Dipping into the 2021 shortlist for the INDIE Book Awards

This week Jennie explores titles on the INDIEs 2021 shortlist and provides some snapshots and personal perspectives about the books. Climate change and sustainable living are recurring themes in the YA selection. As future bloggers explore the shortlist it will be interesting to see how opinions vary.

The INDIE Book Awards are presented by Australia’s Independent Booksellers who are key players in promoting the breadth of Australian publications, taking up lesser-known authors, unusual and less popular genres and formats and promoting breadth rather than mainly focusing in big ticket items. Independent booksellers need to know their stock, so reading is a key requirement to connect with and advise their customers. The focus is more about engagement and interest to provide tailored and targeted recommendations, rather than literary merit, and that can mean that some shortlisted titles might not be as well-known as some of the more popular mainstream books. 

The awards celebrate the best in Australian writing across six categories – mostly adult. The 2021 shortlisted titles for the children’s and young adults’ sections make interesting reading as a precursor to the CBCA Awards. The judging panel consists of independent booksellers. Potentially each category can include various formats – novels, picture books and non-fiction informed by the intended readership. Fishbach & McCrae (2012) present some strong arguments on the value of highlighting books that are not necessarily in the spotlight due to mass marketing by the bigger publishing houses and pushing big-name authors. They argue that an aim of INDIE awards is to “to reflect the independent judgments of an informed team who have read the nominated books closely and considered each book on its own merits, irrespective of sales history?” 

Let’s look at the two relevant shortlists for 2021 with some personal opinions scattered within. At the time of writing, the only title not read is The Grandest Bookshop in the World by Amelia Mellor.

Children’s Shortlist

The Illustrated Encyclopaedia of Dangerous Animals by Sami Bayly (Lothian Children's Books)

⭐⭐⭐⭐⭐

Wow! I gave this 5 stars for its fabulous presentation, breadth of animals presented and the comprehensive, perfectly pitched language and illustrations to support young inquiring minds. The book presents 60 animals from across the globe, multiple habitats and different classifications and species to amaze and fascinate any reader interested in our natural world.

Also shortlisted in the CBCA Eve Pownall Award.

Sing Me the Summer by Jane Godwin, illustrated by Alison Lester (Affirm Press)

⭐⭐⭐⭐⭐

A picture book for the very young – and another 5 star title. A year in time passes with the changing seasons with the central focus of a young girl and her blended family and friends as they spend time outdoors undertaking a range of weather appropriate activities during the year and during the day and the night. A colourful and engaging book for early childhood with a host of discussion starters.
Also shortlisted in the CBCA Picture Book of the Year Award, but I feel it is more appropriate as an Early Childhood contender.

The Grandest Bookshop in the World by Amelia Mellor (Affirm Press)

⭐⭐⭐⭐⭐

Pearl and Vally Cole live in a very special bookshop - the Cole’s Book Arcade in Melbourne, established in 1893, that is brimming with every curiosity imaginable. The two children need to rescue Pa how has made a dangerous bargain in the bookshop. I am on a long waiting list to read this title, but reviews are certainly enticing for this illustrated novel. 

Also shortlisted in the CBCA Younger Readers Award.

Hollowpox: The Hunt for Morrigan Crow by Jessica Townsend (Lothian Children's Books)

⭐⭐⭐⭐⭐

5+ stars. I am a committed and enthusiastic reader of the adventures of Morrigan Crow and am saddened that this marvellous, imaginative and magical series has not achieved the critical acclaim so well deserved – Morrigan is, in my opinion, a stronger heroine than Harry Potter is a hero, and the series provides maximum entertainment for its target audience of middle school readers and stays within those boundaries. BTW – the audio performance provides excellent entertainment as well. Sadly, this did not make a CBCA shortlist, though in fairness, it is definitely the third book in a series and would be most enjoyed if read in sequence.

Young Adults Shortlist

Future Girl by Asphyxia (Allen & Unwin Children's)

⭐⭐⭐⭐⭐

5+ stars – this was the best book I read last year! And I read a lot. Engaging with this book is a sensory experience – a wonderful story packaged as a gloriously illustrated personal diary. Set in Melbourne in the near future and under the guise of a supposedly independent prime minister, natural resources are scarce, including fuel, power and food, as a mega bio food corporation dictates policy for profit. 

Written in the first person (narrative, not diary entries) Piper recounts a 6 month period of her life when she transforms from a needy and dependent deaf teenager to a strong, independent young woman and social and environmental activist.

Read my complete review to find out more. 

Also shortlisted in the CBCA Book of the Year Award.

Catch Me If I Fall by Barry Jonsberg (Allen & Unwin Children's)

⭐⭐⭐⭐⭐

I rated this with 5 stars – just. I found it a little slow to build momentum and was rather irritated with the egotistical Ashleigh, however, the momentum builds and the rather clever twist in the tail lifted the reading experience. Ashleigh and Aiden are 13 year old, identical twins and each promised to protect the other, although it is Aiden who takes this most seriously and is most dependent on his sister. Ashleigh is the risk taker, until she gets herself, and therefore her brother, into a dangerous situation. It is at this point that the very privileged and wealthy life of this family is contrasted against poverty and desperation. Strong social commentary and background of a Sydney, Australia and world ravaged by climate change presents challenging and topical themes.

Also shortlisted in the CBCA Book of the Year  Award.

The Left-Handed Booksellers of London by Garth Nix (Allen & Unwin Children's)

⭐⭐⭐⭐⭐

Another 5 star rating, but for me this was an excellent tale for adults rather the YA audience that marketing, assumptions about Garth Nix’s readership and awards have allocated. 

18 year old Susan Arkshaw leaves her country home and rather strange and forgetful mother to live in London, to start at art school, and most significantly, to search of her father. Plunged into danger, Susan is rescued by the charming and outrageous Merlin, and is drawn into a secret society of booksellers who have magical powers and are responsible for policing the mythic Old World.

The action, complex story line, the London setting in the 1980s with its many cultural allusions, all create an engrossing and entertaining read for adults. There will be some mature teen readers who will appreciate this other worldly tale where the 'real' world overlays another mystic and ancient world with old gods and older magic artfully interwoven. It is a great read, but I think misdirected. The audio performance is superb.

And... shortlisted in the CBCA Book of the Year Award.

This One is Ours by Kate O'Donnell (University of Queensland Press)
⭐⭐⭐⭐⭐

5 stars again – and this one for originality, the compelling voice of the main character and the strong sense of place that firmly situates the action in contemporary Paris. The only discord for me was the very ‘immediate’ setting that did not accommodate a pandemic world However, that was a temporary hiccup as I was drawn into Paris, seen through the eyes of 16 year old exchange student, Sophie, as she explore and maps/illustrates many of the streets, galleries and haunts that will resonate with those who have visited. Sophie starts out as a dreamer, artist and a romantic but as she matures, she becomes socially and politically aware and starts to question herself, her values and her place in the world. Issues around poverty, refugees, sustainable living and climate change become major concerns. The occasional brief counterpoints, sent as texts between Sophie and her best friend and climate activist Crow, back home in Melbourne adds  further dimension to the story and maps Sophie’s growth, just as her own creations do.

The absence from the shortlist for this original story is a disappointment – The INDIE judges got this right, I think.

Reference

Fishbach, C. & McCrae, F. (2012). Judging the awards. Publisher’s Weekly. https://www.publishersweekly.com/pw/by-topic/columns-and-blogs/soapbox/article/54795-judging-the-awards.html

Jennie Bales

Your CBCA Social Media Coordinator 

Virtual Author Visits

Author visits in schools provide an exciting conduit to connect the reader, the book and the creator to create a synergy of excitement and enthusiasm. Jennie Bales provides a context for virtual authors visits and Lian Tanner and Julie Hunt, two of Tasmania’s successful and much-loved authors for young people, provide personal insights into the process. The piece ends with some tips to consider when planning your next virtual event – for authors and schools!

The power of students connecting with authors and illustrators should not be underestimated as a means to engage readers with favourite authors, expand their knowledge and interest in new writers and genres, contribute to their own creative spirits and expand and build an interest in reading for personal enjoyment. OECD (2011) research found that “Reading for enjoyment every day is associated with better performance in PISA.” And, “students who are highly engaged in a wide range of reading activities are more likely than other students to be effective learners and to perform well at school.” Teacher librarians and school libraries provide a vibrant literature collection to support a reading culture and have acknowledged the importance of author/illustrator visits for many years. 

As access to technology has increased authors, illustrators, teacher librarians and teachers have looked for ways to connect with their client base – children and teenagers! Chauncey (2017) provides some historical perspectives on the use of Skype in her school library. Virtual meeting software has continued to evolve so that, when COVID 19 closed schools around the world, there were a number of options to continue to inspire young readers by connecting with authors and illustrators. Tapping into visual and audio delivery modes that also supported chat and more relaxed conversations. The ability to share screens allows for images to viewed -  works being discussed and artefacts such as drafts and ideas books - demonstrating a process in action along with the more traditional visuals of the faces of the presenters. 

The CBCA Tasmanian Workshops in Schools Program (supported through a grant from the Department of Education Tasmania) is testimony to the value of connecting readers to the authors and illustrators that feed their imaginations and fuel their love of reading and creating. stalling in 2020 it was exciting to see some local talent step up to the technology challenge to fulfil presentation commitments in a virtual world. Lian Tanner and Julie Hunt provide insights into the process, the joys, and the challenges, of leading a virtual author visit.

Lian Tanner

Lian is a regular contributor to this blog and her action packed adventures are extremely popular.

For me, the lack of connection is the hardest thing about online visits. The inability to make eye contact, or to read the room’s energy. The lack of kids coming up to me afterwards for a signature, or to tell me about their favourite book, or to whisper that they really want to be an author, too.

The screen certainly diminishes distance; over the last few months I’ve spoken to children in Western Australia, regional Tasmania, Melbourne and Indonesia without leaving my house. But by its nature it also creates distance, and I’ve been struggling to find ways around that. I have found that I have to work harder to hold students' attention online – it seems to take more energy than an in-person visit. At the same time, given the close-up nature of the screen, I also have to perform a little smaller. (Think acting for TV rather than acting for stage; a conversation rather than grand gestures.) 

When students are logging on from home, the chat box is invaluable. I can acknowledge individual comments and use children’s names, which helps with the connection issue. We can brainstorm a topic without too much chaos. And I sense that some of the quieter students might actually find it easier than using their voices.

When students are gathered in a group, however, they look so far away that individual attention is almost impossible. I find that it helps to have someone close to the camera acting as a go-between, to repeat questions from the audience, and hold the group together.

As with in-person visits, the most important thing for a successful online visit seems to be an engaged teacher/coordinator – someone who has prepared the children for the session beforehand, knows the technology, and is present and active during the visit. I have had very engaged teachers and barely-there teachers, and the difference is enormous.

Finally, on a purely technical level, I find that the hotspot on my phone is more reliable than my wifi. And that a test of the technology a day or so beforehand, using the same account that we are going to be using for the presentation, is crucial. 

You can find out more about Lian’s virtual visits on her website.

Julie Hunt

Julie has also featured regularly on the blog and writes for a range of audiences and in different formats.

In adapting our face-to-face workshops, illustrator Dale Newman and I began with a sharescreen PowerPoint based around two questions: ‘How do you write a graphic novel?’ and ‘How do you illustrate a graphic novel?’  We introduced the characters in our books, answered questions from the students and, using their suggestions, created a character on the spot, just as we would if we were there in person. 

The teacher-facilitator was the earth wire, holding everything together. She chose who would speak, making sure each student came to the front (it’s hard to see individual faces when a whole group is on one camera and easier to hear if the student is close). Some of the kids drew along with Dale and showed their work at the end of the session.

As far as live drawing goes, the document camera is almost better than the ‘real thing’. The picture is larger than life on the big screen in the classroom and the students can see every mark as the character comes into being. 

© Dale Newman (2020) drawing from home with the document camera

Conclusion

There is no doubt that virtual author visits provide an important alternative with the potential for more regular occurrences to facilitate access to those in remote locations or smaller schools where face to face costs can be prohibitive. All author visits need careful planning and preparation before the event. 

Tips for authors: Maughan (2020) and the Society of Authors (2019) provide suggestions for authors and illustrators and also consider some of the advantages of a virtual, rather than face-to-face visit.

Tips for schools: Planning ahead is vital and should include effective communication with the guest presenter, preparing students and staff, planning for an introduction and conclusion, a structure for involving students in chat or use of audio and a person to manage the chat and questions arising. To get maximum value there should also be a follow up planned in the classroom or library and opportunities to borrow associated books. BookTrust (2019) and Platt (2017) provide suggestions and guidance to ensure that the virtual visit will be highly successful.

Jennie Bales - CBCA Tas social media coordinator, Adjunct Lecturer, School of Information Studies, Charles Sturt University

Lian Tanner – Tasmanian children’s author https://liantanner.com.au/  

Julie Hunt - Tasmanian children’s author http://www.juliehunt.com.au/

References

BookTrust. (2019). Arrange an author or illustrator visit. https://www.booktrust.org.uk/books-and-reading/tips-and-advice/reading-in-schools/how-to-arrange-an-author-visit/   

Chauncey, S. (2017). Virtual author visits in your library or classroom. Skype an Author Network. http://skypeanauthor.wikifoundry.com/   

Maughan (2020, December 11). The virtual author school visit evolves. Publisher Weekly. https://www.publishersweekly.com/pw/by-topic/childrens/childrens-industry-news/article/85114-the-virtual-author-school-visit-evolves.html 

OECD. (2011). PISA in focus: 8. Organisation for Economic Cooperation and Development. https://www.oecd-ilibrary.org/education/do-students-today-read-for-pleasure_5k9h362lhw32-en 

Platt, R. (2017, July 26). Bringing authors into your classroom. Edutopia. https://www.edutopia.org/blog/bringing-authors-classroom-rita-platt 

Society of Authors. (2019). Guide to virtual author visits. https://www.societyofauthors.org/getattachment/Advice/Guides/Guide-to-Virtual-Author-Visits.pdf.aspx 

We All Have a Story to Tell

Felicity Sly explores the underlying drive to ‘tell a story’ that compels and shapes the tales that emerge and get released to the world. Grab some inspiration to start the next story.

I’ve just finished reading Humans by Brandon Stanton, the third book published from the interviews which started the Humans of New York webpage/Facebook/Instagram/Twitter pages. I often wondered how Brandon managed to get strangers to share their story. In Humans his latest book, he shares the secret. He asks: “What is your greatest struggle right now?” and then he listens.

Ducks Away (2016)
by Fox & Horacek.
Published by Scholastic

Similarly, the core of many stories is struggle. The struggle may be enormous, or it could be small and solvable. In Ducks Away (Mem Fox/Judy Horacek) one by one the ducklings topple off the bridge and mother duck worries about her ducklings being in separate spaces, some on the bridge, some in the water. Finally, all are in the water, and mother duck joins them.

A Home for Little Penguin (2020)
by Coates & Neyland
Published by Forty South

In A Home for Little Penguin (Hannah Coates/Claire Neyland), Little Penguin’s home is destroyed by an excavator and a new and appropriate home has to be (and is) found.

In a time of COVID many people have found themselves with time. For some this has meant more time on social media, for others it’s time spent binge watching shows, and for another group it has given time to think about the story they have to tell. Colleague Shanli Perkins wrote, co-illustrated and self published Bobbie Rotten during COVID (CBCA blog Oct 23 2020).

We all have a story to tell, but how do we tell that story? In August 2020 La Trobe University published Creative Writing During COVID-19: Tips from Award Winning Authors on their website. Their 6 tips are: 

• Carve out time
• Start an ideas book
• Suspend judgement
• Notice when your best ideas emerge
• Read, read, read
• Be kind to yourself when you’re feeling stuck

We all have a story to tell, a struggle to explore; but how do we make that a story that others want to read? Mem Fox shares many tips for navigating the writing to publishing path on the For Writers: Hints section of her website. One of the more valuable tips is not to rush the end product. Ducks Away was a ten-year project, and the first attempt bears no relation to the finished product.

…and my story? I’m still on step 5 of the La Trobe University tips: Read, read, read!

Felicity Sly is a Teacher Librarian at Don College and a CBCA Tasmania committee member.

Introducing the President of CBCA Tasmania

Steve Martin has been involved with CBCA Tasmania in recent years and has been active in his promotion of reading and literacy in the north-west of Tasmania. Steve has kindly shared some snapshots of influencing factors and drivers to lead the branch as we celebrate and promote children’s literature and reading.

Reading well is essential to tackling the effects of child poverty and is the keystone of a good start in life for all children. An important role for parents in the development and educational performance of their children is reading aloud to their children from birth. 

 

It is undeniable that a child’s reading skill is important to their success in school, work, and life in general. And it is very possible to help ensure the child’s success by reading aloud to them starting at birth. Some benefits of reading aloud to children include, supported cognitive development; improved language skills; preparation for academic success; developing a special bond between parent and child; increased concentration and discipline; improved imagination and creativity; and cultivating a lifelong love of reading.

 

Parents have an incredible ability to have a positive impact on children’s ability to read. This need not be an onerous activity – just reading aloud ten minutes a day can make a huge difference. Such investment would increase the child’s reading and other cognitive skills, as well as positively affect the likelihood of acquiring higher education, advanced training, along with the economic returns in terms of wages and quality of jobs. Numerous studies have shown that students who are exposed to reading before preschool are more likely to do well when they reach their period of formal education, transforming children’s lives by helping them overcome poverty, leading them to better health and increased income opportunities.

 

Imagine not having the ability to read a job description, apply for a job, or know the content of a contract you sign. Those are typically the basic steps of finding a job or starting a business. A lack of literacy has also been commonly found to make it harder for people looking to enter the workforce for the first time, restricting their job choices/opportunities and income; limiting their ability to provide and care for themselves (and their families); and continue the cycle of poverty.

 

Poverty and food insecurity are ever present in our communities, in fact, 13.6% of Australians live below the poverty line and 15% have experienced food insecurity in the past 12 months. The effects of growing up in poverty increases the likelihood of food insecurity which in turn, could impair a child's ability to concentrate and perform well in school; is linked to behavioural and emotional problems from preschool through adolescence; and is tied to conditions such as diabetes and cardiovascular disease later in life.

 

The current issues of poverty and food insecurity need to be addressed, but at the same time so does breaking the intergenerational cycle of poverty and food insecurity. Literacy development is a vital part of a child’s overall development, an investment in their future, helping develop a strong foundation to enable them to reach their full potential and in turn help build and strengthen their communities, ending the vicious cycle.

 

Through the role of Devonport Mayor, the importance of children’s literacy as an investment in the future of children, families and communities was realised and led to joining the Tasmanian Branch of the CBCA so that more could be learnt and positive actions promoting the real benefits of children’s literacy could be implemented. Four years on, now President, it is also important that the value and the effect of what our authors and illustrators produce should not be lost or underestimated - family, state, or nationwide.  

Steve Martin,

President, Toast for Kids Charity Inc.

President, Tasmanian Branch – Children’s Book Council of Australia

Hans Christian Andersen Award nominees for 2022

Every alternate year, IBBY (International Board of Books for Young People) recognises an author and an illustrator for their lasting contribution to the world of children’s literature.   For information about previous winners, current nominees and the Judges panel see https://www.ibby.org/awards-activities/awards/hans-christian-andersen-awards

The Australian nominees for HCA 2022 are Margaret Wild for writing and Tohby Riddle for illustration. We all know their names but who are they and why did IBBY Australia nominate them for this prestigious award?

Margaret Wild

Margaret Wild began writing children’s books in 1983. For 16 years, she combined her own writing career with managing and commissioning children’s books with a range of publishers including Omnibus Books, ABC Books, Methuen and Angus & Robertson. Since 2000, Margaret Wild has been a full-time writer publishing over 100 books. Her range is wide - from lyrical books of everyday domestic issues for the very young to more complex works for old readers. Her themes of homeless, imprisoned, dying, lost and the aged and such social concerns as bullying, divorce and Alzheimer’s disease have been said to be unconventional for children’s books. 

Margaret Wild has also written verse and prose novels, including Jinx (2001) which has been translated into nine languages.  

Her awards for personal achievement include 2020 Australia Council Award for Lifetime Achievement in Literature; 2011 Lady Cutler Award (CBCA NSW); 2008 Nan Chauncy Award for an outstanding contribution to children’s literature in Australia; and the 2001Centenary Medal for service to Australian society and literature.  

Tohby Riddle

Tohby Riddle created his first picture book in 1989. He has contributed cartoons to Good Weekend and The Sydney Morning Herald. A selection of his cartoons was published in What’s the Big Idea? (Penguin Viking, 2003). Riddle’s illustrations and writings have appeared in the NSW School Magazine, where he has been a member of the editorial staff, and was also editor for a time. 

His works include award-winning picture books, non-fiction and fiction for junior readers, television adaptations and a YA novel. His short stories have been anthologised in a number of collections. He has won and been shortlisted for many awards including: 1996 Winner of the IBBY Australia Noël Award for The Tip at the End of the Street (1996); 2001 Joint Winner of the Wilderness Society of Australia Environment Award (Picture Books Category) for The Singing Hat (2000); 2009 Winner Australian Publishers Association Design Awards Best Designed Picture Book Award for Nobody Owns the Moon (2008); 2009 Winner NSW Premier’s Literary Awards, Patricia Wrightson Prize for Children’s Literature for The Word Spy (with Ursula Dubosarsky) (2008); and 2011 Winner Children’s Book Council of Australia (CBCA) Book of the Year: Older Readers Award for The Return of the Word Spy (with Ursula Dubosarsky) (2010). In 2016, The Greatest Gatsby: A Visual Book of Grammar was shortlisted for a Prime Minister’s Literary Award (Children’s Fiction) and was included on the International Youth Library’s White Ravens list. 

Tohby Riddle’s intertextual art is complex, engrossing and highly literate. What Tohby Riddle brings to his uniquely layered and perfectly calibrated illustrative art is utter integrity, brilliant wit, complex ideas, intellectual rigour and an ability to witness the world with a willingness to question and to challenge orthodoxies. 

Nella Pickup

IBBY Australia Executive Committee member

The Snowball Effect

Emma Nuttall shares a powerful classroom reading experience steeped in free choice and reading for pleasure inspired by the works of Morris Gleitzman. This is an inspiring piece that demonstrates how current research on the power of student choice is being played out in a Tasmanian school.

Last year an incredible thing happened. We managed to inspire a class of children to independently read the incredible Once series by Morris Gleitzman, by doing very little. But the very little that we did do was tactical. It was considered. And it was powerful. So, so powerful. And all we did was read.

Once, and the further adventures of Felix, written by Morris Gleitzman.

Each day in our class we read to the children. We read a class novel that we have carefully chosen. Well not so much chosen, as agonised over for weeks on end. We’ve read more book reviews than we care to admit, and we’ve hounded other teachers, librarians and even our favourite bookshop proprietors (Jo, we are talking about you!) for hot tips. We might read 5 novels a year to each class and with so many to choose from, the pressure is on to get it right! And when we do the impact is often immeasurable, but completely visible. We read the chosen class novel to inspire, but we have consciously chosen to read the class novel simply for reading pleasure. There are no associated reading comprehension activities, no writing your own ending, no doing a new front cover. Just for pleasure.  

Morris Gleitzman talks about his favourite characters:

Felix and Zelda from Once.

But the Snowball Effect was different. Not only do we read to the class each day, but we also read with the class. And by this, I mean, when the children are reading independently, so are the teachers. When they read, we read. When I say ‘we’, I mean a class share scenario. We both started reading the series. At first the children were simply interested to see which of us was reading faster, then, slowly but surely, they began to ask us about the book, noting our gasps and genuine displeasure at the end of quiet reading time! When we finished Once (I didn't win if you are wondering!), we started on Then, the next book in the series. It was at that point we noticed that all six copies of the book had disappeared off the shelves. By the time we started on Now (you guessed it, the third book in the series) there was a queue for the books, and everyone knew the order! 

By this point, it was getting serious, children were turning up at school with shiny new copies and proudly showing off their birthday box sets. Grandmothers were coerced into buying copies of the next book as a ‘special treat’ and we had exhausted the State and school library’s collections! 

Children who were more interested in reading mountain bike magazines (not that there is anything wrong with mountain bike magazines) were now fighting for their turn of the next book in the series. The most beautiful part was that everyone was very careful not to ruin the plot.... The conversation instead went: “Which book are you up to? And what’s happening?” The response was instead met with a knowing smile.

Obviously, we are now seeking recommendations for the next Once Snowball Effect!

Acknowledgement to Megan Tubb for starting the snowball rolling and happy binge reading everyone!

Emma Nuttall

Teacher, reader and passionate advocate for children’s literature.

Editor’s note: Watch out for the release of the final book in the series about Felix: Always. Due for release in the middle of the year. If you have a suggested series to kick off a similar snowball effect please add a comment here or to the FB post.

Inspiring literacy through Workshops facilitated by Tasmanian Authors and Illustrators

In 2019 CBCA Tasmania in partnership with the Department of Education Tasmania, received a federal grant to improve the literacy of students by participating in CBCA Book Week activities and promoting educational learning experiences. 2021 will be the third year of the grant implementation which will continue until December 2022.  

One of the programs developed is the Workshops in Schools. The program is available to all Tasmanian schools including Government, Independent & Catholic schools. The popularity of the workshops is indicated by the increasing number of school memberships which were 60 in 2019 when the program was initiated, and 73 in 2020. This is remarkable considering the pandemic challenges schools faced in 2020 and highlights the impact of interactive workshops on students and teachers around the state.

 

Student Comments

• I loved the workshop with Emily (Conolan) My favourite part was when we went off and wrote our own “choose your own” stories. 
• It was a great experience to have! I can’t wait to write some more stories! 
• I learnt that “Person, Plot and Problem” are the keys to creating a good story. 

Teacher Comments

• Lian Tanner is simply great at getting the students upping the quality of their writing, she has a real gift for connecting with kids 
• Thank you for sharing your wonderful ideas, Daniel, your openness inspired us. We now have many authors/artists-in-the-making. We can’t wait to see if any of our suggestions make it to Grandma Z: the sequel.   

Creator Comments

• I am excited to have been one of the many authors visiting schools. I gain greatly from these visits too. Being a cave dwelling creator, it is always good for the creative soul to get out into the daylight and be replenished by meeting your audience and sharing and inspiring writers and readers of all ages. One of the things I love is hearing stories from others and discussing the stories I have created. (Christina Booth)
• To be able to visit schools within our own state has a certain beauty, a real attachment for our creative place. The CBCA Tasmania grant enables small schools to benefit from interacting with creators to develop ideas to inspire written and visual narratives which is often not financially viable. (Coral Tulloch)

How can l organise for a Tasmanian creator to facilitate a workshop in my school?

An annual membership of $70 entitles your school to a half day workshop consisting of two 60-minute sessions or one 90-minute session. To augment the interactive literacy experience for your students, class size groups are recommended. Regional Coordinators are available to assist you with the organisational procedures.

Coral Tulloch and
reading fans

These workshops provide an opportunity to introduce your students to our talented local creators. Your school can select an author or illustrator and view their biographies on the Creators page of the CBCA Tasmanian Branch website at: https://www.cbcatas.org/

If you are interested in participating in the 2021 Workshops in School program, please read the membership information on the website.

Leanne Rands                                                                                                                    

Past President CBCA Tasmania                                                                Past Regional Coordinator of the Workshops in Schools Program

Editor’s note: It would be wonderful to hear from schools after they have had a visiting author or illustrator in their school. Consider writing a post and sharing your experiences with the community. This is also a great way to provide evidence of the value of such programs to support future grant submissions.