she had read a “bad word”. She showed me the word, on page 12 and it’s certainly not a word used in polite society. Again I was curious as to what exactly the context was so read the novel in my lunchtimes.

One of my library leaders was interested as to why I was reading the book. I explained the circumstances and talked about the bad language and nasty situations presented in the book. Bindy is bullied and ostracised by her best friend Janey and Janey’s new popular friend, Hannah. To make things more problematic for Bindy, her father and Janey’s mother begin a relationship, which forces the girls together and creates opportunities for Janey to do some pretty awful things to Bindy. In one scene Janey and Hannah trick Bindy into going to the movies and present her with a boy, whose she’s supposed to make out with. Classic peer pressure situation, which Bindy resolves really well, keeping her dignity and staying true to herself.

After I’d read the book, the library leader asked to read it. We talked about the issues the book might have for her, including the swearing. She told me there were situations that made her “feel bad in the tummy” but that the way Bindy reacted and resolved them showed her a way to cope with such situations. She agreed that books that make kids feel uncomfortable have value because it’s a safe way to explore situations that are likely to occur in their lives and gives them a demonstration as to how to handle such times.
All of this reminded me of comments made by Australian Children’s Laureate, Morris Gleitzman about books that frighten or challenge kids.  He says that stories are a safe way of exploring difficult situations or challenging events. Readers can then discover hidden strengths or reaffirm and reinforce existing strategies. Gleitzman also notes that these tools are needed more than ever today.
To have a look at Gleitzman's thoughts on Going in to Bat for Stories.
Tania Cooper
Library Technician
Ulverstone Primary School

Sunday, 21 October 2018

The Power of a Good Book

Another wonderful story from the Tamar Valley Writer’s Festival about the increased opportunities for authors and readers to communicate with each other and the enrichment to both that can follow.
When Hobart-based children’s author Lian Tanner received a message on her website from a 16-year-old girl, she was thrilled to read she was a fan of her Keepers trilogy, but what she learned as she read the letter was the impact of her books on this teenage reader.

The young woman had spent most of her life in foster care and the characters in The Keepers resonated with her strongly.

This reader told Tanner that on her worst days she felt as if she were in chains. And when she felt really bad she would lock herself away in her room and read the Keepers books, which would make her feel better.

Tanner told this story at the recent Tamar Valley Writers Festival, held at Grindelwald, and explained how the distance between readers and authors had lessened in the age of social media and heightened online connectivity.

“My Keepers trilogy is about children who are kept in chains. I thought [this story] is the best thing that I have ever heard,” Tanner said.

Readers have more access to authors than ever before and, as a result, have a louder voice. Writers’ festivals, like the one Tanner was speaking at, book launches and social media have all contributed to the level of interaction we now enjoy with authors.

“Children expect to be able to talk to the author,” Tanner said.

“Children could always write to the author, and sometimes youd get an answer and sometimes not, but now they can email or talk to them on Instagram, or talk to them on all sorts of platforms, and that is delightful.

It’s great for the kids, but it is also absolutely delightful for the author,” she said.

Not only does this change in the way we interact with authors create a better relationship for both parties, but it also enhances word of mouth, which is one of the best ways for an author to sell books.

This word of mouth comes from the readers themselves, but also the booksellers, who know their customers so well. A good bookseller will know what to recommend when a customer is uncertain - or wants to try something new.

“What sells books is what the booksellers call hand selling - when you go into a book shop and they know you and say you will love this, or you go into a shop and say what have you got for my 12-year-old child?and they say try this, or one of your friends says,I just read this fantastic book...,” Tanner said.

“There is nothing like word of mouth for selling a book.”

Which book do you continually recommend?

Johanna Baker-Dowdell
Johanna is a journalist and author of the book Business & Baby on Board.

Blog: http://johannabd.com/
Google+: https://plus.google.com/u/0/+JohannaBakerDowdell
Twitter: https://twitter.com/JohannaBD

Sunday, 14 October 2018

Find Your Treasure - Christina Booth

This week Christina Booth discusses her career as a writer and illustrator with particular reference to the busy-ness of Book Week and how she refers to her own special creative journey to ‘Find her Treasure’- ‘I started with some stories of my stolen beginnings…’
Like many authors across Australia, I am recovering from Book Week. A few years ago, we crammed as many school visits as possible into the amazing whirlwind of a week in August after the CBCA Book Awards were announced. Now, we cram in as many as we can into the month of August. As schools become busier with schedules and events, and as author visits are becoming a popular event with many schools, we need more time to cater for everyone in this wide and wonderful land of Australia.
Over my Book Week month, I have presented at a writers’ camp working with keen writing students developing skills in writing and story-telling, spoken to librarians and educators at the North West CBCA Book Week launch dinner, dashed to Hobart for school visits, read to and wiggled a lot at an early childhood centre with parents, carers and pre-schoolers, walked a small town with an entire school as we paraded for Book Week, visiting local businesses for story time then finishing at a community gathering for a whole town story event where I read Welcome Home. Ran up and down the aisles at a whole school assembly author talk, chatting with students and teachers about the passion of storytelling. Then home to pack to visit schools in regional NSW.
I packed my books, my art supplies, my roadie husband and because I felt bad I couldn’t bring them any of our rain, I packed them bottles of Tasmanian rainwater and we set sail for the long drive to Young, Cootamundra, Boorowa and Nowra. Finishing the official tour with a meet up at the National Library of Australia with SCBWI book creators, a signing session at the library bookshop and an afternoon tour of the Lu Rees Archives at Canberra University saw me crumple into my hotel bed, happy but exhausted.
Inspired and motivated, we made our way back to the small island, ready to hit the studio once more. Book Week is busier and crazier than Christmas.
I could share so much of my journey with you, especially Beaconsfield School’s celebration of Book Week as a whole town (that deserves much recognition and congratulations!) but I really couldn’t choose what I should share, and so, with permission of the very friendly and welcoming audience at the CBCA Book Week launch dinner, I will share with you what I shared in Devonport and have shared with students during August.
--------------------------------------
I was asked to share some of the stories of my journey as a creator of children’s books, and so, coinciding with the theme for 2018, Find your Treasure, I started with some stories of my stolen beginnings.
You see, I am a pirate...
 I revel in treasure, the joy of stories, yarns and tales, many that lie in wait to be plundered and rescued from the desolate wastelands of ‘never to be told again’. We live on an island, rich in traditional stories, and those of newer arrivals covering the last 215 years, and those that will come in our future. I collect them, as I see fit, in the hope they never die. For stories are the treasure of humanity. They are what bind us together. The written, the oral, the old and the new. The reimagining of things past, present and the imagining of things to come.
How did I steal my beginnings? It is a part of my beginnings as an author and illustrator and I come to you now in confession and, seeking my pirate right of parley, to let you know that I plundered and stole from the CBCA.
I hope that you are shocked and bemused at this idea. What would the point be in being a pirate if one does not shock?
I had already illustrated for the educational market. Several poetry books that, because of the prestigious authors, looked brilliant on my CV. The likes of (and I name drop because as a pirate, it is the only way to go) Colin Thiele, Max Fatchen and Christobel Mattingley. They were early mentors in my desire to work in the children’s book industry. I managed to squeeze my way into a weekend retreat for children’s book creators at the Tye Estate and under the guidance of many other well-known creators, I was encouraged to knock on doors to show my pirate wares to publishers, to try to make an entry into the fleet of Australian illustrators. At this weekend I was also strongly encouraged to write. So, I did.

By the time I stole from the CBCA, I had a contract for my first picture book, Purinina, A Devil’s Tale. It was due for release the following year, but, in the year of our Lord, two thousand and six, CBCA was to hold a gathering in Sydney and the masters of the fleets would gather in a trade fair display of enormous proportions, the last of its kind, I believe.
Being a youngish and relatively inexperienced pirate with little reputation, I saw the opportunity as a chance to prove myself and perhaps, make my name known. Being in Tasmania and the mother of small cabin-fevered children, the ability to set sail to the big island was difficult and limited.
I couldn’t afford to attend the conference, held at beautiful Darling Harbour. I needed to fly there and find accommodation on top of the conference fees. So, I cleverly applied for one of the grants to attend. I was unsuccessful. I still would have paid to travel and for accommodation, so I considered all those publishers, helplessly tied to their trade displays with nowhere to hide and I decided that it would be a clever pirate plan to head to Sydney anyway.
I flew over with a friend, booked into the nearby youth hostel and carted my precious and bulging portfolios across the seas. I brazenly walked into the conference on day one, my friend assisting me in the carting of my portfolios (I had two!) and enquired from a frazzled looking volunteer if we were able to visit the trade display downstairs. She ran off to ask someone. Couldn’t find anyone, took us downstairs and handed us over to two burly looking official security guards standing outside the doors of the ‘fleet’. I knew that it was not going to happen. The volunteer quickly waved her hands towards the door and disappeared.
The security men looked us up and down, and even though I was shaking in my boots, they saw the portfolios and joyfully smiled, said ‘Ahh, the illustrators’, presented us with lanyard passes, opened the doors and took us inside. I was certain we would be walking the plank.

And so, I stole from the CBCA. My friend was amazed. She couldn’t believe how easy it was. I spent the day, while conference sessions were underway upstairs, browsing and chatting to publishers and others in the industry. It turns out they were a bit bored in the quiet times and as it was quiet they enjoyed having people to chat to. They told me that they were surprised others had not thought to do what I was doing as it was the perfect opportunity to meet publishers from all over Australia at a one-stop shop. We were gifted with free books, appointment times were made to look in greater depth at my portfolio and invites to a book launch that night on board a boat on the harbour where I was told I would be introduced to the publisher of a book series ‘I needed to be a part of.’
Then, as lunch was served upstairs, the food was brought down to the trade fair and we were wined and dined. I even got to meet Morris Gleitzman for the first time over a yummy salad roll and cake as we chatted away before the crowds arrived.
During the delegates’ time to visit, there were illustrators demonstrating their craft (we realised that is how we were let in so easily, mistakenly) and I met the man who enabled my non-reading child to read, her hero. She still to this day has the charcoal fingerprinted bookmark with a Stephen Michael King drawing, procured when I assured him I wasn’t a stalker or a nutter, but that I needed to inform him he was my daughter’s first true love.
I was invited back the following day for appointments and meetings with publishers and I had a wonderful time. Thank you, CBCA. From there, I sailed back to Tasmania filled with hope and dreams. I had secured a contract because of that book launch on the boat with the National Museum of Australia, to illustrate for Jackie French.

The following year, I had my first four illustrated trade books released, one being my first own authored story. Publishers had heard of me, even though many were not quite sure from where, but I had made a small mark and headway into the industry. From there, it was full sail ahead, and no gangplanks in view. I was blindly sailing where this girl had never sailed before, my pockets and brain filled with treasure.
My journey into this industry has been filled with treasure. This is an industry of people who support each other. There is a generosity that means that we encourage and help each other.
CBCA is a big part of that, linking readers and educators and those passionate about books and reading to the creators and to the journeys we travel. Thank you.
Obviously, my journey didn’t only begin in Darling Harbour that weekend but had journeyed slowly to that point which was the place I knew I was meant to be.
I have a wonderful book that I lend to my creative and potentially creative (though I believe we are all creative) friends called Steal Like an Artist, by the poet Austin Kleon - funnily enough, the copy from the Hobart Library collection has been stolen!! It wasn’t me…). It is falling apart as it has been read so often. It confirms that as artists we must take opportunities opened to us and use them to bolster us in our creative output. As I first read it, I knew the author would be proud of my pirate plunder from 2006. I recommend it to all of you, artist or not, it has such wisdom that applies to all aspects of life, for we are all creative in some way. Let me share with you some of the treasure and wisdom it contains and compare it to my journey.
‘Artists get asked the question,
                                ‘Where do you get your ideas?’
The honest artist answers,
                                ‘I steal them.’
When I present at schools or workshops I talk about my ‘Ahha’ Book. It’s a notebook that I write my ideas in, or a snippet that I can grow an idea from, so I don’t forget them. We all know what it feels like to remember we had a great idea but not remember what the idea was. I tell students and teachers to carry them everywhere, so when, during maths, an obscure idea pops into your head, you can quickly note it down and get back to what is expected of you.
These ideas come from somewhere. We steal them. We copy them down in our notebooks and we carry them away undetected. It’s like a garden grown from seeds and cuttings you pick up as you walk by other people’s gardens or through the park, except that the seed you sow from your notebook will grow into a completely different plant, but one that has its roots in the same source.

My story, Welcome Home, grew from stolen treasure in a Canberra Newspaper. I was there on my last day of Book Week visits doing a library artist in residence. During my break I read a small article on about page four about a whale that had swum into Hobart’s Derwent River and had the first calf known to be born there in over 190 years. I had wanted to write about whaling, but it is a gruesome topic for a picture book, and it could easily become political and preachy. Not my style. This gem of treasure opened a door for me, which caused me to look back into our past, something we cannot change, and use that as my platform for the story.

A treasure was left at the Glover Exhibition in Evandale. I went with the same friend who had accompanied me, so long ago to that CBCA Conference in Sydney, to see the paintings at the exhibition and we came across a painting of a tree on a hill. I like paintings of trees, I tend to paint a lot of them myself. We stood and looked at the work until a small group came by with a guide, who was explaining the backstory to the paintings on show. The tree painting, called Pinners’ Pine, by Diana Cameron, depicted an old pine high on a hill. The story was that there had once been two trees, planted by brothers before they left to fight in the Great War. The tree that still stood was planted by the surviving brother, the other tree had died, as had the brother who had planted it. I stole the seed and it grew into The Anzac Tree.
To be an author is to be a thief. A good one, a great one, a pirate that doesn’t hurt anyone in their plundering. Nonviolent procuring. We listen to conversations, collect words and language, we are lexiconophilists*. We are voyeurs, observers, sticky beaks. We collect or steal stories that we can remould and grow into new stories. We add time, magic and frustration, some sweat, and blood and we create something that is seemingly new.
  • Mark Twain said, ‘It is better to take something that does not belong to you than to let it lie around neglected.’
  • Austin Kleon says: ‘Fake it ‘till you make it.

And that is what I did: I faked it until I made it. Well, until I was on the road to making it. Because I’m still on my journey, and always will be.
After my Tye weekend I packed my bags and headed to Melbourne. I dyed my hair hot pink, not the trend at the time and not a colour I personally liked, but a memorable colour was needed. I had emailed and rung publishers asking when they would see me, not could they, and I put on airs of confidence I certainly did not have. I acted. I faked it.
I was memorable. I could contact them later and remind them that I was the Tasmanian with pink hair. It worked. They remembered me.
And from there I have faked and stolen and enjoyed the journey, most of it, and now, I’m not faking it most of the time, no more than anyone else. I continue to steal, with great stealth and purpose, because plundering is now what I do best.  And if you are good at something, stick to it!
But what do we do about this revelation? To steal and to fake it?  What about children and young adults who want to know about the journey of being an illustrator or an author? Do we reveal our secrets and tell them the truth? Do we alter the truth and pretend that we are unique and original (in a way not telling the truth is stealing as well, isn’t it?) Or is it time to reveal that, just like everyone else on this planet, including young readers and writers and creators, we struggle to be unique and need the support of the treasures we find?

As I embarked on a month of school visits across the country, I decided to be an honest pirate. I guarantee that 99% of the time, I am asked by students where I get my ideas from, and when I told them that I steal them, there were gasps, giggles, disbelief and an intently engaged crowd (and the occasional panicked teacher wondering where I was leading them). They wanted to know more. I could have told them that my ideas come from life and interesting things I see or hear, but, the truth is, I steal them from life and interesting things I see or hear, and that is much more interesting than any other way of saying it.
I show them that they, too, can do this. They shouldn’t have to hide their creativity behind the angst of pretention and lies. They need a raunchy parrot friend, or, like me a rooster or two if no parrots are available, a feather and some ink and a scruffy roll of parchment and then they can create to their heart’s content.
We need to assess how we teach our children to be themselves in the creative process. We have built up walls around ourselves with so many rules about how things should be done. We have time schedules and the need to impress others and to look busy and we are teaching that to our children. We now impose our own creative restrictions on our youth as if it is the only way.
At the recent writers’ camp, I spent a day working with young writers. Two of the students wouldn’t write at school, they weren’t interested. They recently had an author visit their school and they were told that they had imaginations that they could use. They decided they would go to writer’s camp and see how they could make their imaginations work. In the free writing session, they wrote and wrote more than any other student, and when it was time to come back together and finish the session, one young man refused, lying on his stomach outside and pouring his story out onto the page. We let him. He realised he had a voice and that there were ideas that could help him, but the rules had nothing to do with the story. He had an imagination that could take him anywhere. Look what a couple of pirates can do when they corrupt our students.
I believe it’s time to let students be creative without so many walls.
If I had a dollar for every person that told me they had an idea I should write a book about I wouldn’t need to do much else. We need books about…. I think you should write about….. why don’t you write this story?
It can’t work. You see, they have an idea and instead of letting someone steal it, they offer it as a gift. I tell them that they are the ones who should write it. I doubt many do. The best stealing is quiet, secretive, discreet. Sharing it after the fact allows others to develop the art of stealing like an artist as well. We need to share the love.
So, I encourage you all, to find your treasure, to steal, enjoy the knowledge that what you read has been stolen and that that is the joy of it.
  • Actor, filmmaker & composer, Jim Jarmusch says:

‘Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic.’

Let us go out and plunder authentically. Let us allow others to do the same. Let us lead by example to our students and youth. In all we create, in all we do, let us be honest about it and set each other free from the unrealistic burden that we are not as good as another, turning I can’t into I will give it a shot!
So, from Darling Harbour plunderings, stealth and thievery, to Captaining my creative ship and converting others to the pirate life on the high seas, would you like to join me?
Be creative in all you do. This Book Week we celebrated the treasure and we need to continue to do so. The magic of words, the wonder of visual narratives, the adrenaline rush of stealing a beginning and letting it grow and taking us into the unknown.

Happy creating, happy reading.
Christina Booth


Saturday, 6 October 2018

Words by the Riverside: Some thoughts on The Tamar Valley Writers Festival



Lyndon Riggall shares a smattering of some of the smorgasbord of delights at this year’s festival. I too was fortunate to be in the audience of these sessions and also witnessed the masterful leadership of the panel discussions that Lyndon chaired – he certainly made the panelists dig deep into their inspirational centres to share amazing personal stories, anecdotes and insights.


I can’t believe my luck. I am sitting here in a Swiss village that shares its name with the dark wizard from the Harry Potter series, talking to three of the country’s most exciting speculative fiction writers. The best part? I haven’t had to fly anywhere—all I had to do was follow the twisting waters of the kanamaluka in my car. Great writers have somehow washed up on the shore.

Born in Beaconsfield in 2012 as The Festival of Golden Words and now re-branded and residing at the Aspect Tamar Valley Resort in Grindelwald, the Tamar Valley Writers Festival is a biennial event; reminding us in the Spring thaw that a Summer of reading awaits. It is a delight for me to catch up with friends old and new and to be part of two panels with astonishingly lovely writers across several sessions: Steve Biddulph, George Ivanoff, Amie Kaufman, Jodi McAlister and Paul Collins. 



Aside from my own discussions, the festival features everything from Julian Burnside moderating an increasingly heated discussion of euthanasia, to workshops with the likes of Deltora Quest illustrator Marc McBride, and even a “life writing” class (think “life drawing” but with words).
The Tamar Valley has come alive with a celebration of the act of rearranging the alphabet into pleasing and surprising configurations, and my sincerest delight is that every writer that I speak to appears unquestionably generous, humble, and kind. Yes, there is talk that Grindelwald would be an inspiring setting for a Midsomer Murders episode (and that the evening’s “Shank Night” will surely see this macabre fantasy fulfilled), but in general I can’t believe that these writers could kill anyone other than our favourite characters. They are pleased to be here, and we are pleased to have them. My schedule gradually expands, as every session becomes unmissable, and in a few cases a flip of the coin becomes the only rational response to the fact that I can’t attend two sessions at once.
Amongst the celebration there is some solemnity. The festival features a phenomenon modelled after PEN International, known as “The Empty Chair.” This chair—sitting at each speaking venue—symbolises a writer who cannot be at the festival, either because they have been killed, imprisoned, or are missing. This year’s empty chair is dedicated to Behrouz Boochani, the Iranian journalist currently trapped on Manus Island, whose book No Friend But The Mountains was composed by text message. Boochani’s chair is a reminder of the great privilege of writing, reading, and sharing a love of words. A Festival such as this reminds us why these things matter—because they open us to new worlds and ideas. May we never take it for granted.

Lyndon Riggall is a teacher intern and writer who is currently working on a children’s novel set in the Cradle Mountain-Lake St Clair National Park. You can find him on Twitter @lyndonriggall.

Sunday, 30 September 2018

Creative Networking with the Hobart CWIlls


Fiona Levings is our guest blogger this week and she provides details on a wonderful informal group of authors, illustrators, and those testing the waters in this creative field, that gather in Hobart. It is heartwarming to see such a vibrant network of Tasmanian creators that enrich the children’s and young adult publishing palette. Read on and learn about the vibrant Hobart Children’s Writers and Illustrators (CWIlls)
We all know the feeling. The one where you have to take a long walk into a room of people who all know one another but whom you’ve never met. Once or twice in life I have come across enlightened souls who genuinely consider strangers as nothing more than friends they haven’t met yet. For the rest of us, though, turning up cold to a group gig is hard to do. When I arrived at the State Theatre Café one Tuesday evening a few years ago to my first meeting with the Hobart Children’s Writers and Illustrators (CWIlls), I was worried. Not having met any of these people before I didn’t know which group in the Cafe to approach. How embarrassing if I tried to join the wrong table! It was a minefield. I had to grit my teeth.
I am really glad that I did.
The world of writing and illustrating can be opaque if you are standing on the outside looking in. There is plenty of information out there but many things come at a cost and how do you know what investment is going to best meet your needs? What are your needs? There are sharks in these waters, too. Success is rarely straight-forward and, even at it brightest, it does not cure the isolation of the role. This is not the kind of job where you can vent to your colleague in the next cubicle; there are no team-mates to lean on. The relation between anxiety and creativity is a topic too broad for this post but it lies at the heart of why groups like CWIlls can be so important: because creators need colleagues too.
The Hobart CWIlls is an informal group that meets once a month to chat, slurp warm beverages and eat cake while exchanging information, ideas and opportunities. Occasionally, we extend to other events – such as hosting the Children’s Book Nook at the Tasmanian Writer’s Festival in 2017. Our group has no formal membership; there are no required qualifications, no fees to join and no obligation to attend. We have evolved over a decade to boast a contact list of over 40 participants and now include a number of established (and award-winning) authors and illustrators, emerging and aspiring creatives as well as a broad group of artists, hobbyists and folk with a passion for the art form. Most importantly, CWILLs is a group of humble, good-humoured, generous people who genuinely support each other in their creative endeavours and who whole-heartedly welcome new-comers. If you care about writing or illustrating for children or young adult literature and you are looking for a forum to share your experiences, extend your contacts in the Tasmanian writing community, to ask for advice (or discuss frustrations) then this is the group for you. Grit your teeth and give it a go. You will be really glad that you did.

Fiona Levings is the co-ordinator of the Hobart CWIlls. The group meets regularly on the third Tuesday of the month, 5pm at the State Theatre Café in North Hobart. For more information, or to add your name to the mailing list, please contact Fiona at fiona.levings@gmail.com.

Monday, 24 September 2018

Shine Mountain Gleams in the Limelight


Book launches are special – a magical way to gain insights into a book through the eyes of another. This week, Patsy Jones shares her recent Hobart book launch experience for Julie Hunt’s much anticipated Shine Mountain – and exposes a little bit of herself and of the book launcher as well. Is there such an entity as a book launcher? – it creates visions of a book rocketing off into space or, in this case into…Gleam Land.

I wonder how many of you have ever been invited to launch a book? I once had that opportunity, and was very pleased and flattered to be asked. But as the date of the launch drew near, I began to feel very anxious and unsure of my ability to do justice to the book…..So in one way I was not too disappointed to find myself incapable of carrying out the task after being hit by a horrible stomach virus on the day itself (fortunately the author was able to find another speaker at the last minute!)
Recently I attended the launch of the most recent publication of Tasmanian writer Julie Hunt  - Shine Mountain, at Fullers Bookshop in Hobart. The launch was hosted by Robin Morrow, Australian President of IBBY (International Board onBooks for Young People). I found what she had to say, and how she said it, very impressive, and felt quite fortunate that I had never actually had to expose my own shortcomings in this way!
Robin very kindly sent me a copy of her speech, and below are some of the aspects of the book that she mentioned as being of special interest to her.
A map: Because the book is set in an imaginary world, Julie provided a map at the beginning of the book (a wonderful greyscale imagining of Gleam Land, penned by Geoff Kelly). I found myself turning to the map many times during my reading of the book, and when I read other fantasy stories, I like to place the characters in their landscape as well. But Robin did not mention just Julie’s map – as well, she referred to some other favourites which also flesh out the story with a map – Winnie-the-Pooh, Lord of the Rings, and Milly Molly Mandy, for example. I expect many people in her audience made a mental note to read or re-read these books on being reminded of them…..
The characters: Robin described these as ‘memorable and varied’ – Ellie, of course, Luca and Meridian; and Nanny the goat who, despite being an animal, is so very important to the story.
The button-box: Robin’s audience actually saw a button-box, part of the support provided by a group of students who demonstrated aspects of the story for the audience. This button-box appeared to be a well-aged example of the concertina/accordion variety which we don’t see so much these days. Perhaps there are many children today to whom it is a totally new instrument!
Placenames, magic, folklore, and landscape were other elements of the story which Robin mentioned. I am sure the references to these elements provoked a broader and more intellectual response in those fortunate children who went home from Fullers with their own copy of Shine Mountain.
To me, this was an amazing example of how a book can be launched; thanks so much, Robin; and thanks to Julie, of course, without whom we wouldn’t have had this opportunity…..
Patsy Jones
Retired librarian and teacher