It’s a Busy Life for Daniel Gray-Barnett

Are you busy? Read on to find out how Tasmania author and illustrator, Daniel Gray-Barnett, is juggling multiple projects and also finding time to collaborate and share his many ideas and talents.

 

Whenever someone asks me ‘How’s work?’, I tend to reply with the stock standard responses. Good. Busy. I’ve been busy. Very busy, but good.

It’s only when I actually sit down to actually look at what I’ve achieved over the past six months, that I realise how many plates have been spinning in the air and I ask myself, how?

The year kicked off with something wonderful. Come Over to My House (written by Sally Rippin & Eliza Hull, illustrated by myself) was voted in the Top 10 of The Guardian’s Best Australian Picture Books. It was an interesting voting process, to say the least, and it certainly started many valuable conversations about the value of voting for classic, legacy books (Mem Fox, I’m looking at you) or ensuring we support modern day book creators (such as myself). Certainly many of the books I grew up and loved as a child might no longer be loved or engaged with by the kids of today. I think the Top 10 was a good mix of beloved classics and newer titles and was topped by Magic Beach by Alison Lester – a winner that just about everyone could agree with.

Some of us modern book-creators used the experience to engage with our audiences by making videos set on ‘Storybook Survivor’, a fictional island where the picture book creators were vying to pass tasks and survive the voting process to the next day. I made a good friend with Andrea Rowe (author of Jetty Jumping) who has a very good sense of humour and entertained my jokes about Mem Fox’s luxury tent on the other side of the island.

The biggest project for me the past six months (and the past twelve months really) has been working on a middle-grade illustrated novel. In a bit of a career pivot, I’ve decided to shift into my writing. It’s something I’ve always been interested in but until now, haven’t found the right way to execute it. Working on children’s picture books has been the perfect way to enter the world of children’s literature and now that my audiences are getting older, working on middle-grade novels is the perfect way to continue engaging with them.

Plus, I just love reading them. They’re full of adventures, big questions and themes, friendship and imagination. Philip Pullman famously said in his Carnegie Medal acceptance speech, ‘There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children’s book.’ This captures so much of why I love reading children’s novels and why I feel so drawn to now work in middle-grade fiction.

My novel (working title Going to Underbed) is a portal fantasy adventure. When ten-year-old Kit discovers that his missing Gran's stories are real and unlocks a magical portal to another world, he must master forbidden powers and defeat a tyrannical general before he loses his family and his way home forever.

I’ve completed a first draft (thanks to a six month Write Your Novel course with the Australian Writers Centre) and am spending the rest of this year revising and editing my draft to ready for submission to publishers. I’m very excited about it. The ideas for these characters and world have been stewing in my head for a few years now and I’m so glad to get them out onto the page. Working on the course has taught me a lot about the writing process and given me a community of fellow writers who I can count as brothers and sisters in arms. The fellowship of a writing group has been invaluable in seeing this project come to life. I can’t imagine writing without them.

I have one picture book coming out in August this year called The Thing About Dads (written by Deborah Frenkel of The Truck Cat fame, published by Thames & Hudson). It’s a joyful hug of an ode to dads and what makes them so special. Working on this book has been particularly personal for me, as I’m now a parent to two young kids and could relate to many of the characters and scenarios I was illustrating. I also wanted to explore more with my art for this project, so the work is a little more experimental, playful and makes use of more mixed media than I usually do. I really love how it’s turned out. I’m excited about its release in a couple of months.

Illustrations from The Thing About Dads by Daniel Gray-Barnett

I’m now working on the follow up book with the same team, called The Thing About Mums. We’ve just nailed down all the rough art and I’m about to tackle the coloured art in the next few months. 

Sketch in preparation for The Thing About Mums by Daniel Gray-Barnett 

I’m also working on another picture book about a child with a non-binary parent, with Jess Horn (Bernie Thinks in Boxes) and the team at Hardie Grant. Here’s a few early character sketches.

Character sketches by Daniel Gray-Barnett

In general, my illustration work is shifting more towards literary projects and I’ve been fortunate to work on some book covers. Stuck in the Middle by Anton Clifford-Motopi is about growing up a middle-child in a large, chaotic family and will be published by Allen & Unwin in August. A River I Must Be by Kate Foster is a moving verse novel that explores the authentic experience of autism and what it means to struggle with the pressure of masking.

In a lovely revisit to the world of Storybook Survivor, I was asked by the National Library of Australia to contribute to a book of letters which came out in May, called Postscript. A selection of remarkable letters from the library’s collection was chosen and passed on to a new set of writers as inspiration to write their own. There are letters from Jane Austen, Judith Wright and Henry Lawson, among others. 

I was, funnily enough, given correspondence between Mem Fox and Morris Gleitzman who maintained a correspondence for decades. The letters I was given seek to entertain and poke fun at each other, and themselves. For me, it represented how important friendship and camaraderie are to creatives and how vital it is to have someone else who understands the isolation and challenges of working as a creative. Andrea Rowe is one such special friend. I wrote to Andrea about the challenges of what it takes to be a modern-day book creator and how she navigates juggling family life with creating. I wanted to note on the record that Andrea received a fruit basket after our Storybook Survivor ordeal. I did not.

Other projects I’m hoping to undertake this year are finally writing a sequel to Grandma Z, which I’ve been talking about for a while now. I’ve also been trying to increase my engagement and presence on social media. I’ve noticed many publishers are looking at this when they consider which authors/illustrators they work with. Though the work is always the most important thing, many publishing teams want to work with creators who have a voice, something to say and are comfortable engaging with their audiences outside of a book.

I’ve always been an advocate for children’s literature and those that create it, but my latest Instagram videos have been focusing on Writers Festivals. They seem to have struck a chord, especially with others who have also noticed that often Writers Festivals have a wonderful adult program but limited or absent events for children. My message is that thoughtful and inclusive children’s programming is not only valuable but vital, particularly anyone that cares about the future of literature and literary events. 

Cultivating a love of reading and storytelling in children leads to adults who care about those same things; adults who read and buy books and attend writers’ festivals. Hopefully, adults who also create stories of their own. 

It astounds me that people who work in adult literature don’t necessarily connect those dots. We not only need to include children’s literature workers and creators in these conversations of programming, but we need to ensure that events are created for, and to engage with, children. Ideally, both public and school events for a wide range of ages and access points. At the end of the day, if there aren’t children in the room and they aren’t being engaged with, it’s not children’s programming and there’s room for improvement.

So the next time someone asks me how work is going, I might actually have a better answer than 'busy'. Being a dad and making these books, hopefully for my kids to read one day, is a lot to juggle but it's meaningful work. I wouldn't have it any other way. 

Here's to the rest of the year.

Daniel Gray-Barnett
Children’s Author and Illustrator

W: https://www.danielgraybarnett.com/
I: https://www.instagram.com/dgraybarnett/ 

Octopuses abound in the CBCA Younger Readers Category

CBCA Younger Readers Judge, Kym Diprose, talking to an avid group in Ulverstone, noted the prevalence of octopuses in entries this year. Felicity Sly picks up this theme to share these, with some other texts and formats, to delve into an octopuses’ garden of tales.

2026 is the year that three books featuring octopuses made the 2026 notables of the Early Childhood Category, with Inked (by Karen Wasson and Jake A Minto) being shortlisted. What is it about octopuses (and yes – it is octopuses), that intrigues and warrants so much literary space?

Octopuses are both baddies and goodies in the world of literature and film. From the baddies - the shadowy beast of The Kraken by Gary Crew and Marc McBride, and the evil Ursula in The Little Mermaid who trades Ariel’s voice for her greatest wish (legs); to the goodies - The Wiggles singing and dancing Henry, the Purple Octopus and Robert Kraus’ Herman the Helper (Jose Aruego and Arianne Dewey ills.)

Netflix currently offers recent release Remarkably Bright Creatures (based on the novel by Shelby Van Pelt) and My Octopus Teacher, a G rated documentary exploring the bond between a filmmaker and an octopus. 

Octopuses are intelligent, complex, creative beings – full of personality and life, providing great subjects for books and films.

The following critiques are from the CBCA publication Notables Australian Children’s Literature 2026 – free to CBCA members from the merchandise e-store. If you don’t know your membership code, contact your local Branch to confirm your 2026 membership and receive your code (there are lots of other free products waiting there for you too).

Shortlist Younger Readers

 

Inked, Karen Wasson, illustrated by Jake A Minto (Figment Books)

This graphic novel is a hilarious reflection on the multiple ways you can feel like a fish out of water. It is based around an absurd premise about winning a televised talent show to get money to pay school fees and return a demanding, opera-singing octopus to the sea. The clever prologue is entirely illustration-based, which focuses the reader's attention on the setting and one of the main causes of concern in the story: sustainability and ethical practices in the fishing industry.

Older readers in this category (and their parents) will find both the young and adult characters relatable and their fears, responsibilities and interactions familiar. Puns, misunderstandings and masterful visual gags lighten the family and friendship problems that run through the narrative to a satisfying resolution. There is an interesting bonus section at the end that explains how the illustrations developed and why characters look the way they do.

 

Notables Younger Readers

The Keeper of the Octopus, Neridah McMullin (Walker Books Australia) 

A magical realism adventure story, layered with themes of environmentalism, grief and identity. Whilst dealing with her grief over the loss of her mother, and disappearance of her father, Pippy discovers a profound connection to a gentle, giant octopus named Octavia. When her Uncle Isaac reveals that she is the next Keeper of the Octopus, descended from of a long line Keepers, Pippy uncovers strength and a sense of purpose she never knew she possessed. Powerful use of vocabulary is expressive and enhances the narrative, as the community and Pippy rally together to thwart the Calamary Brothers and save Octavia from their nets. Messaging about sustainable fishing is cleverly woven throughout and the nautical atmosphere is whimsical and magical.

 

Song of a Thousand Seas, Zana Fraillon, illustrated by Aviva Reed (University of Queensland Press) 

A short but intriguing verse novel told in first person from multiple octopus brains (we or us, not I). This unusual perspective combines with cloudy ink illustrations to stylistically sweep the reader upon an emotional tide, demanding empathy with the plight of the captive Houdini who is desperate to return home to the ocean. Multiple points-of-view help build tension as the young daughter of the aquarium owner and the cleaner conspire to assist this escape attempt.

Lyrically sophisticated but very accessible language supports messages about keeping curious, thinking outside the box and maintaining hope in the face of adversity. Factual details then provide a final counterpoint to the story, reinforcing environmental messages while emphasising the magic and the mystery of octopuses.

Felicity Sly is a member of the CBCA Committee

A Window into the 2026 Judges & Judging – the Jury is OUT!

The merry month of May has provided Tasmanian children’s literature lovers with two fascinating presentations from CBCA Book of the Year Judges. Many thanks to Anna Davidson, Dr Mark Macleod and Kym Diprose for sharing deep insights and intriguing snippets about the judging processes and an array of spectacular books.

 

The first event was held in the Nettlefold Library at Hutchins with stunning views of the Derwent providing a fitting backdrop. With all books across the six categories on display there was opportunity for attendees to view titles beyond the range of the judges’ readings. Mark started the afternoon with coverage of the Picture Book short list and also referenced other titles from the notable lists. He then followed Anna to explore the New Illustrator titles.

Mark’s passion for, and knowledge of, the artistic techniques and the power of imagery to elevate or expand a text was evident throughout with insights shared. Of special note for me were Dawn and the unique and alternative First Nations books The Frogs First Song and Tiwi in Paris. His expertise flowed through to discussions around the outstanding works by new Illustrators and the varied techniques that were applied. Highlighting fine art techniques and design qualities added value and certainly made me reflect more deeply on the selections.

Anna Davidson not only hosted this session and set up the book displays, she also starred in her role as judge, talking about key features of each of the shortlisted books. Her insights were insightful and certainly made me reconsider some of the books from a more enlightened perspective that will send me back for a re-read of a couple of titles.  Some titles were entered in more than one category, The Thing About Christmas being one example, that both judges could talk to, and Anna’s unpacking of the powerful illustrations by Briony Stewart was especially valuable. 

Anna drew our attention to some interesting aspects of the submissions including the number of board books and their quality - no mean feat in regard to themes and language for such a young audience. Counting Crocodiles, a notable entry, was a firm favourite. The criteria applied in the judging process included language, illustration, characterisation, setting plot, theme, mood, source material, design elements, age- appropriateness and production value and it was interesting to hear how these were evident within the books.

With some time free at the end, there was a chance to ask questions and to share some thoughts and feedback on books in other categories. It was insightful to hear how practitioners and fellow readers also reacted to the books under the spotlight.

 

A week later a smaller, but just as enthusiastic group, met at the bright and inviting library at Leighland Christian College. Once again, Mark shared his expertise – I particularly enjoyed his sharing and analysis of Being Indy as a New Illustrator shortlisted title – that has deepened my appreciation for this book for a wider audience – one to talk about in forthcoming Secondary Launceston talk.

Kym Diprose, as a new comer to Tasmania, provided a personal story that established her street cred, and this was entertainingly demonstrated throughout the session. The six titles are all diverse in regard to gender with some strong male characters evident this year, and also coverage across different genres and age levels with realistic fiction being strongly represented. The judges were informed by the values evident in the books - equity, diversity, quality, integrity and respect. The short listed stories revolved around strong characters resolving a range of ethical and problematic issues in convincing ways. 

Sharing insights into not just the short listed books, but also a number of titles from the notable list proved the audience with broader perspectives. Themes of cooperation, creativity, friendship, family environment and loss and grief were common and octopuses were in abundance! With one graphic novel, Inked, on the list, Kym also highlighted three other titles and talked about the high level of design and production in all of these. 

The grand finale for the event was the opening of Kym’s first package of books for next year’s awards, which she had collected on her way to Ulverstone. We all felt part of the process.

Many thanks to the judges for not only the time and commitment involved in being a CBCA judge, but also the joy and passion in sharing their experiences and thoughts with the participants. A grand time was had by all, but we will have to wait until the August 21 before Judges’ verdict is IN! Stay tuned to the website for updates on the Book of the Year announcements.

 

Jennie Bales

Retired teacher librarian and avid reader

CBCA Tasmania Social Media Coordinator

 

 

Editor’s note: Wish you were there? Join a team of devoted readers and practitioners, including a past judge, to discuss the short list and selected notable titles in one of two events in June. There are two more sessions scheduled in Launceston.

Make the most of your membership for free access to:

** June 2, 4-6 pm. Primary Short List Book Discussion at Riverside Primary School. Book here.

** June 10, 4-6 pm. Secondary Short List Book Discussion at Scotch Oakburn Senior School. Book here.

Read the judges’ critiques of all the shortlisted titles in the 2026 Notable Booklet at the e-store on the CBCA website.

Books in Battle: Championing Verse Novels in the Middle School Library

Join Michelle Davies as she shares a successful and engaging program to hook middle school readers onto verse novels.

This round of wide reading sessions with Year 6 had a clear purpose: to introduce students to verse novels as a rich and distinctive narrative form, and to connect that experience to their classroom poetry unit. What I didn’t anticipate was just how much impact it would have.

 

Why Verse Novels?

A verse novel combines the storytelling of a novel with the style and rhythm of poetry. Where a conventional novel builds its scenes from paragraphs, a verse novel builds them from poems. The story is the same kind of story. The language just moves differently, and for middle school readers, the difference turns out to matter enormously.

 

Literacy researchers have identified verse novels as a highly engaging format for teens, largely because they feel visually approachable. The short lines, white space and varied layouts make them less overwhelming than dense blocks of prose, which can be especially helpful for reluctant readers or students who lack confidence in reading. There’s also a sense of quick progress as pages turn easily, helping students build confidence and momentum as they read.

 

The poetic structure also invites readers to slow down and “hear” language, making it a natural fit for reading aloud, a quality that would prove central to everything that followed.

 

Enter: The Book Battle

 

As part of our wide reading program, our three Year 6 classes visit the library each week. In a recent session, I had two main goals: to introduce students to verse novels and connect that experience to their classroom English unit on poetry. The Book Battle was designed to achieve both, drawing on the competitive energy middle schoolers bring to just about everything they do.

 

The premise is simple: two verse novels go head-to-head. I read the opening chapter of each aloud, students listen, then vote for their favourite. The winner advances. Over six lessons and four rounds, the field narrows from eight books to four quarterfinalists, then two semi-finalists, and finally one champion, with each successive chapter building as the stakes rise.

Results were projected live onto our library screen, and the atmosphere lifted straight away. Students leaned forward, some cheering, others turning to friends in disbelief as the rankings shifted. The energy in the room was everything.

 

When the winning book was finally announced, it was handed to the classroom teacher to be read aloud in the weeks ahead. The students already knew how it began. They were already invested.

 

 

Three Classes, Three Champions

 

What surprised and delighted me most was this: all three Year 6 classes heard the same books, the same chapters, and voted independently, yet each class produced a different champion. When this was revealed, the discussion that followed was exactly the kind of rich literary conversation we aim to foster. Reading is subjective. Taste is personal. Yet the books we love are worth arguing for.

The buzz extended well beyond the library. Students who had voted a book out in round one were suddenly curious about why another class had championed it, and demand for the verse novel collection quickly followed.

After the final vote

There is no right answer in a Book Battle. The outcome isn’t decided in advance, and no external award defines the winner. Students, through their collective choices, determine which book earns its place in their space. That sense of ownership is, I believe, one of the most powerful ways to build reading identity in middle school.

What stayed with me long after the champion was crowned was watching students leave the library carrying a book they had chosen, argued for, voted for, and claimed as their own.

It doesn’t get better than that.

 

Michelle Davies

Librarian (Middle & Senior School)

The Hutchins School