​1. What can you tell us about Lexie Moon and the Space Day Disaster? What was the experience like of writing this book, since it is a sequel? Did that make it easier or challenging, since you know the characters already?  
Lexie Moon & The Space Day Disaster is the second standalone book in the Lexie Moon junior fiction series, aimed mainly at the 7-10 year old age group. In this book, Lexie, a young inventor, has been persuaded to invent a device for daytime stargazing for her school’s Space Day. Unfortunately, the notorious gadget thief, Gizmo Lightfinger, returns to cause mayhem again. Lexie and her sidekick/grandad have to find a way to stop him before the world is plunged into darkness forever.
 
I had a lot of fun writing this book and enjoyed the opportunity to spend more time with Lexie and the other returning characters. It was easy to step back into her world, partly because I enjoy being there and partly because this book was written while I was still working on Book #1, Lexie Moon & The Word Burgling Bungle.
 
Some of the challenges of writing a series include ensuring that the voices and characteristics of the returning characters remain the same and that references to other recurring features of the world, such as inventions, are consistent. Spreadsheets help me keep track of everything. I also frequently reread parts of Book #1 to ensure that my language and tone remain in keeping with it. 
 
2. How was the publication experience different for Lexie Moon and the Space Day Disaster this time around, compared to the first book in the Lexie Moon series?  
Lexie Moon & The Word Burgling Bungle was my debut book, so everything in the process was completely new. It was good this time to know a little more about what to expect, including the long periods of waiting followed by high-paced cycles of intense activity.
 
I really enjoyed working with my editor at Riveted Press, Rowena Beresford, for Book #1, and so I was looking forward to doing that again. That has been a very rewarding learning experience both times and has really made me appreciate the level of skill that editors need to have.
 
3. What was it like when you first saw Lauren's terrific artwork bringing your story to life? Do you have a favourite illustration from either of the books?  
I have been completely blown away by Lauren’s illustrations, which look as though she has downloaded a picture from my head, put it on paper and made it even better than I had imagined.
Take for example The Stellascope invention on the cover of Lexie Moon & The Space Day Disaster. In my illustration notes, I said that it looks a bit like a cross between a ship’s binnacle and a telescope with some levers and dials. Lauren drew it exactly the way I had imagined!
In terms of my favourite illustrations, I couldn’t go past the two dogs at the end of The Word Burgling Bungle, but I love all the images of inventions and also the crowd scenes in The Space Day Disaster.

4. What is in the pipeline? Can you share anything you are working on next? Will there be a third book about Lexie?  
Nothing is official at this stage, but I have fingers crossed for book three, so I guess I can say that I’m working on that at the moment.
I also have a portal adventure story that I’m reworking, as well as a concept for a historical fiction that may take ten years to research and write.
At the moment, I’m also developing presentations for some upcoming school visits. My very first as an author! I’m very much looking forward to those.

5. Anything else you would like to add, at all? 
I’m very grateful to have two books in a series out in the world. It has been my dream to be a published author for a very long time, and even two years ago, I couldn’t have imagined it actually happening. I’m very thankful to everyone who has supported me on the way, including Rowena, my critique group and other people who have given me feedback on my writing, my friends, the amazing kids who have read my book, and of course, reviewers, like you, Brenton, who help to spread the word. Thanks again for this opportunity.

What could be better than a visit from not only ONE of my favourite authors, but TWO of my favourite authors?! With one in Adelaide and one in Tasmania, this is indicative of their recent collaboration --- a co-written fantasy novel THE DISAPPEARING CIRCUS (published July 29th, with Riveted Press). Read on to see how HELEN EDWARDS and KATE GORDON co-wrote their latest novel over email, what prompted the idea, why their friendship and mutual respect was an important part of the process, and what they both have coming up next.

Check out the blurb of  THE DISAPPEARING CIRCUS ...

"When Emme and Ivy—two runaway girls weighed down by grief—stumble upon a strange circus on the moors, they are flung together, as they discover a world unlike any other.
Ghostly performers, mythical creatures, and a Ringmistress with dark secrets await them beneath the blood-red Big Top. To save the fading circus from vanishing forever, Emme and Ivy must uncover their hidden talents and put on a show to end all shows. But do they even have talents? And can they discover them in time?

As the girls navigate dizzying trials of magic and mystery, they realize that the circus isn’t just disappearing—it’s somehow connected to the very threads of their pasts. As secrets are unravelled, Emme and Ivy must step into the spotlight and take a chance on themselves and each other, proving that you must always hold onto wonder and that even the smallest sparks of magic can change everything.

A breath-taking blend of magic, mythology, and heart, The Disappearing Circus reminds us that friendship and courage can be found in the most unexpected of places, that the future is ours to hold—and that some stories are too powerful to ever truly disappear..."

Thank you for stopping by, Helen and Kate!

1. Firstly, can you share a little about the story of THE DISAPPEARING CIRCUS? What is your favourite character/moment of the book?

HELEN: The Disappearing Circus is an allegory to grief and hope, told through the eyes of two runaway girls - Emme and Ivy. It's a magical adventure that takes place on a fictional island called Weldlands Island.

Readers can expect a strange circus filled with ghosts, mythological creatures, extinct animals, a dark Ringmistress, and two brave girls who lean into each other and find their way to hope. The setting is a bit like the Tasmanian Midlands mixed with the English moors.

I love all the characters, but have a soft spot for Ohme the Dragon and Cindertail the nuralagus - an extinct Australian mammal about ten times bigger than a rabbit. She's a little like our White Rabbit from Alice in Wonderland.

KATE: I mean, obviously my favourite is Emme, because she's "mine". I'm so very fond of her. I go a bit weird when I'm writing and sort of take on the characters a bit, and this was easy with Emme.

​She's kind of like my inner wild Kate Bush-style ethereal self (the one I wish I was on the outside!), full of fire and courage and uncertainty. I love her to bits.

​And like Helen, I love Cindertail. I'm a sucker for a talking animal and Cindertail is a good one!

2. How did the idea to co-write a book together come up in the first place and how did you come up with the idea for what the book would be about?

HELEN: We were friends on social media and had chatted for a while. We were talking about our writing one day and the idea of writing a book together came up. I had secretly wanted to work with Kate for ages! From there, we brainstormed ideas and found both of us had dabbled with the idea of a story set in an unusual circus. And off we went!
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KATE: I was sneakily able to read one of Helen's early books before it was released - our publisher knew it was wonderful and she knew I'd love it too! It was so strange reading it, like Helen and I shared a kind of writer brain/voice/vibe, and I knew, if she'd have me, I'd love to work with her. I'm so honoured she said yes!

3. How did two authors (in separate states no less!) collaborate and write a novel together? Email? Phone? How do you divvy up who writes what and what if there is a disagreement?

HELEN: It's all via email. We decide on the story idea and loose plot, and our characters, then work out who starts, and they do chapter 1. Then we riff off each others chapters to the end. We aren't big on outlines! We do need to know where we're going, and will discuss this when we feel it’s needed, numerous times. Sometimes one person may suggest a chapter or section isn't quite working, and the other person will go back to change. For example, with our work in progress, Kate suggested I start earlier on the timeline in chapter 1 than I had done, and I agreed, so went back to develop a new chapter 1. There are never conflicts or issues. We support each other and work really well together.
In fact, we have since drafted a YA together, written book 1 of a JF series - Leni and Mare's Mysterious Museum (stay tuned on that!), and have begun a second illustrated JF series. So expect more Gordon & Edwards stories!

KATE: I'm largely sceptical/antagonistic towards 'the social internets' (as the Green brothers say), but they're good for a few things! Being able to write a whole book remotely is pretty amazing. It's like having one very long, very creative and sometimes very strange conversation. It's really exciting, waiting for the next instalment, like that game we used to play as kids where we'd write a line on a piece of paper, fold it so only the end was shown, and pass it on. It was so much fun and made me fall in love with writing all over again.

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4. THE DISAPPEARING CIRCUS is published by Riveted Press. And you have both been multi-published by award-winning Riveted Press before. What makes Riveted such a great home for your books?

HELEN: Riveted Press is all about forging unforgettable stories, which is what we are both about too. Rowena Beresford has a remarkable ability to clear away a story and bring out its true heart. She's a brilliant editor and beautiful human who is endlessly patient. We both love working with her and the close relationship she has with her authors is special. She's open to creative ideas and stories that might be a bit unusual, or different, like The Disappearing Circus.

KATE: One word: Rowena. She is one of the most special people I've ever known. She's intensely smart, creative, wise and brilliant as a publisher, but she's also the kindest and most empathetic person you'll ever meet. Being a Riveted author feels like home, and as a neurodivergent author, this is so important. Besides that, I'm so proud to be part of this increasing stable of wonderful authors and books. It's a real privilege to watch Riveted grow and marvel at how far it's come.

5. Do you have a typical writing process, when you write separately? Does it differ when writing collaboratively? And what is your writing space like?

HELEN: My typical writing process is to ponder an idea that calls to me for a time - many ideas do this!. Find the main character/s. Start writing my way into the story. Research as needed (how much depends on if it's historical- there's a LOT more then), write, research, edit, write, freak out (reached the middle of the MS at this stage ), return to what my characters want/need, their problems and voice, research, write, gather speed, fall back in love with the story, obsess about it and dream lines in my sleep, finish! Then it's my favourite part - rewriting, polishing, bringing life and heart to the story. Edits infinity! That is pretty much the same with co-writing except I can bounce off and count on Kate, so there's less freaking out! My writing space is pretty dingy - our dressing room is also my office, next to our bedroom with no door between. I have lots of lovely pictures and inspiration and toys and books around me.

KATE: I'm a mum to two girls, a teenager and a toddler. I am full-time mum and carer to my toddler, who has some extra medical needs and a LOT of extra "wanting to hang out with Mum" needs. I can't afford to wait for a muse - I don't have enough time. I write whenever I get a moment, usually covered in baby food (best case scenario!), sitting on the floor in my lounge room while my toddler pulls every book off her many bookshelves and throws the ones she doesn't want right at me. In fact, that is exactly where I am now. There may be a small copy of a Spot book perched on the edge of this keyboard... 

6. What is in the pipeline? Can you share anything else you are both working on next?

HELEN: A Light on the Rocks, my magical historical middle-grade novel is coming in 2026. It was part of my Fellowship with the SA state library supported by Writers SA and supported by a History Trust grant. It's set across two timelines with dual POVs- one at the Cape Jaffa Lighthouse in 1960 and the other on the final voyage of the ill-fated SS Admella in 1859. It’s a love song to the sea about courage, survival and hope, that shows how being ourselves, noticing the world around us, and making connections with nature, place and each other, are the truly magical things about being alive. 

Kate and I also have book 1 of our first JF series together - Leni and Mare's Mysterious Museum- coming out in 2026. Stay tuned!

The Forest Keepers is my fantasy duology that I've carried since 2019. I'm so excited that Riveted Press is publishing book 1 - Secrets of the Emerald Stone in 2027 and book 2 in 2028. The Forest Keepers is an enchanting eco-fantasy about standing up and standing out, caring for nature, and holding onto hope, in which 13-year-old Calla Rosewind discovers shocking secrets about herself and her family, and is called upon to take a dangerous quest across the last ancient forests of Callistemon with her best friend Isla, in order to save their dying world.

KATE: I have a few things coming up! Aside from Leni and Mare, I have more books in the Secret Detectives Club series, more in the Juno Jones series, a standalone book called The Midlands next year, and a new series centred around a group of young, home schooled, neurodivergent friends beginning in 2027.  2027!!! How is that possible? And hopefully more books with Helen.

THE DISAPPEARING CIRCUS
by Helen Edwards and Kate Gordon
is published July 29 2025 by Riveted Press

Visit Helen online at www.helenedwardswrites.com/

Visit Kate online at kategordon.com.au/

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1. Congratulations on your new release junior fiction novel The Lost Loot of Lima, illustrated by Sandy Flett and published by Wombat Books. How did you get the idea for the book? What was the writing, and rewriting, process like?
Thank you! The idea was originally a 3,000-word short story for a writing competition which was offered through Writers Victoria in 2016. The theme was ‘My Local Area’. Initially I wanted to showcase all the things that the beautiful coastal town of Queenscliff had to offer. As I researched the area, I discovered the story of Benito the pirate and his buried treasure. I’ve lived near Queenscliff for many years and knew nothing about it! The more I researched the treasure, the more I knew it had to be a key feature within the story.
 
2. How did The Lost Loot of Lima come to be published by Wombat Books and what was the publication experience like for you? 
In 2023 my third YA novel, Summer Change, was published by Rochelle Stephens and the incredible team at Rhiza Edge which is the YA imprint of Wombat Books. I had submitted The Lost Loot of Lima a couple of years prior with no response. Something must have jogged Rochelle’s memory about a pirate story I had written and she asked me about it. I quickly sent her the most recent version of the MS and after some backwards and forward edits, she offered me a publishing contract. Both experiences have been fantastic. I have learnt so much about the publishing process and have been involved every step of the way with both books. I was a little nervous this time to see my story brought to life through illustrations. It is the first time I have had pictures included, but Sandy nailed it!
 
3. Did the first draft change very much compared to the final product? What was your goal with the story when you began writing it? 
I still have a copy of the original submission. It’s not great, ha-ha! But the bones of the original story are there and have been included in the published version. With so many extra words I was able to add a lot more depth, tension and historical research into the storyline. The story line is much richer with many more layers included to connect with the reader. The challenge, once I started researching the history of the treasure, was deciding what to include and how to include it.
 
4. I love the intergenerational relationship between Ben and Nan and also what a special relationship Ben obviously had with his late grandfather. There is so much mystery, action, adventure and humour in the book.  What do you see as the heart of the book? What do you hope readers feel or think when they read the book? 
Growing up I was very close to my great-grandmother. She raised my mother from the age of five so the connection between those two and the connection between Nana and myself was always very special. I cherish my memories of my great-grandmother, so I wanted the inter-generational connection to be important. For me, this is the heart of the book. The mystery, action and adventure were a beautiful bonus to be able to include so it appealed to the younger audience. Because the story has local connections, there are many adults that have taken an interest in the research notes and how it has been included into the story. I have been told by a few adults that they are enjoying reading it together with their young person. I love this because it is a great storyline to read together and discuss.

5. Do you have a typical daily writing process? And what is your writing space like? 
I’m embarrassed to admit this, but as a published author, I am not very regimented in my writing process. Life can get hectic! Sometimes I will write nonstop for days. But other times it can be weeks before I write anything. I used to have a much stricter approach, but sometimes it felt like a chore and took the joy of writing away. So, I took the pressure off, removed word count targets and now I rarely feel pressured to write. Except of course if there is a deadline with editing reviews. But to be honest, editing is my favourite part of the writing process. I learn so much from it.

6. What is in the pipeline? Can you share anything you are working on next?
I have another historical fiction inspired story that I had written as a picture book but it’s just not working. So, I have started to extend it into a similar style to The Lost Loot of Lima. I also dug out a YA story I started years ago but never finished. When I started to read it again recently it made me laugh out loud and I got excited for what it could become so I have decided to play around with that as well. But I love all things literacy and as a teacher, I am passionate about supporting students in this space. I currently teach English as a second language (EAL) students so am about to begin study to complete a Graduate Certificate of TESOL. This will help me to understand literacy approaches for teaching second language speakers more and will take up a fair bit of my time.

7. Anything else you would like to add? 
​Thank you for this opportunity, Brenton. The kid lit community is so supportive and I'm grateful for the connections I've made over the years. I am constantly learning from those around me and always want to challenge myself in new ways. Also, if you ever go to Queenscliff, be sure to look for the sign that marks the area of the buried treasure.
 






















​Melissa believes everyone should Dream Big…Read Often.
You can follow her Instagram https://www.instagram.com/liss_wray
and check out her website: ​https://melissawray.blogspot.com/
and her Facebook page:​
https://www.facebook.com/DreamBigReadOften/
​

Congratulations to Deborah Kelly on her recent release, SKIN, a YA novella in the Rhiza Shorts series (published by Rhiza Press/Wombat Books). Thanks to Deborah for stopping by my blog to answer a few questions about SKIN and more about her fantastic writing career for young people.

1. Deborah, how did you come up with the idea to write SKIN?
When my daughter was ten, a freckle appeared on her otherwise very clear cheek. Because it appeared so suddenly, we had it checked out. It turned out to be a rare type of pre melanoma called a spitzoid naevus which required immediate surgery to have to removed. The trauma and pain of the surgery itself was traumatic enough, but it left quite a large scar across my daughter’s cheek, significantly altering her appearance. In the weeks, months and years following the surgery, she lost her confidence, becoming very self-conscious of the scar and sensitive to people’s reactions to it. Through our discussions about it, what transpired was an opportunity for my daughter to learn that our worth as a people runs far deeper than our exterior appearance, despite the conflicting messages from social media that teenagers are constantly bombarded with. It was also an opportunity to learn about and to accept and embrace difference and diversity of all kinds in the people around us.

2. What do you hope readers will take away from the book?
That our worth runs far beyond skin deep. That our scars are part of our stories. That humanity is diverse in a myriad of ways. And that embracing and learning from this diversity, and sharing in the experiences of others only serves to enrich everyone’s lives.

3. How did it find a home with Wombat Books?
I have several publications with Wombat Books already- a five book junior fiction series called Ruby Wishfingers (Wombat books 2016-2017), a middle grade novel called The Thing about Oliver (Wombat Books, 2019) and a picture book called Little Horses (Wombat Books, 2024). Skin was written specifically for Rhiza Edge as the first book in their new list ‘Rhiza Bites’ –books with minimal words but maximum impact; in other words, bite sized fiction for busy teens. My publishing experiences with Wombat Books and Rhiza Edge have all been overwhelmingly positive – the process has been very inclusive and the greatest of care has been taken with every manuscript every step of the way.

4. Do you have a typical writing process? What is your writing space like?
I often think of ideas when I am out and about and jot them down on paper or on my phone. I have also been known to scrawl ideas on my arm if nothing else was within reach, or on a napkin at a party. I generally rough out an idea on paper before I start typing. But I don’t have a set process each time, every book has come about slightly differently. I write on my laptop at a big glass and steel desk which is also the desk I complete my Uni work at.

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5. What is in the pipeline, what are you working on next?
I have a new junior fiction series out next year as well as a middle grade novel. I am currently working on another young adult title.

6. Anything you wish to add? 
Thanks so much for having me on your blog, and congratulations on your upcoming titles!

Welcome to debut children's author KARYN (KAZ) SAVAGE! She kindly agreed to stop by my blog to speak about her debut picture book MY PET ARCHIE, illustrated by Tamlyn Teow, and published by Riveted Press in August 2025. 

Visit Karyn on her website at and on Instagram @karynsavageauthor


Welcome, Karyn! What prompted you to write your debut picture book MY PET ARCHIE? How did the idea come about, and what was the writing and rewriting process like?

This is a great question because Archie was never written to be a picture book! I love experimenting with words, and playing with language and poetry is something I enjoy writing. So, Archie began as an 'ABCDarian poem' that I included in a collection of children’s poems. I signed up for Crystal Corocher’s Write Now Mentorship program, and when she read the poem, she said, “Kaz, this needs to be a picture book.”

How did it find a home with Riveted Press, and what was the publication experience like for you? 

I tweaked My Pet Archie into a 24-page picture book manuscript and submitted it to CYA’s manuscript competition in 2024, and it was shortlisted! This was a great encouragement, and I had booked an assessment with Rowena Beresford from Riveted Press, who made some great suggestions to make adjustments to create a 32-page picture book. I was invited to resubmit it, and 2 months later, was ecstatic to receive a “Yes!”

What was it like when you first saw Tam's artwork bringing your story to life? Do you have a favourite illustration from the book? 

I was in absolute awe when I saw the cover of Archie. It was like this character that I had written about suddenly had form and personality. He was nothing like I imagined, and yet everything I hoped for all wrapped into one lovable character. I don’t even know if I can choose a favourite spread, but I think when we see Archie so sad and his world has become a puddle, the emotion that Tam so cleverly creates, is impacting both visually and in a way that connects the reader to Archie’s experience.
 
Do you have a typical writing process? And what is your writing space like? 

I have such a sporadic approach to many things in my life. I can live with mess and laundry piles for ages, and then suddenly hit a cleaning spree, and this is the same with my writing process. I can have several months of writing drought, and then I can write prolifically for several weeks. I’ve learnt to go with the flow and use the weeks of quieter creative input to edit, critique, prepare submission cover letters, read and play with words, and then get ready for the flood of ideas that will come.
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In the same way, I don’t really have a designated writing space. I usually work at a desk that we have in a spare, guest room, but most of my writing is actually done in my head, walking the dog or strolling along the beach, and then I’ll grab out my phone and record ideas, scribble in a notebook, write at a café or park bench.

What is in the pipeline? Can you share anything you are working on next?

Wow, I have about 10 picture book manuscripts doing the rounds as well as my collection of poems for children. A notebook full of ideas and to borrow an expression from Tina Clark, I need the ‘Bum glue’ to stick myself in the chair to write a few JF & MG manuscripts that I know are calling me to write.

Anything else you would like to add, at all? 

I guess I just feel so privileged to be a part of such a genuinely fabulous network of people. It is often said that the kid-lit world is full of truly genuinely lovely people, and I have definitely found that. I think in the midst of all the rejections and knockbacks, it is important to find your ‘why.’ Why keep writing, why continue to submit, why continue to engage, and for me, writing is one thing, but I can do that for myself.

What keeps me going are the connections and relationships, and the people I get to hang out with some virtually and some in person. The thing is, I think as humans we are never really satisfied. One contract satisfies a major life goal, and I will always feel so deeply grateful to Rowena for saying “yes”, but how many more will truly satisfy?

So, for me, it’s the connection, the sharing of stories, and the sharing of the journey that keeps me going.
​
Thanks so much Brenton!
 

1. Angie, what prompted you to write your picture book Our Map? How did the idea come about and what was the writing and rewriting process like?

I was inspired by some casual conversations I had with children and parents at our local daycare and primary school. I wanted to explore what it means when a child can’t find their parents’ or grandparents’ homeland on a map — and how that absence can shape their understanding of identity and place.
Danielle Binks’ book The Year the Map Changed was a big influence as well. One line from that book really stayed with me: "The map doesn’t always tell the truth."
The first draft came together fairly quickly, but as with my debut, I wasn't sure whether it should be a picture book or a short story — the concept felt big for a children's book. Through rounds of feedback from my critique group and editors, I cut, reworded, and restructured the manuscript until the heart of the story became clearer and more emotionally resonant. I wanted every word to earn its place.
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2. How did it find a home with Wombat Books, and what was the publication experience like for you?

I submitted the manuscript to about ten publishers. Some felt the story was too political for a children’s book. That pushed me to revise and explore two versions — one that included a country name and one that didn’t. I also decided to include a short introduction on the first page featuring my own family, as a way to open a conversation with readers.
I had long admired the work Wombat Books does in publishing meaningful, values-driven stories for children. When I submitted Our Map to them via the CYA Conference, I was hopeful — and to my joy, they connected with the story. When four publishers requested to see the manuscript again, I ultimately chose Wombat because I felt their approach was incredibly thoughtful and aligned with the story’s vision.


3. What was it like when you first saw Novia’s artwork bringing your story to life? Do you have a favourite illustration from the book?

It was magical. I got goose bumps when I first saw Novia’s illustrations — it was clear she had done a lot of research. Her art brought such warmth, depth, and tenderness to the characters and the imaginative world they create. She captured both the emotional undercurrent and the playful spirit of the story.
My favourite spread is the one where the children unfurl their paper map together. It perfectly captures the blend of creativity, connection, and possibility that I hoped the story would evoke.


4. Do you have a typical writing process? And what is your writing space like?

“Typical” might be a stretch — I’m a parent and a creative juggling multiple projects, so I write whenever and wherever I can! I’m not a morning person, so most of my writing happens at night after the kids are in bed, when the house is finally quiet.
I usually warm up with a journal entry, a short story, or even a few random scenes that might not make any sense at first — just to get the words flowing. I don’t have a dedicated writing space. I write wherever I find time and space — on the couch, at the dining table, even in the car during school pick-up sometimes.


5. What is in the pipeline? Can you share anything you are working on next?

Yes — I’m currently working on a new picture book that explores intergenerational memory. It’s still early, but I’m excited about the direction it’s heading in.
I’m also playing with the idea of a junior fiction series that celebrates multicultural families and the everyday magic they navigate — stories filled with heart, humour, and cultural connection. Stay tuned!


6. Anything else you would like to add?

If you say - my first book - My Mum is a Bird gives children wings - the freedom to spread those wings and fly, then Our Map gives them a chance to build their own world. A world they can imagine, create, and fill with the things they choose. A world that no one can take away!