Tuesday, August 29, 2017

And the winner.....

We have a winner  to last post's competition!!! A copy of Fuzzy Doodle will be going to the first commenter, Girl For All Seasons. Congratulations! Email me your details and I will sign it forthwith and pop it in the post :)

And as a cool bonus in addition to the competition announcement ... one of my favourite-of-all-time writers, Maggie Stiefvater (The Scorpio Races, The Raven Cycle and many more...), recently responded to a question on twitter about 'Imposter Syndrome' with a somewhat unexpected but totally genius answer. I've often felt the sting of this syndrome. I've picked myself up from the fraudsters' floor and reminded myself that I have a few clues about how stories work. But I love how Ms Stiefvater embraces the idea as a mechanism of keeping ourselves grounded, and a reminder that many things contribute to any success we might enjoy. You can read it for yourself below and I also recommend you pick up one of her books and give them a go too. She is equally smart (and linguistically lyrical) with fiction.  And as always, writing itself, word by word, is what we need to keep doing.

On Twitter, Connor Allen asked: "do you ever deal with imposter syndrome as a writer? If so, how do you get past it and just make yourself write?"
My answer:
Dear connorallen94,
I think everyone does to some degree or another.
Career success and artistic skill are only poorly correlated. What do I mean by this? I mean that you have to get a certain level of skill in order to get published/ put in a gallery/ get musical gigs, but after you get to a certain level of competency, greater or less skill doesn’t seem to have any relationship to how commercially successful you are. Other factors begin to take over in exposing your work to buyers, and moreover, the more rarified your skill becomes, the fewer the punters are who can appreciate it. You can turn a beautiful turn of the phrase while juggling 47 themes and delicately drawing an allegory for the pain of man’s condition? Great. Most people won’t notice. And while that additional skill will get you noticed among peers who are also writing beautiful novels with 47 themes and delicately drawn allegories, it is a bad predictor for commercial success. If you use that skill to delicately render specific lizards, for instance, you still run the risk of only appealing to lizard people.* But mostly it’s just excess — the average person doesn’t care if Coldplay’s Chris Martin can play Bach’s Cello Suite No. 1 in D on his guitar. (I don’t know if he can. But I hope so.)
This is because in the commercial art world, most consumers are not also artists. Other factors are nearly always more important to the non-artist consumer: a strong story, a topical subject matter, a celebrity name, a catchy tune, a wicked hook, a pretty cover, the creator’s funniness on Twitter, the creator’s ability to speak in public, the creator’s actual and literal hotness because wow, relatability of the themes, a movie tie-in, an omnipresent advertising campaign, availability of the work in places that rhyme with BallMart.
It’s why you can be an international bestseller without being the best in your field. It’s why you can be an international bestseller without being remotely the best in your field.
Whenever I say this online, people like to shout “what kind of a self-drag!” I suppose because as an international bestseller, I am supposed to think I am 100% fantastic and have definitely earned my title at the top of the heap by some objective measure of wonderfulness. Also because people are weird and possibly don’t understand how self-awareness, confidence, and humility really ought to play well together if you want to be a happy professional artist. It’s crucial to understand just how big of a role you play in your own success. This is so that you can focus on only the things you can control (you can’t make your subject more topical, you can’t suddenly become a famous rock star with a memoir, you can’t guarantee you have a beautiful, eye-catching cover; you can only work on writing faster, writing more accessibly, writing well), so that you don’t take it too hard when all of your career dreams fail to come true overnight. But it’s also to keep you from being a self-aggrandizing asshole about success. You’ve sold millions of books? Great. Remember, Stiefvater, that your skill is only poorly correlated to that number. You wrote a competent-or-better book at a good time for that genre/ subject/ cover/ something, and it took off. Good job, that was nice. Get back to work.
I don’t generally mind this push-pull, actually. Imposter syndrome whispers that I might be a fraud, a just-okay writer wrapped in accolades I don’t deserve. But mostly I think that’s all right: let the voices whisper. The opposite of the imposter syndrome would be letting myself believe that I am entirely to credit for my success, and that’s just as false. The truth is a middle ground, and this truth is also why imposter syndrome doesn’t get in the way of my work.
Because the truth is this: I’m a writer who works hard, puts down a quarter million words of fiction each year, shows up for work even when life throws health or family or world crises at me, and doesn’t make excuses. Those things aren’t subjective. Those things I can control.
So get to work.
urs,
Stiefvater

Thursday, August 17, 2017

Time to do a book giveaway ...

T'was the big awards night earlier this week and despite my most fervent hopes, Fuzzy was not a winner on the night. There were just too many excellent books to pick from. Big and most hearty congratulations go to all the amazing winners:

Best Picture Book
That's Not a Hippopotamus
Juliette MacIver and Sarah Davis
Gecko Press

Esther Glen Award for Junior Fiction
My New Zealand Story
Bastion Point: 507 Days on Takaparawha
Tania Roxborogh
Scholastic

Elsie Locke Award for Non Fiction
Jack and Charlie: Boys of the Bush
Josh and Jack Marcotte
Penguin Random House

Copyright Licensing Award for Young Adult Fiction
The Severed Land
Maurice Gee
Penguin Random House

Te Kura Pounamu Award for Te Reo Maori
Te Kaihanga Mapere
Sacha Cotter and Josh Morgan
translated by Kawata Teepa
Huia

Best First Book Award
The Discombobulated Life of Summer Rain
Julie Lamb
Makaro Press

The Russell Clark Award for Illustration and Margaret Mahy Book of the Year
Snark
David Elliot
Otago University Press


But neither Fuzzy Doodle nor I have been completely without some good fortune lately 😊 As mentioned previously, Fuzzy will be published across Asia (China, Taiwan, Hong Kong, South Korea, Japan, Philippines, Malaysia, Thailand, Singapore, Indonesia, Vietnam, Myanmar, Cambodia) by Scholastic Asia in October. And in more good news I have been awarded Creative New Zealand funding toward completing my new project, in the most recent quick response round. I have applied many times (at least 7, maybe more) for direct funding over the years and it is a thrill to finally be successful. And I am VERY EXCITED by this project.

So ... I have decided to do a little giveaway to celebrate. I have one signed copy of Fuzzy Doodle and one signed copy of A Winter's Day in 1939 as prizes. Please tell me in the comments section here on the blog how many countries Fuzzy Doodle will be in across Asia, and tell me whether you want the picture book or the novel as your prize. I will pick randomly from any and all correct entries.You have until 5pm next Thursday. And ... go




Sunday, July 30, 2017

August ...

I suspect there may be an assumption outside the publishing world, that if your books are published they are automatically sold outside of New Zealand as well as locally. Just as we see all sorts of books from overseas for sale here in New Zealand, so must our books travel to other countries.

But it's not a given. The reality is generally pretty modest. Many books that start their publication life here don't escape the gravity of this country. I guess it's partly that some overseas publishers may find our stories too local in flavour and believe they won't fly in other parts of the world. Or that without the authors/illustrators presence to drive promotion the book might struggle to succeed. Or maybe it's something else. Several of my books have been published and/or sold in Australia in addition to New Zealand which has been great. One of my picture books has had a modest foray into other territories. We all hope that our books will be picked up by overseas publishers. That their appeal and value is international. That they have a life, an audience, beyond this country. I have watched wistfully as some other NZ children's authors and illustrators have had some international success.

So I'm really pleased to say that an English language edition of my picture book Fuzzy Doodle, illustrated by Donovan Bixley, is to be published by Scholastic Asia in October. This is the first time one of my books has been picked up by a major publisher outside of Australasia and it's quite a thrill. I'll post up some more info as it comes to hand. And watch this space as I think I'll have to do a give-away soon in honour of this cool news.

July has been almost solely for writing and I have made good progress on my new WIP. August, however, will be focused on other things and I'll have to manage my time more carefully to enable me to hang out with my manuscript. I have some school visits at the start and end of the month and the big night for the New Zealand Book Awards for Children and Young Adults on August 14. I'm off to Dunedin August 11th and 12th for some events associated with the book awards, and on August 19 I'll be running another workshop on Picture Book Writing at Selwyn Community Education. There will be lots of information on what picture books should and shouldn't be, some hands on writing exercises and some good oil on publishers, competitions and submitting. If you think you might be interested in attending you can find more details and register here. If I don't see you there, I'll see you on the other side.

Friday, July 14, 2017

Fuzzy genesis...

Late one night, late in 2013, a funny little phrase popped into my head as the engineering inside my conscious mind began to power down for the night. It was a rhythmical rhyming phrase and I liked the idea, sound and shape of it so much, I got up, found some paper and a pencil and wrote it down.

Evidence!!


The next morning I didn't muck around. I grabbed a piece of paper and started writing, to see where that first stanza might take me. Maybe my subconscious had worked on it overnight, maybe a clear head after a good night's sleep was what did it, but it all came pouring out. The central conceit, the metamorphosis, and (what I felt was) a most satisfying conclusion. I transferred the story onto the computer and began to rewrite and refine. While not strictly rhyming, the text had developed a particular rhythm and it was fun to play with language techniques, particularly as the techniques, in addition to the words themselves, supported the key themes. As I reflected on what I'd written I felt excited at the destination I'd arrived at from that very simple beginning. I could see one main thread of the text gave a mental nod to The Very Hungry Caterpillar, but there were other influences too. The first thought as I'd lain in bed the night before had been of Beedle, which has a lovely structure/mouth feel/rhythm all it's own. Of course many of us have heard this name through Rowling's The Tales of Beedle the Bard, but I was just playing with the word in my head, and words like beetle and doodle and a few other two syllable sound alikes. It was just random thinking, word play, where I suspect a lot of good ideas are born. I'd thought about Emily Gravett too, and the self-referential metafictiveness of her work. Of course dear reader, as you will know, Beedle became Fuzzy. Despite the buzz of inspiration that first night, 'Fuzzy' became a better fit with the picture I had in my mind, of that first little doodle. More reader friendly too, I thought.

Once I'd launched off with the idea of a doodle that comes to life in the margin of the page (where many doodles start their lives in the real world), it seemed obvious that (like a caterpillar) the doodle would be hungry and on a page what is there to eat but words and pictures. The act of consuming culture can make us creative ourselves. Just like the doodle, we can experience a creative metamorphosis. The ideas grew and wrapped back around themselves and the more I thought about it, the more layers I could see in what I was writing. I love layers. It is always my goal when writing to make an iceberg out of my narrative with the text visible above, and a whole lot of ideas going on below. Or maybe it's a cabbage. Or an onion.

Of course the text is only part of the story when it comes to picture books. I sent the manuscript off to the publisher, Scholastic, and in November 2013 they signed the story up for publication. The hunt began for an illustrator and in 2014 Donovan Bixley came on board. His schedule meant waiting until mid 2016 for publication, but it was so worth the wait. His artwork picks up on everything in the text and extends it. All deceptively simple and yet it is what good art should be. Beautiful, and inspiring and empowering.

Since Fuzzy Doodle has been published, readers have broadened the discussion of what it all means. During a school visit on my recent tour of Northland with Storylines, a teacher asked me if the book was autobiographical,and straight away I said yes. I hadn't consciously thought of it that way but of course he was right. On that very first night when that phrase popped in to my head, and when I began to work the story the very next day I knew that things I've seen and read and watched and smelt and tasted and touched coalesce into ideas, and become my books. And then in the best kind of magic, my books can become grist in the creative mills of others. One of my biggest thrills has been discovering that young readers previously not confident in their own creative skills have been encouraged by the book to make all kinds of art.  After all, stories begin with one simple idea popping into our heads last thing at night, and art can grow from that little doodle in the margin at the edge.


Wednesday, June 7, 2017

The shortlist for the 2017 New Zealand Book Awards for Children and Young Adults announced ...


I am so happy to finally reveal (cos it feels like I have known for an age) that Fuzzy Doodle, my picture book with Donovan Bixley, is shortlisted in two categories (Picture Book and Russell Clark Award) in the 2017 New Zealand Book Awards for Children and Young Adults. I am so proud of this book and even prouder that the judges have selected it as a finalist. The lists are full of wonderful books created for our young readers right here in New Zealand, and I know that there are even more terrific, deserving books that have missed out on a shortlisting. We make some pretty amazing children's literature here in this country. The winners of these awards will be announced on August 14 - exciting times. 

The finalists for the 2017 New Zealand Book Awards for Children and Young Adults are:

Picture Book Award
Fuzzy Doodle, Melinda Szymanik, illustrated by Donovan Bixley, Scholastic NZ
Gwendolyn! Juliette MacIver, illustrated by Terri Rose Baynton, HarperCollins Publishers (ABC)
My Grandpa is a Dinosaur, Richard Fairgray and Terry Jones, illustrated by Richard Fairgray, Penguin Random House (Puffin)
That’s Not a Hippopotamus! Juliette MacIver, illustrated by Sarah Davis, Gecko Press
The Singing Dolphin/Te Aihe i Waiata, Mere Whaanga, Scholastic NZ
Esther Glen Award for Junior Fiction 
Helper and Helper, Joy Cowley, illustrated by Gavin Bishop, Gecko Press
My New Zealand Story: Bastion Point, Tania Roxborogh, Scholastic NZ
Sunken Forest, Des Hunt, Scholastic NZ
The Discombobulated Life of Summer Rain, Julie Lamb, Mākaro Press (Submarine)
The Impossible Boy, Leonie Agnew, Penguin Random House (Puffin)
Copyright Licensing NZ Award for Young Adult Fiction 
Coming Home to Roost, Mary-anne Scott, Penguin Random House (Longacre)
Kiwis at War 1916: Dig for victory, David Hair, Scholastic NZ
Like Nobody’s Watching, LJ Ritchie, Escalator Press
Shooting Stars, Brian Falkner, Scholastic NZ
The Severed Land, Maurice Gee, Penguin Random House (Penguin)
Elsie Locke Award for Non-Fiction
From Moa to Dinosaurs: Explore & discover ancient New Zealand, Gillian Candler, illustrated by Ned Barraud, Potton & Burton
Jack and Charlie: Boys of the bush, Josh James Marcotte and Jack Marcotte, Penguin Random House (Puffin)
The Cuckoo and the Warbler, Kennedy Warne, illustrated by Heather Hunt, Potton & Burton
The Genius of Bugs, Simon Pollard, Museum of New Zealand Te Papa Tongarewa (Te Papa Press)
Torty and the Soldier, Jennifer Beck, illustrated by Fifi Colston, Scholastic NZ
Russell Clark Award for Illustration
Fuzzy Doodle, illustrated by Donovan Bixley, written by Melinda Szymanik, Scholastic NZ
Gladys Goes to War, illustrated by Jenny Cooper, written by Glyn Harper, Penguin Random House (Puffin)
If I Was a Banana, illustrated by Kieran Rynhart, written by Alexandra Tylee, Gecko Press
Snark: Being a true history of the expedition that discovered the Snark and the Jabberwock . . . and its tragic aftermath, illustrated and written by David Elliot (after Lewis Carroll), Otago University Press
The Day the Costumes Stuck, illustrated and written by Toby Morris, Beatnik Publishing
Te Kura Pounamu Award for books written completely in te reo Māori
Ngā Manu Tukutuku e Whitu o Matariki, Calico McClintock, illustrated by Dominique Ford, translated by Ngaere Roberts, Scholastic NZ
Ngārara Huarau, Maxine Hemi, Illustrated by Andrew Burdan, Huia Publishers
Te Haerenga Māia a Riripata i Te Araroa, Maris O’Rourke, illustrated by Claudia Pond Eyley, translated by Āni Wainui, David Ling Publishing (Duck Creek Press)
Te Kaihanga Māpere, Sacha Cotter, illustrated by Josh Morgan, translated by Kawata Teepa, Huia Publishers
Tuna rāua ko Hiriwa, Ripeka Takotowai Goddard, illustrated by Kimberly Andrews, Huia Publishers
Best First Book Award 
Awatea’s Treasure, Fraser Smith, Huia Publishers
Like Nobody’s Watching, LJ Ritchie, Escalator Press
The Discombobulation of Summer Rain, Julie Lamb, Mākaro Press (Submarine)
The Mouse and the Octopus, written and illustrated by Lisala Halapua, Talanoa Books
Wars in the Whitecloud: Wairau, 1843, written and illustrated by Matthew H McKinley, Kin Publishing

Wednesday, May 31, 2017

The Storylines National Children's Writers and Illustrators' Hui...

One of the things I have always envied about writing greats, is their hobnobbing with other writing greats. Like Neil Gaiman's friendships with Terry Pratchett and Diana Wynne Jones. JRR Tolkien and CS Lewis. And Stein, Hemingway and Fitzgerald. And many other literary groups and friendships. I can only imagine how cool their conversations are/were, and wonder whether they offer(ed) each other criticism and advice or just talk(ed) about more lofty philosophical topics. Maybe they just talk(ed) about what colour ink to use, but probably in a very exciting way. I think the important thing to hold on to here, to assuage the jealousy, is the fact that when these people formed their friendships/alliances they weren't necessarily the writing greats we have come to think of them as. They just got together to talk about their common interests.

As with any job or vocation, getting to know others in your field is how you keep your sanity, overcome issues that are hard to wrangle on your own, share information for the betterment of the group, and help and support each other through successes and failures, because if you stay in this business for the long haul you will experience both.

I always recommend to writers just starting out that they should find their tribe. You will need friends who understand what being a writer means as you make the journey. Ideally you will make friends with writers at all different stages of their careers because every stage has its own unique set of advantages and pitfalls. Most likely your group will be centered around the type of writing you do. You might belong to several groups. And late at night when you are struggling with your writing or, anything really, you will message your writery friends and they will know just what you mean and suggest ways to fix it or get through, or sympathise with the place you are at, or cheer you on.

If you don't know how to find your tribe, if you are unsure how to reach out to them, a conference (in addition to having many other benefits) is a good way to begin. Hanging out with your tribe (current or intended) is one of the loveliest things about a writing conference. There is to be a Hui for Children's Writers and Illustrators in Auckland this coming October. I'll be running a workshop for beginner writers, and there will be lots of practical workshops, pitching sessions and opportunities to meet and hang out with writers and illustrators from all over New Zealand at all sorts of different stages in their careers. If you want to find out more or sign up to attend, everything you need to know can be found here. I hope I see you there!

Wednesday, May 17, 2017

Touring Northland with Storylines ...

I went travelling last week. Thanks to the most excellent organisation Storylines, I toured Northland schools and pre-schools with Tim Tipene, Diana Menefy, Anne Marie Florian, Terry Fitzgibbon and Maria Gill. We talked books, reading, writing and illustrating, and their value and importance. We were wrangled by the lovely, patient, expert driver, and literature fiend, Anne Dickson, who deserves a medal or two for getting us to all the places we needed to go. I visited and spoke at 18 schools, kindergartens and related events. Group sizes varied from  22 to 225 (plus teachers). Ages ranged from 3 months to 13 years. Sometimes groups comprised a whole school, years 0 to 8. It was pretty full on. But as you can see I was still smiling on Friday.


We met a lot of children as we travelled. I talked with students at Tauhoa Primary, Tapora School, and Tomarata Primary on Monday. Mangawhai Beach School, Waipu, Maungaturoto and Paparoa (and Tinopai) Primarys on Tuesday. Maunu and Onerahi Schools, and Whangarei Intermediate (a workshop) on Wednesday. Thursday I visited Hurupaki, Hukerenui, Pakaraka and Kaikohe West Schools and in the afternoon/evening we did an event at Kerikeri High School in association with SLANZA. Friday we wended our way home via Our Place Early Learning Centre, Kerikeri Community Childcare Trust, (Makana Chocolate Cafe - not a school) and Horizon School in Snell's Beach.

We covered a lot of miles (1,812km!!) and got to see many beautiful parts of Northland (including some I'd never seen before). This is me, Tim, Diana and Anne Marie at Whangarei Heads School where Diana and Anne Marie spoke. Just the most amazing backdrop, don't you think?



I received the loveliest gift and card from Maunu School, and was sung a waiata at Kaikohe West School, and at Kerikeri Community Childcare Trust. Everyone was so welcoming everywhere we went.

I was a bit weary by the time I returned home Friday evening but the whole week was a total blast. I felt very lucky. If I got the chance I would do it all again. I had felt a little daunted by the prospect of all that public speaking in such varied circumstances but the children were wonderful, respectful and enthusiastic. My travelling companions were the best company and we had a lot of laughs. Storylines have created a wonderful thing. There will be more tours around other parts of New Zealand over the rest of the year. If you would like an author and/or illustrator to visit your school or preschool you can apply here.