  1. Your debut picture book FLUTE was released in August 2025 by Wombat Books. Can you share what the book is about? How did you get the idea in the first place? Flute is based on a real-life dolphin from Monkey Mia, Western Australia. Flute loves spending her days playing, foraging and socialising with her family and friends. But one day a high-speed boat separates her from her dolphin party. Alone and in danger, Flute embarks on a wild journey, determined to find her way back home to safety. Along the way she encounters various sea creatures, navigates different ocean habitats and overcomes dangerous obstacles in her search for her family and friends. Flute celebrates themes of togetherness, support, resilience, and determination. It also raises vital awareness of boating and noise pollution as threats to dolphins world-wide. I had the incredible opportunity to work alongside Flute and her family and friends in Monkey Mia, Western Australia for seven years and, this is where I learned about their need for friendship, community, and support. I especially loved watching visitors' faces light up as I told them about their unique lives. The more they got to know the dolphins - understanding their personalities, tight-knit family bonds, and fascinating behaviours - the more their interest grew into a passion for protecting them. It was amazing to see both kids and adults become beachside ambassadors, teaching others about their behaviours. This sparked the idea of writing a picture book about their deeply connected and fast-paced lives. My goal was to create a narrative that would ignite empathy and inspire readers to step back, observe, and get curious about the lives of all dolphins. 2. What was the writing and rewriting process like for FLUTE? It was long! This was my first book baby, and it came along for the ride as I attended writing courses and conferences. My initial draft was a massive 4000 words - crazy, right! I needed to get all the dolphin information in my brain on paper, before I could even start creating and shaping the story. A big challenge came from the feedback I received. Most of it focused on where it would sit on the shelf. Some suggested making it more fictional, while others felt like it needed to be less character-driven, leaving me floating around in ‘nomads land’ for a while. In the end, I followed my gut and vision. It was important for me to make Flute a real character in the story to create a deeper connection. I truly believe that narrative nonfiction and hybrid stories have an important place on the shelf. They can capture the readers that don’t necessarily gravitate toward traditional fact books. By using a narrative arc, the story can weave in real-world issues and fascinating facts in an engaging way. 3. How did FLUTE find a home with Wombat Books and what was the publication experience like for you? The contract came after a wonderful CYA assessment. I could tell Rochelle understood my vision, which was a huge relief! After the zoom call, I did a happy dance! The publication experience was great. I especially loved watching Jenni Goodman bring Flute to life through her stunning illustrations. 4. What have you learned about the writing and publishing world that you wish you knew when you began? How much time and energy goes into it! But we do it because we love it right? 5. Do you have a typical writing routine? What is your writing space like? I love to mix up my writing locations. Some days I’ll be outside on my bush property, while other days I prefer a cosy café. I just go with whatever I’m feeling that day. I don’t have any set times either. Life can get crazy so I make it work where I can. 6. Can you share anything about what you are working on currently? What's in the pipeline for you? I have another picture book being released in October, called The Great Shark Egg Case Hunt with CSIRO Publishing. Sylvia Morris is the illustrator and her collage creations are just perfection! This book is based on a real-life citizen science project. I’m also working on a few other non-fiction picture books. This time it will be for a slightly older age group. They should be arriving in 2027. A lot of time goes into the research when writing non-fiction so it is a long process. 7. Anything else you wish to add? Just a big THANK YOU. The support of the KidLit community is beyond amazing. And a big congratulations to you on your contracts! 
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1. Your debut children's book FLIGHT OF THE DRAKKONBARQ is soon to be released by Riveted Press. Can you share what the book is about? How did you get the idea in the first place?
Flight of the Drakkonbarq is about the human search for belonging, set in a world where people are the size of insects. Bat Brikson, a twelve-year-old boy living in a snail-shell cottage, hates feeling like a misfit. He escapes his tiny world on his pet moth, Oddity, on a desperate quest to understand and be understood. Up in the treetops, he discovers the fearsome Drakkonbarqs, and falls in love with their world of exploration and adventure. He goes on daring honey quests, befriends the fierce heir of the tree, and finally starts to feel like he’s found his people. Then the doubt creeps in. This is a story about a child growing up and shifting their view of the world. It’s a story about found friends, compassion, bravery, and what all people have in common. Looking back, I think the first ideas came to me in late 2019, as I was outside staring at the grass. I started thinking - imagine being small enough to stand underneath that and look up at the sunlight! How would it change your view of the world? From these imaginings I formed the idea of the Groundlands and its inhabitants — specifically, my protagonist — a boy with never-ending curiosity. As I considered how the people would interact with different species of animals (beetles would be war-horses, ants would be messengers, crickets would be cattle and caterpillars would be pack-horses) one thought kept on coming back to me: Dragonflies are dragons. From there, the mysterious Drakkonbarqs emerged, and I knew that Bat would never be content to watch these dragonfly-riders from afar. He would want to understand them. He would want to be one of them. 2. What was the writing and rewriting process like for FLIGHT OF THE DRAKKONBARQ? Flight of the Drakkonbarq was my Covid baby - I began it in 2020 and finished the first draft in 2021. At that time, I was studying a Bachelor of Visual Art and Design. I decided that for my final major project, I would design and typeset a printed mock-up of the book, with full-colour illustrations. The only problem was that I hadn’t finished the text at that point, so it was a crazy rush. That was the first iteration of the book. It was lovely having a physical copy, but it was ridiculously expensive given colour-printing costs, and the text was pretty rough. Besides, is a book even real when it isn’t in the hands of readers? So it sat around basically untouched for a couple of years, until I starting working on it with Rowena Beresford from Riveted Press. It felt bizarre coming back to the project as I’d grown a lot since then, and to be honest I was kind of sick of it. It took time to rekindle my love for the story and characters. The final edit was an insanely hard push, as I wrote in new scenes literally days before we went to print! Editing the illustrations was also tedious, as I had to rework them quite significantly for black and white printing, and being a perfectionist I took my time. 3. How did your book come to find a home with Riveted Press and what was the publication experience like for you? In 2022, I booked a manuscript assessment with Rowena Beresford of Riveted Press, through the wonderful CYA conference. At the assessment, she told me she loved the concept and opening chapters, and asked to see the rest, which was an absolutely thrilling moment! From there, I ended up with a contract. The publication experience itself felt never-endingly long, as is the way with publishing. There were periods where it felt like nothing was happening, and periods where I was working insanely long days without a break. 4. What have you learned about the writing and publishing world that you wish you knew when you began? Conferences (like CYA and KidLitVic) are awesome! However, it takes a huge effort to put yourself out there, and you often don’t see the fruits of your labour for years. You have to remember that writing and illustrating is a long slog. You’ll work on a project for five years and go through phases of utterly despising it. As a career, it makes zero sense financially, but everyone has a reason for writing. So you find your reason and you cling on to it. And at the same time, you find other ways to foster your creativity, so that you don’t burn out. Another thing I’ve had to learn about the publishing world is that getting rejected by a publisher isn’t necessarily an indication of your writing quality. The publisher is faced with a huge dinner menu, and they can’t eat the parmigiana and the lasagne and the fettuccine all at once! It’s both disheartening and comforting to know that this is outside your control. 5. Do you have a typical writing routine? What is your writing space like? A writing routine and space would be fabulous, but I don’t really have one. I’ve worked on Flight of the Drakkonbarq in maybe five different houses, plus cafes and libraries. Much of my first draft was written at my childhood home (back when I had escaped from the city during lockdown), so that was special. Typically I tend to switch between working at the kitchen table and curled up on the couch. Often there’s a lukewarm cup of chai tea lurking nearby. My best planning always happens when I’m wandering aimlessly outside. I never really outgrew the phase of “telling myself stories while playing in the garden” — I’m now just better at disguising it. Ideas are normally hatched on a long walk, sometimes bouncing possibilities off a trusty friend or sibling. At the start of a project I’m always slow - maybe a hundred words every few weeks or months, and sketches and ideas jotted down in random notebooks. I always have a strong grasp of the characters, setting, and themes before I have any idea of the plot. I just start write the ending and the beginning of the book first, and then I gradually work my way inwards. Sometimes I get to the middle and have no idea how the story will sort itself out. In that case, I rely on my characters to take control. If I’m in the writing groove, I’ve been known to spit out 2,000 words a day, but it comes and goes. 6. Can you share anything about what you are working on currently? What's in the pipeline for you? I’m currently polishing an illustrated middle grade about a girl with a magic bottle of ink and an annoying dragon friend. I’m on my third draft and would love to find the perfect publisher for it (or an agent to represent me). I’m also in the ideas stage for a bunch of different projects — from picture books to a series of short graphic novels. 7. Anything else you wish to add? I’ve been telling myself stories and drawing the pictures ever since I was a pre-schooler. But I’ve always hated the idea of showing my work to anyone, and felt a bit embarrassed about my imagination. Knowing that my book will be in the hands of strangers is terrifying to me, and I keep on thinking, What if it’s not good enough? But good enough for what? I ask. Because, honestly, if one kid reads my book and sees themselves in it — if one kid reads it and feels a bit more compassion or a bit more hope and delight or a bit more courage — isn’t that all that matters? And if the book’s a flop and I hate it the moment it’s out in print and think, why did I write that rubbish? Well, so what? Speaking from personal experience is always brave, and this story came from my experience — as a tiny person trying to make sense of a giant world and know that I’m not alone. Flight of the Drakkonbarq is published by Riveted Press on October 14th, 2025.
Thank you to debut children's author KIM RACKHAM for stopping by my blog to discuss her new verse novel for young readers, HANNAH BACKWARDS (published by Riveted Press).
1. Kim, what prompted you to write your debut junior fiction novel HANNAH BACKWARDS? How did you get the idea and what was the writing (and rewriting!) process like? In 2023, after moving on from my teaching job, I found myself in the wonderful position of having time to write and, more importantly, creative space in my head. I knew I was going to write something, but I didn't know what. When I started Hannah Backwards, I was experimenting with writing in verse, and I turned to my childhood for ideas. From my memory of carrying a worry stone (Shiva Shell) in my pocket as a child, I slowly built up a sense of Hannah and her family, then I added a friend, and a teacher, and some classmates... That's when I started to feel that I had something worth continuing with. I started wondering what 'problem' I could give Hannah, so that I could turn a handful of characters into a story. Once I was on the way, Hannah lived inside my head and I loved writing her story. I am a 'pantser', so I don't work with a carefully thought out idea in my mind. I like to let my creative side run a little wild. I worked in Scrivenor, so it was easy for me to write verses from any point in the story, then order them and make sense of them later when I was ready to be more structured. For me, that's when the real work starts. I didn't share my work with anyone until I felt it was pretty close to finished. At that stage, the feedback of other writers (a sister and a friend) is always so valuable. The final re-writing was hard, because at heart, I love it when things are peaceful and loving, and I avoid conflict whenever possible. My story was a bit too saccharin sweet, and while I'd introduced the sense of conflict at one point, a writer friend gently urged me to make it stronger. So I threw out a little of the calm, added in a bit more tantrum, and it definitely made my story better. I am forever grateful for the advice of first readers, who are able to remain more detached from the story than me! 2. Why did you choose to write the book in verse? What were the joys, and challenges, of writing in this format? I have loved reading verse novels for many years, since I first discovered Love That Dog by Sharon Creech in the early 2000s. Then along came many more writers of children's verse in Australia, and their books now fill my special verse-novel-bookshelf. I had considered trying some verse of my own, but was overwhelmed with the idea that I might get it 'wrong'. Then finally I had more time on my hands. Instead of writing with the aim of producing something publishable, I just wrote. I experimented with verse and I stopped listening to the negative voice in my head because I was just playing. And once I got further in and my confidence built, it felt right to me. I realised also that there are so, so many verse novels and they all do it in their own way. They don't have to fit a formula. The kind of verse I like to write is made up of lots of short poems, over one to two pages at most. I don't punctuate - I love the look of the words on the page in all their simplicity. It feels and looks poetic to me. And it's okay for me to do it that way when so many authors do it another way. So I think my biggest challenge—the fear of getting it 'wrong'—became my biggest joy—the freedom to do it my own way. 3. How did HANNAH BACKWARDS find a home with Riveted Press? What was the publication experience like for you? My journey was a little like yours, Brenton! I entered the JWFK Pitch It! Competition in late 2023, partly because some writing friends had entered and I thought why not? It wasn't until I was shortlisted that I actually started to think this might help me get the break I needed - that very tricky thing of getting your work in front of an editor in the first place. I eventually came runner up, and crossed fingers that the first place getter did not choose an assessment by Rowena Beresford, from Riveted Press, as their prize. I felt my work was best suited to her, and I was lucky—I got that chance. The publication process felt loooooong in the beginning, because nothing much happens when the book is first contracted. It sits and waits its turn. But once edits were happening, and now that release is close, time is flying. I have enjoyed seeing my work go through the process, and the absolute biggest thrill has been seeing the cover art and internal illustrations by Heidi Cooper Smith, and the overall design by Rowena. I love the way my book looks—I couldn't be more thrilled. 4. What have you learnt about the experience of publishing and being a debut author that surprised you, challenged you and excited you the most? Being a debut author is exciting, and also a huge relief, because this is something I have been working towards for many years. It is finally happening! Sharing the news with family and friends was so exciting, and I feel justified for having spent so many years working on something that is so, so important to me. As this is a novel, not a picture book, I wasn't prepared for the feeling of 'sharing' the finished product with others. I knew it would be illustrated and edited and designed, but I didn't expect the feeling of absolute joy I got when I saw the cover and illustrations and the way everything works together. The whole is greater than the sum of the parts! I am so thankful to Heidi and Rowena for their part in this team effort - it is our book. And the challenges? For me, it is most definitely the idea of self-promotion. Sometimes I would like to go and hide in a cupboard. Of course, that's not possible, and I am working at building my social media presence, while trying to find a balance that works for me. It's really important to me that I don't let the pressures of the 'writing admin tasks' steal the creative space in my head. So for an unstructured, non-planner like me, the challenge is to plan my time better so that there's room for everything. 5. Do you have a typical writing process? And what is your writing space like? In late 2022, I started meeting up with a couple of writing friends on a Wednesday. Cuppas, cake and a chat, followed by a couple of hours in the library. We talk about what we plan to write, we debrief midway, and we celebrate and commiserate together. Wednesdays have become absolutely central to my writing process, because they are protected time. Whatever else happens in my life, my Wednesdays are booked. These sessions keep me accountable and inspired, and they force me to sit still at least for a little while. It is on these days that I make the most headway, and create the momentum to keep writing when I'm on my own. At home, my writing space is made up of whichever surface I lay my laptop on. Perhaps this is partly because I'm a fidgety person and not good at staying in one seat for long. I can start at the table, transition to laptop on knees on the couch (NOT good for my neck!), then pace around the house while I problem solve in my head. While the lack of library discipline means I don't sit still and focus in the same way, it serves a different purpose. This is where I'm most likely to nut things out when they're tricky, and movement helps me to do that. 6. What is in the pipeline? Can you share anything you are working on next? The time ahead looks very exciting to me. Hannah will appear again, this time in Izzi's story as she moves to her new home up the coast. Izzi Upside Down will be published by Riveted Press in 2026. I can't wait to have the pair of books in my hands, and I'm glad that Izzi will have her own story too. For now, I'm working on another junior fiction verse novel. I'm still at the fun, discovery stage, where I'm free writing a lot and not so worried about putting everything carefully into place. That harder part is just around the corner. And in 2026, I'm thrilled to be heading to the Blue Mountains for a Varuna Residential Fellowship, to work on another verse novel that I am sitting on for now. The idea of having my own space, but also sharing space, with other writers is both amazing and a little scary, and I can't wait! 7. Anything else you would like to add, at all? The kidlit community is one of the most supportive communities I know. All writers are hoping so hard for a chance to be published, or published again, and to have some level of success. And yet, the community shares its wisdom and knowledge and opportunities, and freely supports other writers. Thanks so much for the chance to 'speak' about my book on your blog—another opportunity for a writer to be seen and heard. And I hope you enjoy Hannah Backwards!    1. Catriona, congratulations on your latest YA release "Good Luck And Other Lies". How did you get the idea for the story? What was the process of writing it and then finding a publisher like?
The story of Good Luck and Other Lies came from a conversation I had with my daughter, who was unwell at the time. We were discussing what it would be like to win a lot of money. We had recently moved to the Sunshine Coast and were renting a house at the height of the rental crisis in Queensland. My eldest and her partner could no longer afford their rent, so they had temporarily moved in with us. But then the owner needed our house back for a relative, and we couldn't find an affordable house big enough for us to all move into. It was a difficult time for our family. I guess finding the money to buy a house was prominent in all our minds. As we discussed what it would be like to win a lot of money, I suggested I should write a book about a group of teens who win the lotto, and my daughter thought it was a great idea. So, using our situation in the midst of the rental crisis, I started writing Good Luck... It can take a long time to write a YA novel, and it can be complicated keeping the story in your head! In Good Luck..., there were a lot of characters to keep track of, research to do about AI, and a lot of research to do about what teenagers can and can't own without an adult's input. It was also complicated to find out legally what would happen if teenagers did win the lotto, since there were no case studies I could find in Australia where it had happened. I submitted the novel to my publisher, they appraised it, and agreed to publish it. It can be a bit easier to get something published once you're already established as an author, as the publisher you're with is already familiar with your writing style, and knows it generally matches the type of stories they publish. 2. Your YA novella "Ways to Die Right" is a part of the Rhiza Shorts series. Can you share with our readers a little about what prompted the idea for "Ways to Die Right"? What was the process of writing and rewriting it like as well as a part of the Rhiza Shorts author 'stable'? Ways To Die Right is about a teen who is putting together a science project about the environmental damage traditional burials can cause. I got the idea not long after my mum died, and I was contemplative about death and burials. Somehow, I came across a Ted Talk about Green Burials; I found the concept fascinating. I guess I was also thoughtful of the volunteers in our society who keep our cemeteries clean, as we were visiting the local cemetery a bit. I wrote the first couple of chapters and submitted them to the other authors in our Rhiza Shorts team, and they thought it was a great idea. Joel, my main character, has Obsessive Compulsive Disorder, so that made the story idea pretty interesting as well. 3. What do you know now about the publishing and writing industry that you wish you knew when you first began? I guess I have become increasingly aware of what a wonderful community it is. I had to learn pretty early on that you can't write in isolation. You have to put yourself out there, joining groups, attending workshops and seminars, and you need to talk writing with other writers. The same continues once you're published; it doesn't stop, the circles can just change a bit. But you still need other writers and authors in your boat, so to speak. 4. Do you have a typical writing routine? And what is your writing space like? I actually don't have a typical writing routine! I listen to a lot of podcasts and read other authors' books which inspire me, so I write when I'm feeling that inspiration. I often write the bulk of a story in the school holidays, so I can have a block of time to concentrate and pour into the story. My writing space is just my lounge room. I have a laptop, so I can move to other areas of the house if I need some space to concentrate on a difficult piece of writing when I need to. But mostly I love to write with my family around me. If I hide myself away in a room somewhere, I feel isolated and I don’t like to be interrupted. So I write where I expect to be interrupted, and am happy to be interrupted, and that works for me! 5. You have another Rhiza Short "The E-Revolution" coming up. What else is in the pipeline? Can you share anything else you are working on next? I'm really excited about my E-Revolution novella. I studied History and Politics in my Bachelor of Arts, so this story gave me the opportunity to do a little underlying teaching about the Australian political system, and how teens can be advocates for change. I use the issue of e-scooters to give teens a voice and hopefully some tools to stand up against decisions they don't agree with at the government level. My current work-in-progress also gives me scope to draw on my university studies, as it is a time-travelling adventure! It is historical fiction, set during the Vietnam War. It is an intrusion fantasy, which basically means it doesn't use your typical science fiction mechanisms for time travel. Its working title is Private. My main character, Lenny, is sixteen years old. He would rather game or hang with his deadbeat mates than deal with real life—especially now that his estranged grandfather has moved in, disrupting his space and privacy. While his mates encourage him to make money stealing from shops, Lenny thinks he might make a quick buck from his grandfather’s Vietnam memorabilia. But when he puts on a set of identity discs he finds in a box marked Private, Lenny suddenly finds himself transported to Vung Tau, Vietnam, 1970. Far from home and far from his gaming console, Lenny is forced to face the real human cost of war. His experiences challenge him to take responsibility and think beyond himself. Nicknamed ‘Private’ by his RAAF squadron, he begins to learn the true meaning of mateship. But it's only when he shows courage and self-sacrifice that he is returned to 2026. Back home, Lenny begins to see his grandfather differently—and realises the one of the most important bonds he made in Vietnam was with someone he already knew: his grandfather. 6. You are passionate about writing authentic neurodiversity and inclusivity into your stories. Why is this important for teen readers? Are there misconceptions about neurodiversity you wish to counteract by way of writing about it in your books? I think teens love to read about themselves and their friends in books. They like to see the world in a different light, from a different perspective, and then align it to their own - even if they're not aware that's what they are doing! By including teens with different forms of neurodiversity in my novels, I'm giving them that option. Medical specialists today are increasingly aware of the ways neurodiversity impacts people, and hence, more people are finding they are neurodiverse. So having neurodiverse teens represented in my novels is just normal, everyday life that teens can relate to. The neurodiversity of the teens in my novels is not the focus; it's just a part of who the characters are. It's not something to be solved or overcome, but understood. Which is the way it needs to be in general, everyday life, too. If anyone wants to discover more about how I write about inclusivity and neurodiversity into my stories, they can look at my website, which has a page dedicated to it: catrionamckeown.com 7. Anything else at all you would like to add? Thanks so much for the opportunity to be interviewed, Brenton, and I wish you all the best with your own writing and publishing journey. Thanks for having me!
Earlier this year, I interviewed Melissa Garside about her debut book LEXIE MOON AND THE WORD BURGLING BUNGLE - and now Melissa returns to tell us all about her second book: LEXIE MOON & THE SPACE DAY DISASTER published August 2025 by Riveted Press. You can visit Melissa online here! Thank you for stopping by, Melissa! 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! 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. 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/
 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/
  Author DEBORAH KELLY with her mother and daughter, the inspiration for SKIN, at the book launch. 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.  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!  Thank you so much Deborah for stopping by!
Make sure you visit Deborah online here! SKIN by Deborah Kelly is available now.
It is a joy to welcome my friend Sophie Masson, author of the new historical middle-grade novel BOLD BEN HALL (published by Walker Books), to my blog. Sophie stopped by to tell us about her experience in writing and researching the novel, what she's working on next, and her reflections on her joyous writing career! Find Sophie on Facebook, Instagram and her website. Thank you for joining us, Sophie Masson! 1. Congratulations on your latest fantastic historical novel Bold Ben Hall! What prompted you to write this book? SM: Thank you, Brenton! Ever since I was a kid I have always been fascinated by the bushranger era, and the larger than life characters who inhabited it, especially those with an interesting backstory, like Ned Kelly (who features in two of my earlier novels, The Hunt for Ned Kelly and Ned Kelly's Secret) and Ben Hall. Both men were not 'common criminals' but complex figures with both 'the dark and the bright' in them (to quote something Ned Kelly once said). And it struck me that I could tell the story of Ben Hall in a way that would highlight that, through the differing viewpoints of two young people of his time. 2. You did a great deal of research for the story and visited several locations too. What are some key takeaways from your research? What did you learn in writing and researching the book that surprised you or excited you the most? SM: Yes, I did a lot of research into primary and secondary sources and as I like to really have a feel for the places I'm writing about, we went for a trip into Ben Hall country--Canowindra, Forbes, Carcoar, Bathurst, Eugowra and more as well as into the Central West countryside where he once had a farm and places where he and his gang had hiding places. It was a wonderful trip and really gave me a feel for the background of the novel, as well as opening up new lines for the story, such as that Ben and co had actually paid for the three day slap-up party they had at the Canowindra hotel, no matter if their guests hadn't been exactly willing to participate at first :-) I was also fascinated when I delved more into 'Sir Fred's' history: he was an extraordinary man too, a kind of mirror image of Ben. Later, by chance when I was visiting Toowoomba for a different book event, I happened to go to the Cobb and Co museum there--Cobb and Co was a company that had a huge impact on life in the bush in those days, and back then it had a major base in Bathurst. It really helped me flesh out Sam's background as well as make me very much aware of just how enormous and how fast those coaches were! A key takeaway was just how conflicting opinions about Ben and Sir Fred were in their day--and how much still they continue to be. And that made me sure I'd had the right idea, with Lily and Sam. 3. The story is told from the perspectives of both Lily and Sam, with Ben Hall as a character that looms large in the book even when he is 'off-stage'. How did you settle on the structure and point of view that you used to tell this story? SM: It felt like the best way to present the complex story of Ben Hall was in a way that would be both engaging and fun but also thought-provoking. Lily and Sam are both sympathetic and lively characters in their own right, and so to have them have different, strong opinions about Ben and 'Sir Fred', made it feel that much more immersive and interesting. 4. Why is it important to write about the past for children today? SM: The past informs the present, and helps to make us what we are today and into the future--and knowing the stories of your country, and what has shaped it, helps you to understand it better. But it's not just about education--it's about discovering that stories of the past can be just as exciting and fun as stories set now. I read a lot of historical fiction as a kid and through it not only did I get swept away into amazing tales of adventure, but also I came to realise that although the old times were different from mine, and many things had changed, people in the past were still very much like us now, in their feelings and hopes and dreams. And that was a really important thing to discover. I think that it is the same for young readers today. 5. 2025 is 35 years since your first novels were published. Do you ever take stock of your writing career? How do you feel, looking back, and looking forward at what is to come? What comes to mind? Have you changed your style or process of writing over time? SM: Thirty-five years seems long doesn't it--and when I look at that number, I think, oh wow, is that really so? But it's also gone by in a flash and yet it also feels like a long time...I don't often look back at it but when I do, I can see that my career has grown organically, that I've developed as a writer in different ways over the years--I have always been an eclectic reader and so I am an eclectic writer too!--but that the voice has stayed the same, even while it's expressed in varied genres and for a diversity of ages, from babies to adults. My main feeling when I look back on my career so far is a sense of immense gratitude--for all the fantastic people who have given me opportunities over the years, supported me and believed in my work, enabling it to be out there: publishers, my wonderful agent, booksellers, librarians, reviewers; for the lovely creative friendships I have made over the years with fellow authors and illustrators; and for the many lovely readers of two generations now (!) who have taken my stories to their hearts. And of course my darling family who have encouraged, supported me at every turn and who have put up with my being away with the fairies quite a bit of the time :-) I feel so incredibly fortunate to have been able to earn my living doing the thing I love so much, the thing I was born to do. Yes, I have worked hard at it, and there have been many challenges to overcome along the way, but that too has been part of the learning, and overall I just feel immensely grateful for what I've been able to do. As to the future--well I've never been one to look into it--I just allow the present to develop as it were :-) but although it may hold big challenges for us creators, such as how to best cope with the impact of AI (my optimistic nature says we will learn how to best manage that whilst also valuing our human creativity even more than before--fingers crossed!), I feel happy about what's happening for me personally and look forward to keeping on writing books that people want to read, for as long as it is possible. 6. What is in the pipeline? Can you share anything you are working on next? SM: Coming up, I have two picture books soon to be released: The Giant, with Lorena Carrington, coming out in August with MidnightSun Publishing; and The Fishmonger and the Pastry Chef, with Cheryl Orsini, coming in late November with Hardie Grant. And then there's my new adult novel (written under the pen name of Sophie Beaumont), In The Paris Fashion, coming out with Ultimo Press in early November. I am so looking forward to them all! As to works in progress, I have just finished writing the first draft of a new middle grade adventure novel, which is set in 1966 and starts off on an ocean liner going from Australia to France. It's about a family of four kids and their parents--who work for a secret spy organisation--and what happens when their parents vanish at Madeira, one of the ports where they stop and they have to go on to their grandmother's place in Marseille whilst also trying to solve the mystery of their parents' disappearance. The setting is partly based on a real, long sea voyage from Australia to France I went on with my family when I was seven, and though I have never forgotten it and I even made a little video recently out of the Super 8 films my father took on that sea voyage, I'd never written it into a book before. And doing so was a lot of fun! I'm also thinking about other possibilities--watch this space! 7. Anything else at all you'd like to add? SM: Just thank you, for all your warm support and interest in my work. Thank you Sophie for stopping by - like readers of this interview, I am keenly awaiting THE GIANT, THE FISHMONGER AND THE PASTRY CHEF and IN THE PARIS FASHION.
But in the meantime, don't miss out on Sophie's historical novel for young readers.... BOLD BEN HALL by Sophie Masson is available now from Walker Books.
Welcome to children's book illustrator TAMLYN TEOW! She kindly agreed to stop by my blog to speak about her picture book MY PET ARCHIE, written by Karyn Savage, and published by Riveted Press in August 2025. 1. Tam, how did you come onboard to illustrate MY PET ARCHIE and what made you agree to illustrate the manuscript? Rowena Beresford was generous to have sent me a draft of My Pet Archie to do concepts for before determining if I was right for the job. I instantly fell in love because I‘m endlessly fascinated with animals/creatures and have always wanted to work on a book about a misunderstood fantastical creature - like a dragon! Most dragons in the fantasy realm are beautiful, majestic, fierce and fiery but I wanted Archie to be an outlier who breaks that mold. I imagined him to be a cross between a bulldog and toad, a little clumsy and not at all classy! Rowena and I discussed how the idea of using alphabets to push the story along is so clever and fun. I think kids will learn a lot from identifying things, with letters they start with, across the pages! I reckon the book will get them interested in learning their alphabets too. I’m a big fan of the How To Train Your Dragon animation franchise, so it was an instant yes to do this book! I was ecstatic when Rowena saw potential in my concepts and agreed to sign me on as the illustrator! 2. Do you have a favourite scene or line from the text? Aw no, I love it all! I think every scene showcases a different personality quirk of Archie, his perspective of the world, as well as the bond between him and the other characters (in particular Cora). I’m honestly attached to all the spreads 3. What was the process like of illustrating MY PET ARCHIE? Were there many drafts of the artwork? What were the most challenging, and the most fun, illustrations to do? It was super fun! It went by very quick because we were all enjoying it so much. For the process, I did concepts, roughs, the line art, scanned and printed them on illustration paper. Then I used a mix of colour pencils and markers to colour them in, scanned them back into the computer and touched up using photoshop! I then did the text for spreads with dialogue, by handwriting them in colour pencils and placed them on a separate layer so that Rowena can move them around. It was her and Karyn’s brilliant idea to have any words that aren’t part of the main text/manuscript to be done in a handwritten font. Challenges - I wouldn’t say it was a challenge, more of a fun puzzle that we had to come up with a solution for. It was the sneeze spread- which is arguably the most important in the book as it’s the climax of the story. We wanted it to be the loudest of the pages but couldn’t figure out the most effective way to present it. It was a matter of finding a harmonious balance between aspects to create an explosive energy and the wow factor. We looked at using colours, subject matter/characters and placing elements in a way that is still clear to the readers- all while keeping in the humorous tone of the book. We arrived at the current spread after a few iterations, it was a little more knocked back in the earlier versions before I decided that maybe we shouldn’t hold back and went full on with the text. Then Rowena and I had to figure out how to place it across the spread without jeopardising the other featured characters. We decided to move a couple of elements into a new image for the back endpapers and add further things to it, to create more of an epilogue/afterthought to My Pet Archie. 4. Do you have a typical process? What is your illustrating space like? My illustration process starts with reading the text and recording first impressions/initial responses via sketches. This helps determine the tone and mood that I feel supports the narrative. Then it’s followed by research- looking at relevant imagery such as other artists’ work, historical depictions of the subject, references for how to draw certain elements and if there’s a way to warp/distort them for the story. The next step for me is to do concepts to get a feel for the characters or key elements in the story, then quickly follow that with roughs to get the flow of how the story will unfold over 32 pages (including the cover and endpapers.) When all is approved by the publisher and author, I’ll move on to final pencils, line art and colour. If the colouring stage was to take place in a traditional style, then it’d be determining the medium to use (acrylic paint, watercolour/gouache or markers and colour pencils) - it’s usually a combination of them but it’s important to determine the feel you’re trying to convey. Is it rough, abstract, child-like, clean, painterly, etc? If it’s digital - it involves picking the right digital brushes to use and having layers so that there is separation in the artwork- this helps in a few ways like adding on details without impacting the work you did prior, creating depth and being able to add between those layers such as back lighting etc. But in both methods, I’ll always touch up and edit in photoshop to ensure things like colour and lighting are right for the artworks especially before it goes to print! My illustration space is similar to the micro apartment units (Kyosho Jutaku) in Japan, where they keep everything compact to save space. Eg- folding/unfolding out tables, rolling out equip when they need it only etc! One fine day, I will have an art space where I can display colour coded paints and markers, have brushes arranged by size and be able to make splats in a carefree manner rather than having an Alco-Wipe on hand to clean up immediately. So my illustration space is non existent if I’m not illustrating. It’s a bit like a travelling circus (just that it doesn’t go anywhere!) 5. What is in the pipeline? Can you share anything you are working on next? There are a couple of picture books with Wombat Books for early next year but at the moment, I’m working on a picture book as author/illustrator with Rebecca Young at Scholastic! And a graphic novel about an isopod with Bethany Loveridge and Rochelle Stephens at Perentie Press 6. Anything else you would like to add, at all? Yes- CONGRATULATIONS to you, Brenton, for nailing two (!) contracts in one year, they will be amazing books and also thank you for these questions once again. And for always leaving good reviews for us! Please don’t forget me, and consider my work as a contender for your further projects when you get famous!!   Illustrator Tamlyn Teow puts herself into her work in My Pet Archie! |
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