Q&A with author-artist, Clare McFadden!

Clare McFadden is a writer, artist and educator. She has worked in arts education with children, young people, and communities in both Australia and the United States. Her first book, The Flying Orchestra, was awarded the Children's Book Council of Australia’s Crichton Award, was selected as one of the "50 Books You Can't Put Down", was adapted for the stage as the headlining work at the “Out of the Box” Festival and listed as one of the Australian Booksellers’ Association's 50 Favourite Children’s Books.
Clare holds a Master's Degree in Education from Harvard University and her second book, Book of Hours, is out now with Walker Books.
Visit Clare online at www.claremcfadden.com/

​1. Congratulations on your latest release, the beautiful, heart-and-soul picture book 'Book of Hours', published by Walker Books. What was your process of creating Book of Hours like, from the original kernel of idea, to publication? And are you submitting art and text together to publishers or does one come before the other? 
Thank you Brenton - you are always so kind.  The process was, in a word, arduous. I had the idea for this story – with three, inter-relating stories told through the illustrations all supported by the single text, years ago. It took me a really long time to work out how to realise the concept though. I had many, many failed attempts at the illustrations and for a long time I couldn’t quite picture the ‘world’ of this story. Unlike Flying Orchestra, which is all set in locations that I’m familiar with, this story spanned time, places and eras.  I collected hundreds of photos to try and map out what the world of this character might look like. It was something I really had to persevere with though. Writers talk about ‘writing into the story’ without necessarily knowing where you are going – I think I had to illustrate into this story in a bit of the same way. At one stage I even considered building a model of the landscape where the main character is a child – just to be able to place everything in my head. In terms of what I sent to the publisher: I  originally submitted the text along with notes for the illustrations – and I also noted that I planned to do the illustrations in a similar style to The Flying Orchestra.
 
2. The Flying Orchestra was your first picture book in 2010 with UQP.  Looking back now, how does the experience of creating and publishing your first book compare to the experience with your second? 
The second book was a lot harder. Not only was it a more complex book conceptually, I also had the issue of not being familiar with the places in which the book is set (as was the case for TFO). Finally, and not to sound very precious here, but I think I suffered a lot from second book syndrome. I was constantly thinking  - is this any good?, will people like this as much as the first book? etc etc.. whereas the first book had been a little art project that I wasn’t even intending to publish, I felt the stakes were higher for this book. If anyone else is out there reading this and feeling the same way, what really helped me was to just let that go and trick myself into thinking of this project as a present for just one person.. rather than trying to please everyone, just think of making this book in the same way you might make your grandma a birthday card.. Grandma is unlikely to say hmm, this is not as good as last year’s card! That mental shift really helped so much.  

3. What do you know now about the writing and publishing world that you wish you knew earlier? 
This revelation actually came to me at my previous job in which we held monthly competitions for young writers – but it certainly applies to the publishing world! As part of this role, I would send the shortlisted stories (from hundreds of entries) to the Guest Judge each month, who would select a winner and runner up from the five finalists. Sometimes, there would be a piece which was, to my mind, so utterly outstandingly brilliant that I thought there was absolutely no competition - in my mind this piece was the glittering stand out.. and yet... sometimes this piece  wouldn't win, or even get runner up!! It really showed me how subjective it all is. And I guess the lesson here to all of us writers.. if one person doesn't recognise your story's brilliance - it doesn't mean that your story's not brilliant!! 
 
4. As you both illustrate and write your books, what are the joys, and challenges, of pulling 'double duty' when creating a story? There is a long gap between your two books, and does this make it a more complex creating process since you are both writer and artist?
I actually think it might be easier? Because you are always thinking about the whole world of the book - with the words informed by the illustrations and the illustrations informed by the words..they both work together to tell the story.
And thank you for drawing attention to that long time between books, Brenton! 
 I definitely found Book of Hours a very challenging book to bring from the idea stage into the real world. Added to this, I was doing my Masters and, after that, working in Boston - and I think sometimes living in a different culture and away from home takes up all your reserves - so you don't have the emotional space to really turn into creative projects - at least that's what it felt like for me.

5. Book of Hours resonates so deeply and connects beautifully with children and adults alike. It's all about special moments and hours that make up a life but I found it incredibly layered and demanding of multiple re-readings to appreciate all its intricacies, from the sparse evocative text to the stunningly distinctive illustrations. 
For you personally, what is at the heart of Book of Hours? 
Thank you Brenton, that is lovely and thank you for taking such care with the book.  I guess at the heart of this book is the fact that our life is made up of many journeys and all are significant - all are special and make us who we are. The journey of a day when you are 4 is just as significant as a voyage from your home country to a new one -  to the journey of one's whole life. And so I wanted to honour all these  journeys and moments   through Book of Hours. This idea of journeys intersects with time and how we perceive time in our lives. If we were to take away the linear nature of time, we could see all these journeys of our lives all at once - I guess that is closely related to how we experience memories too. 
 
6. Please tell us about your illustrating and writing space. 
I have a desk in a shared studio which is good as I think having other people around makes me much more accountable ! No looking at the internet ! In fact, it’s on the same street as my grandmother’s house (my grandmother died a long time ago but the original house is still there). The scene towards the end of the book of the main character asleep in a chair is based on the main room of my Grandma’s house. 
 
7. Your work is so special. Readers gain so much from spending time with your books and learn and reflect so much, creating a beautiful experience. What do you get from the experience of creating picture books? Why do you do what you do? 
Brenton, you are the best and as I’ve said to you before - it’s such a joy to witness people doing what they are made to do! You are in exactly the right role - as an advocate, and supporter of, Children’s literature and such an astute and insightful reader and reviewer. 
Anyway, to answer your question: One of my friends said to me that you feel like you are not alone reading my books - which was the biggest compliment. I think that’s a reason i do what I do - to hopefully make people feel they are not alone - to create a path into their interior lives - to all that is beautiful and mysterious. That’s an aim anyway !  I guess what I get out of it is feeling I’m supporting people access this part of themselves - in a small way - and I think that’s a wonderful thing about books and art - everyone has their own relationship with them and every one of those relationships is different. 

8. Can you share anything about what is next in the pipeline for you? 
Yes, a children's novel! I have loved writing it - a very different process to an illustrated book. 
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9. One final question... I love your picture books like many people do. So, which picture books do YOU love? 
There are of course many - but one that had a profound impact on me as a child was Dogger by Shirley Hughes.
Hughes perfectly, heartbreakingly, captures the depth of a child's emotional world, in quite an ordinary setting - it's a tearjerker.
The other one I'm just thinking of:  Harry and Hopper by Margaret Wild and Freya Blackwood... where did I put that BOX OF TISSUES BRENTON?!!?