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

Saturday, 24 June 2017

A literary desert? Ecology meets creativity at the NT Writers' Festival, Alice Springs

Tasmanian writer, Nicole Gill, provides a snapshot of significant moments during her recent participation in a writers’ festival based in Alice Springs where the allure of the outback is evocatively captured. Certainly some desert inspiration is evident!

Last month, I was lucky enough to be a participating author at the Northern Territory Writers' Festival. The festival is held annually, with Darwin and Alice Springs taking turns, and this year, the event was centred around the lovely Olive Pink Botanic Gardens, to the east of the main Alice township.

The festival featured writers from all over the country, with strong representation from local and visiting indigenous writers, historians, artists, songwomen and storytellers. In Arrernte, the local Indigenous language, iwerre-atherre means two roads meeting, neither blocking nor erasing the other; two-way learning or travelling together. This was the theme of this year’s festival.

I was fortunate enough to travel together, and learn with, local ecologists, wildlife experts, students and teachers from the Centralian Middle School, in my role as a coordinator on a workshop that combined ecology with creative writing. High school students were challenged to look closely at some of the region’s local animals, and then to design their own animals, and to describe their adaptations in a creative writing exercise.

On the Wednesday night, we gathered at the Alice Springs Desert Park to observe nocturnal desert animals. In the heat of the day, many of the region’s animals snooze in caves or burrows, but at night, they come to life. The Desert Park is home to hundreds of native marsupials, and they are at such densities within the fenced enclosure that they require supplementary feeding on a nightly basis. This makes for an intimate wildlife experience, and gave the students the chance to observe the animals up close. By red-torch light,
they met delicate mala; a small desert wallaby thought to be extinct in the wild, as well as some pushy, very spiky echidnas, clambering up the guide’s legs to get at the bucket of ‘ant smoothie’ he carried for their dinner. As we walked through the enclosure, trying not to tread on overfriendly bettongs or emboldened bandicoots, we spoke with the students about what adaptations and behaviours allow these animals to survive in the harsh desert environment. The students took notes, both by hand, and also using their iPads as cameras, for use the following day.

Back at school the next day, students chose from a range of printed images of Australian animals, and created collages of their ultimate desert beast. Using the information they’d gained the previous night, and with scissors and glue, they created their Franken-beasts of the desert, and then worked to label their drawings, describing how the different adaptations of the creatures they’d created helped them survive in a desert environment. The collages allowed varying literacy levels to be accommodated - less confident writers could write short, simple descriptions, while more proficient scribes could write lengthy tracts on exactly why their beast was the most feared predator of the desert!

I also ran a festival workshop for adults with local ecologist and poet Meg Mooney, called Nature Town, which focused on nature writing within urban environments. Alice Springs is a lot like Hobart in that the boundaries between the town and the bush seem very porous – in fact, this is the first literary festival I’ve ever been to which has seen areas cordoned off due to the presence of snakes!

Next year’s Northern Territory Writers Festival will be held in Darwin in May 2018.  Judging by the excellent program this year, it’ll be well worth getting along to – and an excellent excuse to get a final blast of sunshine before the Tasmanian winter begins!

Nicole Gill

Nicole is a Tasmanian author, whose writings on the environment, humans and other animals have The Monthly, Island, The Guardian and The Best Australian Science Writing. She was a shortlistee for the 2016 Bragg UNSW Press Prize for Science Writing, and her first book for children, Animal Eco-Warriors was published through CSIRO Publishing in June 2017. You can find Nicole on
Twitter: @tasbiophiliac
and occasionally, on her author site on
Facebook: https://www.facebook.com/nicgillauthor/

Saturday, 17 June 2017

Lian Tanner: What Writers Need

Johanna Baker-Dowdell reports on a writing session conducted by Tasmanian author Lian Tanner as she provided important advice on writing to a spellbound audience of primary students.

I’ve been a storyteller for my whole life: from pulling apart films in great detail to share with those who did not have the experience, to writing Anne of Green Gables fan fiction before I even knew there was such a thing. By the time I left high school I was writing a column for my local newspaper and had dreams of being the next Murphy Brown.

Lian Tanner
As I approach the second year of mentoring grade 5 and 6 students in creative writing for The Write Road, I thought it relevant to reflect on children’s author Lian Tanner’s advice for writers.

Lian spoke at the Writer’s Cafe that concluded The Write Road program last year and shared some salient tips on what writers need with her audience of primary school students, their parents and teachers.

She told the almost 50 aspiring authors they were now part of a “great and honourable tradition of writers who started off as children who loved stories”.

And Lian followed those words with these four tips on what all writers need to do to get the creative juices flowing:
  • to daydream, as daydreaming is one of the most important things a writer can do,
  • take risks, because being creative is all about taking risks,
  • live life deeply and passionately, because we need to notice everything around us – and inside us,
  • go out and have adventures.
And of course Lian is right. Like everything that is worth doing, writing takes time to develop. First there’s the watching what is happening in the playground outside, or how our friends respond when they disagree, or even the different ways people walk. Then comes the kernels of ideas, that just form out of those musings and develop into full-blown ideas if we give them time and attention – and are willing to write them down.

The risk is something more difficult to embrace, but the rewards are worth it. You never know what you’re capable of if you keep doing the same. But, if you take a risk, like Lian advises, you can discover more about yourself and those around you than you thought possible.
A popular, highly successful series that Lian Tanner has written.

While these young writers have not felt the full scope of emotions that present themselves throughout life’s triumphs and challenges, they will soon enough. These students need to take note of how they feel each and every time their hearts swell or break, because it will become something they draw on in their writing time and time again.

And the most important tip of all: have adventures, because to have adventures is to live.

May they all keep writing throughout school and choose careers where stories are important.

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

Editors' note: Lian Tanner demonstrates this passion for writing through the extensive range of exciting fiction she has crafted. Read of some of her own inspirational strategies on her website.

Sunday, 11 June 2017


Are you a steampunk fan? Or is this post an introduction to the genre? Leanne Rands introduces this fascinating, challenging and engaging genre by looking at a classic series: The Leviathan Trilogy by Scott Westerfeld.

Recently l was introduced to steampunk novels which is an eclectic subgenre of speculative fiction combining fantasy, horror and science fiction, set in a Victorian or quasi-Victorian historical setting. Steampunk has been described as; "What the past would look like if the future had happened sooner" (Kankuro (2004) in Urbandictionary).

While steampunk novels are set in an era when steam power is predominantly used as the main energy source, there are also fictional technological inventions similar to those found in the novels of H. G. Wells and Jules Verne. Inventions such as H.G. Wells’ Time Machine (1895) and Jules Verne’s Nautilus submarine in Twenty thousand leagues under the sea (1870) are creatively adapted and combined with modern computer technology to provide intriguing machines. Many titles include intricate diagrams and illustrations of the inventions to add to reading experience. 

The Leviathan Trilogy by Scott Westerfeld is set in an alternate World War I. The German Central Powers (Clankers) using mechanized war machines are at war with the British Entente Powers (Darwinists) who use genetically fabricated creatures as weapons. The teenage heroes are Aleksander, son of Archduke Franz Ferdinand, and Deryn, Scottish girl with dreams of joining the British Air Service with her brother. The trilogy tells the story of their around the world adventures.

The series also has a manual that provides comprehensive background information that is informative, imaginative and intriguing.  The Leviathan Trilogy by Robert Westerfeld is suitable for older readers and has engaging characters, astonishing technology, and exciting plots.

The Leviathan (2009)

Aleksandar Ferdinand, a Clanker, and Deryn Sharp, a Darwinist, are on opposite sides of the war. They meet in an unexpected way, and begin a worldwide adventure on board the Leviathan 

Behemoth (2010)
The behemoth is the fiercest creature in the British navy that can swallow enemy battleships with one bite. On board the airship Leviathan the heroes Deryn and Alek continue their fight to bring the war to an end.

Goliath (2011)
Alek and Deryn are on the last leg of their round-the-world quest to end the war and reclaim Alek’s throne as prince of Austria when they fall in love. Their quest is being thwarted as their ship, the Leviathan, continues to detour farther away from the heart of the war (and crown).

The Manual of Aeronautics (2012)
This manual is the decoder that unlocks the mysteries and explains the inner workings of the Darwinist and Clanker powers. There are detailed descriptions of the Darwinist beasties and Clanker walkers, weapons, transport, and uniforms. The manual also highlights the international powers that Deryn and Alek encounter throughout their adventures.

Leanne Rands
President of CBCA Tasmanian Branch

Editor’s note: Steampunk fans love to dress for the occasion. If you live in northern Tasmania, why not attend the Steampunk Festival in George Town on 24 June -  you will be amazed!! Feel free to add a comment to share information on other great steampunk titles. I will make a start with Alex Woolf’s Iron Sky books – Dread Eagle and Call of the Phoenix.

Saturday, 3 June 2017

Getting Graphic

Join Tasmanian author, Christina Booth, as she opens a window into her creative world and tells a tale of a story written and a story in the making.
Thank you once again for inviting me to contribute to the CBCA Tasmania blog.
I write to you from ‘The Burrow’, the apartment set up for Australian children’s authors and illustrators in the Adelaide suburb of Norwood by the May Gibb’s Children’s Literature Trust. I am currently here undertaking a one month creative fellowship supported by the trust, who offer a home away from home to focus on a project that would benefit from being away from home distractions and other pressing commitments. Something I am very grateful for.
What am I doing here and why? This sounds like the big question of life and beyond, but I will offer you just a snippet.
Last year I applied for a grant from Arts Tasmania and I also applied, in hope of receiving one, for a Fellowship opportunity through the Trust. To my delight, I received both and as I had applied to do the same project for both, it seemed a confirmation that this story was meant to be.
Many of you will be familiar with my picture book from 2010, Potato Music (Omnibus/Scholastic, illustrated by Pete Groves). If not, go and find a copy now and read it. The journey of writing that story was a long one. As I explained to the students of Adelaide’s Scotch College  during the first week of my visit, it took seven years to write, including those long periods of rest and re-thinking as it slept in the deep dark recesses of my stories file on my computer.
It took this long because it was a story very close to my heart. Often, when we first start writing stories, we wreck our brains wondering what to include but the best way to write a story, be it long or short, is working out what not to put in, for that is more important. Potato Music was a career changing story for me. It was like an amazing, tough and effective apprenticeship, where I learnt more about the craft of storytelling than through any other journey or book I have written. I have to acknowledge and say thank you to one tough and amazing publisher and my then agent for guiding me through that process, Dyan Blacklock and Nanette Halliday. It was the story when things really began to click. How to edit, how to use words in a strong and powerful way. The writing of Potato Music set me up for every other picture book I have written and will write.
As you may have noticed, I did not illustrate Potato Music. This was also a difficult pill to take. I had my heart set on it and, had I have illustrated it, it would have looked very, very different. In her wisdom, my publisher felt I was again, too close to the story to be able to step back and see other possibilities for the illustrations, so, hesitantly, I let it go. Pete Groves, an artist from Adelaide (I should look him up while I’m here) was contracted to create the beautiful and ethereal images that accompany my text. It was another journey of learning and growing. It changed me as an illustrator because I now know what it is like to trust someone else with my story. It helped me to become a better illustrator, being able to empathise with the authors I illustrate for.
So why is it I am discussing these things and not the project I am here in Adelaide to work on and, indeed, the year with my grant?
Potato Music is my project. After seven years, I am hungry to be able to retell the story. In its many evolutions before becoming a picture book, Potato Music was attempted as a novel, a short story, numerous variations of picture book texts and chapter books, back to a novel and then, left to rest until reignited by a publisher’s interest. The picture book story so many of you know, is a very condensed and timeless glimpse at a much larger story. It is one I have been itching to tell and also have the opportunity to illustrate myself.
After reading Art Spiegelman’s Maus a few years ago and loving Raymond Briggs’ Ethel and Ernest, I immediately knew what I needed to do next with my story. I have always loved visual forms of narrative and grew up with Tintin, Asterix and Mad Comics. I continue to love them and appreciated seeing the complex art of storytelling in graphic novel form. Working on telling Potato Music as a graphic novel seemed the right step in its evolution.
So, I find myself in Adelaide at the May Gibb’s Children’s Literature Trust burrow, writing away at scripts and time lines and potential story lines. Again, I am plagued with what should I include, what should I leave out, how do I respect this family story and yet make it universal. Slowly, as my head begins to sit comfortably with this style of writing, I’m beginning to see pictures and possible directions. Every now and then I reach a T-junction or a cross road and need to decide which way to travel, but my confidence as a writer has grown since my early days of writing my original story of Potato Music, and I have learnt to leave my pebble trail so I can explore all options and maybe draw them together, or, if I must, remove them from the picture.
It is an exciting journey, slightly sad as it is about war and loss, but also with hope as I bring all of the elements together to celebrate survival and the future.
Even though the graphic novel market in Australia is still comparatively young and there is still a long way to go with convincing publishers to take the risk, I am hopeful of having this work considered and, with any luck, published. It is an exciting new arena to delve into and it seems right for me to combine my love of words and visual story telling into this format. It isn’t new, but it is an exciting journey to be travelling on. I am so lucky to have my peers encourage me and support me and to have the invaluable support of Arts Tasmania and the May Gibbs’ Literature Trust to help me on my way.
If you are new to the idea of reading graphic novels or perhaps think they are for teenagers, young children and are simple, comic strip plots about superheroes, fantastical creatures or Manga then I encourage you to step out of your comfort zone and explore the broad genres represented from the collections of graphic novels. They have been around for a very long time and suite all readers. My recommendations to you are Maus, by Art Spiegelman; Ethel and Ernest, When the Wind Blows, and Gentleman Jim, by Raymond Briggs; Kid Glovz, by our own Julie Hunt and illustrator Dale Newman; and look up your favourite classics and contemporary novels to see if they have been ‘translated’ into a strip style narration. I have Sense and Sensibility, The Magicians Nephew and The Lion, the Witch and the Wardrobe, Miss Peregrines Home for Peculiar Children, and a few of Neil Gaiman’s books on my bookshelf along with numerous other examples of wonderful tales told using the graphic novel form. And we must not forget to include our all time favourite Australian example, stepping out of the traditional concept of graphic novels, Shaun Tan’s, The Arrival.

Maybe you have been enjoying graphic novels for years and didn’t even know it.
So, from my desk in Adelaide, in my unit amongst the suburban autumn leaves and quiet surrounds, happy reading. Make sure a graphic novel is on your bookshelf.
All the best,
Christina Booth
Author and illustrator


Saturday, 27 May 2017

Lifting the Lid on the Children’s Literature Book Trade at KidLitVic

Tasmanian based illustrator, Alyssa Bermudez, reports on her recent attendance at the KidLitVic conference where authors, illustrators and publishers inform, inspire and ignite their passions.

What are some vital aspects for success in the children’s book publishing industry? Last
weekend I had the pleasure of attending the KidLitVic Conference in Melbourne – “Meet the Publishers.” The State Library felt like the perfect venue to listen to publisher panel discussions, participate in expert workshops and network with industry professionals from across Australia. A vibrant energy filled the conference with reacquainted faces and introductions to new ones. Illustrators like me had their portfolios in hand and the authors were ready to pitch their next big idea.

The conference began with Bethany McDonald’s insight into childhood literacy and cognitive skill development. Literacy is essential for this development. She mentioned the success of the State Library of Victoria's initiative, 1000 Books Before School, which offers incentives and goals for children and parents to read together more often. “Books aren’t dead, not if kids have anything to do with it.” 

A common theme for the day was the puzzling thought of what makes a great children’s book. In the first panel discussion, regarding chapter and middle grade books, the panellists noted that a common trifecta for engaging children is, “heart, smart, and fart.” Children want stories with real authentic emotions, intelligence and humour. Susannah Chambers of Allen & Unwin later noted in the picture book panel that is vital for there to be a true sense of character and a sense of place. The young adult panellists added that a memorable character doesn’t even have to be likeable, but more importantly they need to be fully formed, unique and real with a strong individual voice. 

©  Alyssa Bermudez!  Used with permission

As children’s books evolve and grow throughout time, the vital elements of storytelling remain the same with a strong story and character at the centre of it. The end of the conference day came quickly and I’m sure I was not the only one to feel invigorated and energised with new ideas.

Alyssa Bermudez
Children’s and commercial illustrator
W: http://www.alyssabermudezart.com/
FB: https://www.facebook.com/alyssabermudezart
T: @bermudezbahama

Alyssa Bermudez is a children’s and commercial illustrator, art teacher, and craft lover from New York City residing in Hobart. Her debut publication, LucĂ­a the Luchadora is distributed worldwide and has received multiple starred reviews. She is eager to try on her author/illustrator shoes soon too! Stay tuned!

Sunday, 21 May 2017

Hey Diddle Diddle, You All Know the Riddle - It’s Time for a Story!

It is Library & Information Week in Australia and a highlight of celebrations is the National Simultaneous Storytime event – get involved by visiting your local library on Wednesday or initiating a shared reading in your home, classroom or LIBRARY!
This Wednesday the 24th of May marks the 17th National Simultaneous Storytime Event, (NSS) run by ALIA (the Australian Library and Information Association). 
It is such a difficult task to choose a book that has appeal to a wide enough range of children to fit the bill for NSS, and we have seen some excellent choices in the past with Pete the Sheep, The Wrong Book, The Very Cranky Bear, The Brothers Quibble, Too Many Elephants in This House and I Got This Hat, all created by talented Aussies who are well known to the CBCA.

What a great moment it must be to find out your book has been chosen for this wonderful event!  This year that honour goes to Tony Wilson and Laura Wood for their witty picture book The Cow Tripped Over the Moon; a wonderful take on the back-story of the classic nursery rhyme, Hey Diddle Diddle.
This story was of course an honour book in last year’s CBCA Early Childhood Book of the Year Awards, and is a true celebration of resilience and the importance of having great supporters around you to achieve a dream.
The clever rhyming text makes Wilson’s book a fantastic choice for a read aloud as it flows so well, builds to an exciting climax and provides a satisfying conclusion despite the inevitability of the outcome!  Wood’s illustrations are just delightful in their comic additions to the story, providing much for the reader to enjoy. The Illustrator, Laura Wood, has shared some double page spreads on her website.
ALIA have put together a wonderful range of support materials to help engage children beyond the storytelling of the book, and again the fantastic team at Story Box Library have a brilliant rendition read by Eddie Perfect (Play School, Offspring).
Even if you can’t get to an NSS event on Wednesday, I encourage you to find some time this week to read this engaging tale aloud – even if it’s to the cat and the dog!  I’m sure they will think it such sport!
Jessica Marston
(Teacher Librarian - Hagley Farm School (K-6), mum, advocate of the power of reading aloud).
Twitter: @marston_jessica

Saturday, 13 May 2017

Combining Book Collections Leads to New Finds

Jackie explores the delights of sharing book collections as a pathway to discovering new titles. Blue Fin is the gem that she has just discovered through her husband's personal library. There’s sure to be more treats to explore!
One of the side effects of sharing a house with another adult is the combination of your separate book collections. For my husband and I this was mostly a positive experience as our tastes in books do cross over in places – so while I have to find room on the bookshelves for the Stephen King and military history collections that don’t enthuse me, I have also been able to find books I do like but haven’t read before (and of course there were a few duplications that were probably inevitable in two people who read at least some of the same authors.) Of course now our most frequently purchased item of furniture since our wedding is always a new book case . . . . but this is a happy outcome even if one day I hope we can progress to a new couch!
One of the real finds was that Norm owned a copy of Colin Thiele’s Blue Fin, which I hadn’t previously read. I enjoyed Colin Thiele as a child but for some reason this particular book had never come my way.
Blue Fin is a coming of age story set in the tuna fishing town of Port Lincoln in South Australia. Snook, at fourteen, finds that everything he tries goes wrong and it seems that he will never earn a place for himself or the respect of his father.
The struggle of the tuna fishermen is clearly portrayed as well as the tragedy that strikes when boats and crew fail to return. It is a hard trade both for the skippers and boat owners as well as the crew. Thiele also portrays the social minefields of adolescence as Snook tries to navigate the shifting currents of opinion at school, at his part time job at the cannery and within his own family house.
When Snook’s father reluctantly agrees that Snook can be part of the crew for his next (and possibly last if he cannot catch enough tuna) trip, neither he nor Snook can imagine how the next week will change both their lives forever.
If you haven’t read Blue Fin yet, it is highly recommended.
Blue Fin DVD cover image
Jackie Gangell

Editor’s note: If you have not had the pleasure of dipping into Colin Thiele’s extensive works, there is a useful bibliography at Equitainment: Author Fact sheet. This site also lists titles reproduced as films.

Saturday, 6 May 2017

The Sad but Maybe Happy Tale of Bunny & Bettong

An author’s perspective on author/illustrator collaborations
by Anne Morgan

You’ve just written Bunny & Bettong, your first picture book. It’s going to be a bestseller, you can feel it in your bones. CBCA Picture Book of the Year. International sales. Translated into every known language. But you need an illustrator, right?
As luck would have it, an Amazing Artist (AA) lives across the road from your best friend. Her whimsical wildlife images would be a perfect fit for your story. Better still, you’ve seen AA’s house. The veranda is falling down. Needs a paint job. Good omens. Bunny & Bettong could provide AA with the financial lifeline she obviously needs.
So, how should you, the Hopeful Author (HA) approach AA? After some deliberation, you decide on a courteous invitation, to be dropped in AA’s letterbox. 


Before dropping that letter into AA’s letter box, here are some issues to consider.

The ethics of asking an artist to work for no pay

A virtual mountain of picture book manuscripts are written in Australia every year. Imagine the mountain. Now picture a small rocky cairn at the summit. The cairn represents the relative number of children’s manuscripts that will receive a royalty-based contract in Australia every year.
Asking AA to provide a dozen or more illustrations without payment is the moral equivalent of taking your car to a garage because your brakes need fixing and saying, ‘I can’t afford to pay you right now, but I’ve just bought a Tatts ticket. If I win I will share my winnings with you.’
Your text may not be good enough to attract a publication contract. And major publishers choose their illustrators from their stable of experienced and award-winning illustrators. AA’s artwork may not fit their house style. And just because AA can paint doesn’t mean she can illustrate. Can she storyboard a picture book, finding the right fit for the text and images? Does she know what a gutter is in a picture book, and how to avoid it or work around it?
When you submit an unsolicited manuscript you are asking the publisher to invest thousands of dollars in editing, design, printing and marketing your creative work. To stay solvent and, better still, turn a profit in this alarmingly volatile industry, publishers are risk-averse, preferring to invest in tried and true winners rather than rank outsiders. That’s not to say a publisher will never contract a newbie author and illustrator team; but Bunny & Bettong would have to dazzle the socks off them first, and/or fit an identified publishing niche.
So, knowing this, you’re still keen on AA illustrating Bunny & Bettong. How can you be fair to AA and see your book illustrated by the artist of your choice? Here’s how.
AA will be far more willing to collaborate on the story if you offered to pay her for 1-3 concept illustrations. Then you can submit your text and concept illustration/s, with a recommendation that the publisher consider AA as a possible illustrator.


Is your text good enough for publication?
Publishers rarely reveal why they reject a manuscript; they are far too busy publishing their chosen manuscripts than to enter into dialogue with disgruntled authors. They might even think Bunny & Bettong is a corker of a story, but they have just contracted Squirrel and Potoroo, which deals with similar themes. They probably won’t tell you that, though.
Do your research.
When was the last time you read a modern Australian picture book? The CBCA awards are a great place to start, as are the winners and shortlists of other children’s book awards. Check out the shortlists over the years. Go to the children’s section of the State Library. Go to bookstores and read, read, read within this genre. Support the industry by buying children’s books. Check out the formatting. Themes and story structures, and how the text interacts with the pictures.
Invest in yourself.
Attend a workshop in picture book making
Author illustrator, Christina Booth, offers picture book workshops for adult writers and illustrators.
The Society of Children’s Book Writersand Illustrators (SCBWI) is an international professional organisation for writers and illustrators of children’s literature. You don’t need to be published to join, just serious about developing your career. SCBWI also runs peer critique groups and organises industry conferences and publisher assessment opportunities.
Children’sWriters and Illustrators (CWILLs) is a coffee networking group that generally meets at the State Cinema restaurant in North Hobart at 5pm on the Third Tuesday of every month. Contact Gay McKinnon.
Subscribe to industry networking e-zines
I recommend Buzz Words and Pass It On.
Get your manuscript critiqued or assessed
Some TAS-based services are,
      * Affordable Manuscripts, Sally Odgers 
      * Christina Booth
      * Tasmanian Writers Centre’s assessment service

Personal Case Studies in Local Author/illustrator collaborations

Of my ten published children’s books, eight of the illustrators have been chosen by the publishers. But I have also had the good fortune of collaborating with three gifted Tasmanian artists. Here are the circumstances. 
The Glow Worm Cave (1999)
This was my first published picture story, published in 1999. Aboriginal Studies Press had emailed to say they liked my text and suggested I find an indigenous illustrator, then submit a fully illustrated concept. I found an indigenous illustrator who, for reasons beyond her control, eventually pulled out of the project. I then came across the remarkable artwork of Belinda Kurczok, who was then only 17. I invited Belinda to supply concept illustrations to the publisher. Belinda’s illustrations won her a contract with Aboriginal Studies Press, despite the fact that neither of us are indigenous. The Glow Worm Cave was shortlisted for the Environmental Children’s Book of the Year 2000.

The Smallest Carbon Footprint in the Land & Other Ecotales (2013)
I met Gay McKinnon at CWILLS some years ago (Book Chooks in those days). Gay impressed me with her artistic talent and her dedication to developing her new career as a children’s book creator. At that stage she was still seeking her first publication contract. David Reiter, publisher at IP Kidz, had expressed interest in my manuscript of recycled eco fairy tales. After discussions with David, I asked Gay if she was interested in submitting concept illustrations. Gay was awarded an illustration contract, and the Ecotales became a joint winner of the Environment Children’s Book of the Year (Junior Fiction) in 2014.

The Moonlight Bird and the Grolken (2016)
IP Kidz offered me a contract for this picture book in 2014. I recommended Lois Bury, another talented, but then unpublished CWILLS member. Lois submitted concept illustrations and was awarded a contract, and the book was published.


Do your research and invest in yourself. When your text is as good as it can be, you can approach AA with a letter of support from a publisher for the manuscript, and/or an offer to pay for concept illustrations.

What next?

For information on publishers, agents, submission letters, and other useful publishing advice, subscribe to the Australian Writers Marketplace online database.
If Bunny & Bettong doesn’t attract a royalty-paying contract, and you still have faith in your manuscript, there are other publishing options these days. You could try a partner publishing deal with a reputable business like LittleSteps.
Another popular option is self-publishing – but do be fair to your illustrator. Agree on a fair remuneration for AA. Then draw up a formal memorandum of understanding specifying ownership of copyrights and financial details of the collaboration. Then draw up your marketing and distribution plan.
Good luck with your writing.

Anne has an adventure a day at Adventure Bay, Bruny Island. She trained as an English, Drama and biology teacher and has a PhD in Writing from Edith Cowan University and a Master of Education Degree from the University of Tasmania. Her children’s books include the Captain Clawbeak series (Penguin Random House). The Smallest Carbon Footprint in the Land & other Ecotales, illustrated by Gay McKinnon, was a joint winner of the Environmental Children’s Book of the Year, 2014. Her most recent picture book is The Moonlight Bird and the Grolken, illustrated by Lois Bury. Her next title, Francie Fox, is being developed as an interactive e-book for Virgin Airlines.
Anne is the Coordinator for the Tasmanian chapter of SCBWI. Her website is www.annemorgan.com.au.