Charlotte Lance is the author and illustrator of a delightful new picture book call 'A Really Super Hero' published by Allen & Unwin (2013).
Charlotte is from Melbourne. She freelanced as an illustrator and graphic designer after she graduated from Melbourne's NMIT in 2004. She has been working as an illustrator for the last five years. This has been mainly in book publishing, but she also has an illustrated children's
T-shirt label 'BOY GIRL'. She sells selected work as prints, and
occasionally exhibits her work.
'A Really Super Hero' is her first author/illustrated work and is a wonderful first book in that sense. This is a book that connects with the experiences of virtually every child and of course their parents. In the words of Charlotte in my interview with her below, this story is "purely and simply about the way children can make the everyday and
the ordinary feel extraordinary." With the inevitable response of their parents being
"...to stare, one eyebrow up, with their ‘get-real’ eyes". It might just be that I love this book because as a grandparent I get to put the capes on as well! No eyebrow raising in my house when super heroes appear.
The language of Charlotte's text has a narrative verse form that catches your attention from the first stanza:
'I want to be a hero
and a REALLY SUPER one,
so my mum sewed my undies
with an S upon the bum'
The illustrations are detailed line drawings with wash used sparingly so that as 'reader' you are drawn to the characters, and in particular, their actions, manner and personality. The characters are so believable and so appealing. Children who read this book will be able to see themselves and the adults who love them. This is a wonderful book from a talented illustrator and writer.
On the strength of this wonderful first book I was quick to seek an opportunity to do a blog interview with Charlotte. The quality of this her first authored (as well as illustrated) book, and the answers to my questions, suggest that we can expect many more fine books from this author/illustrator that children will love.
1. TC: "What contributed most to your love of story in your childhood years?"
It’s probably a boring answer but stories and more specifically storytelling can take you to places that are not your here and now. As little ones we dream of all sorts of things that can’t come to life in our real worlds, from very simple things to big crazy dreams. For me it was simple things and the details. The colour of the walls in my imaginary house, the blankets on my imaginary bed. It’s a way of making what is in your head come true. And so now I still write stories for myself.
2. TC: "Could you tell me a little about the inspiration for ‘A Really Super Hero’?"
A Really Super Hero is purely and simply about the way children can make the everyday and the ordinary feel extraordinary. And then, the dreary old parents have to stare, one eyebrow up, with their ‘get-real’ eyes. Luckily this means absolutely nothing to the beautiful mind! ‘A Really Super Hero’ is just a bit of fun and silliness.
3. TC: "As a relatively new illustrator of children’s books and an even more recent author, could I ask do you see yourself primarily as an illustrator or do you want to do more writing?"
I see myself continuing to do both. Illustration, which is what I trained to do, has always been about storytelling. It makes sense to me that I do both. Whether or not that is just my view we’ll have to see!
4. TC: "Your ‘super hero’ in your new book ‘A Really Super Hero’ is a quirky and feisty young woman. Is there an inspiration for this wonderful character?"
Well yes, I’d like to say that it’s me, ‘quirky and feisty’, but in fact it’s me, clumsy and slightly ridiculous. As well as lots of our little ones who blindly storm through the obvious (to others) chaos created by their robust imaginations. To be the person who just continues on regardless of suspected hopelessness is something to be proud of yes?
5. TC: " Poetry seems to have become more popular of late to offer a narrative account in picture books. Is there a particular reason why you have used it?"
There’s no particular reason. I did grow up loving the rhythm of Roald Dahl’s books. Actually whether they were in rhyme or not they were almost musical. Maybe that has something to do with it. ‘A Really Super Hero’ just seemed to come out that way. My next book is not in rhyme though. 6. TC: "What is the best response you've ever had to your illustrative and creative work?"
It was just recently, somebody said that one of my illustrations made her feel as though she had seen it in her childhood, that it felt familiar. Unless I unknowingly ripped somebody off, this is about as good a compliment as I could receive because it’s how I feel when I draw them.
7. TC: "Do you have other book projects on the drawing board?"
I am working on my next book with Allen and Unwin, ‘An Inconvenient Dog.' I also have a few projects that I want to do just for fun, I’m animating my own stories and illustrations. Why not?
8. TC: "Do you enjoy reading and poetry? On a long haul flight to London, which two books would you take?"
I love it, but haven’t done enough of it lately. I have two little kids so my long haul to London may well be a rotation of Batman and Spiderman…. and once they were asleep I think I’d go for Jane Austen. Beautiful, so easy to read and a little bit magical.
9. TC: "Who or what has been the most significant influence on your creative work?"
That’s a hard one, I definitely have my favourite illustrators, Quentin Blake, Janet Ahlberg, John Birmingham (these have not changed from childhood) and Roald Dahl I think for the magic of storytelling. And my mum for having a sort of creativeness that comes from heaven. She’s a genius. If she makes ‘that face’ when she looks at my work, then it must be crap. Truly, not joking, it goes in the bin. I try to avoid showing her anything, ever. Ever.
Charlotte's responses above should be enough to make you hunt for her book but when you see the book you'll be glad that you did. Watch out for this young illustrator and author her next work, 'An Inconvenient Dog' to be published by Allen & Unwin.
Other relevant posts
Have a look at my other 'Author and Illustrator Focus' posts HERE
There have been a number of new book series for younger readers in the last year (see my previous posts on series HERE & HERE), but one of the most delightful and engaging is 'The Sword Girl' series by France Watts, who I interview later in this post.
Frances Watts
Frances Watts is the pen-name of Ali Lavau, a Swiss born Australian author, who moved to Sydney when she was three years old. She studied English Literature at Macquarie University in Sydney, before teaching Australian Literature and children's literature. She went on to complete a PhD and took her first job in publishing. For ten years she worked with many talented
Australian children’s authors and illustrators before she began writing her own books. Her delightful first picture book Kisses
for Daddy (2005), which was illustrated by David Legge, was an immediate success. Her second picture book, also with David Legge, was the wonderful and innovative non-fiction book
Parsley Rabbit’s Book about Books (2007). This won the Children’s Book Council
of Australia’s Eve Pownall Award. Since then her writing has kicked into overdrive, with a number of wonderful books and a prolific output. I have listed all of Frances Watts' books at the end of this post.
The Sword Girl Series
This is an exciting series of books by Frances Watts that is illustrated by Kate Greenaway Medal winner
Gregory Rogers. The central character is Tommy (short for Thomasina) who is a feisty kitchen hand who longs to
be a knight. When Tommy, through a series of unusual events, is finally promoted to Keeper of the Blades,
her life changes. As Frances Watts shares in her interview responses below, Tommy is "a girl who wasn’t a princess or a fairy, who could be kind and
thoughtful and empathetic yet still be active and adventurous and
ambitious". This is the perfect book series for girls who love adventure, action and want an
alternative to stereotypical books for girls. One of my grandchildren (Rebecca) is just such an independent, intelligent, and creative girl of seven, who loves complex characters who don't follow the crowd. She has been reading these books as they have been released and just loves them. But the appeal of the books will be wider than simply girls, many boys will enjoy these fast moving and enjoyable tales with action and interest from beginning to end. They are ideally suited for young independent readers aged 6-9 years. The RRP in Australia is $11.99 for each book.
Tommy is a kitchen hand at Flamant Castle who dreams of just one thing, becoming a
knight! One day through fate or good fortune, she finds herself defending a cat, then herself, with just a broom from the blows of a boy who is the keeper of the knights' swords. When she is made the Keeper of the Blades, caring for all
the swords in the castle armoury, it seems like her dreams might have come
true. But after some discoveries about the cat, and then some more about the swords, Sir Walter's most valuable sword goes missing from the
sword room. Disaster beckons. Question is, will Tommy be able to find it before she is sent back to the
kitchen in disgrace?
'The Poison Plot' (2012), illustrated by Gregory Rogers, Allen & Unwin, 2012
This is the second adventure in the 'Sword Girl' series. Evil plans are stirring and it's up to Tommy
to keep the peace at Flamant Castle! Tommy is on an errand to the smithy in the town, and overhears a
plot to poison Sir Walter the Bald, the castle's bravest knight. It is to occur during a banquet and it is to look like the
work of a neighbouring nobleman. Tommy must foil the plot or Flamant
Castle will be at war. As in the first story in the series, Tommy receives some help from some unusual sources.
Flamant Castle is having a tournament and all the knights and squires of the neighbouring Roses Castle are invited. Tommy has jobs to do at Flamant and looks set to miss the fun and excitement. After Edward the Squire falls from his horse it looks as if Flamant Castle will be a squire short. Sir Benedict asks Tommy to take his place and offers her one of his own horses. But there's a problem, she has never ridden a horse before, and even if she could, there would be jousting to learn. With some unexpected help with her riding she sets out to help Flamant win the tournament.
When Sir Walter, Sir Benedict and the other knights go to nearby Roses
Castle for a tournament, the enemy knights from Malice attack Flamant.
Sir Malcolm the Mean and a raiding party head for Flamant. Tommy is the key to saving the castle, but how will she get a message to Sir Benedict, who is a
day's ride away? The castle is surrounded with no way out!
But Tommy devises a daring plan. But is it too late?
An Interview with Frances Watts
1. TC: What contributed most to your love of story
in your childhood years?
FW:Probably a plentiful supply of good books! My parents were (and are)
avid readers, and my sister and I just naturally followed in their
footsteps. We were regulars at the local library and the second-hand
book store, and my grandparents in America used to send huge parcels of
books and subscriptions to children’s magazines. (I particularly
remember Cricket, which was essentially a literary magazine for kids.) But
you asked about my love of story particularly. I think I’ve always been
drawn to story because to read a story is not just to observe, to be a
spectator; it is to feel, to live, to experience. As Atticus Finch said
in To Kill a Mockingbird, one of the most wonderful books of all: You
never really understand a person until you consider things from his
point of view—until you climb into his skin and walk around in it. The
intimacy of a story can provide that experience. When you read, it is
personal: good literature takes you right out of your own skin and into
someone else’s. It has a voice that rings true. It makes you feel
something. 2. TC: Could you tell me a little about the inspiration for the Sword Girl series?
Château de Chillon (Wiki Commons)
FW:My
first inspiration for the series was really my father: whenever we
would drive around our region on holidays in Switzerland (or even
further afield, in Italy or France), he’d tell us about the battles that
took place in this town or that, describing scheming kings, luckless
dukes, relating the legends and apocryphal stories…My father has a great
eye for character and for the quirky detail. It made history
fascinating. As for the medieval setting, that too comes from my Swiss
background. The city where I was born, Lausanne, has a very rich
medieval history, and there’s a particular medieval castle nearby—the
Château de Chillon on the shores of Lake Geneva—which I have been
visiting since I was a child. The last time I was there, I started to
think of the castle as the springboard for a setting, to imagine myself
as a girl living there—and realised I would have preferred to be a boy
living there: a little less needlework or kitchen drudgery; a little
more swordplay! That’s really where the character of Tommy started to
take shape: a kitchen girl in a medieval castle who longs to be a
knight. Of course, a big part of the appeal of a medieval setting for me
is that it gives me a lot of imaginative leeway; the medieval world had
such a fluid relationship between fact and fiction that it seemed
perfect for the kinds of books I love to write.
3.
TC: Thomasina is obviously an unusual lead character in a children's book
set in medieval times. Is the choice all about simply wanting to portray
a girl as a strong, clever, courageous and determined lead character,
or are there other reasons for this interesting character?
FW:Yes,
being able to write a strong girl character was definitely something I
wanted to do—a girl who wasn’t a princess or a fairy, who could be kind
and thoughtful and empathetic yet still be active and adventurous and
ambitious. I think, too, that I wanted to convey the idea that the times
we live in can change, can be changed – but it is up to us to change
them, to help to make the world we want to live in. And sometimes that’s
just a matter of being yourself and following your heart. As Tommy
performs her role as Keeper of the Blades with such diligence and skill
and determination, more and more people around her begin to accept the
idea of her one day becoming a knight. 4. TC: Do you have any particular reasons for pitching this book series at young independent readers?
FW:It’s
an age group I do enjoy writing for. There’s a combination of innocence
and awareness; young readers embrace characters wholeheartedly, they
get a kick out of absurd humour and they are absolutely open to joy and
wonder. In a way, though, I never feel like I’m deliberately pitching my
books at a particular age group or ‘market’; in the first instance, I
just write the stories I want to tell and worry about the audience
later.
5. TC: You've obviously done some research in
situating these stories historically, but you also have fun with names
and language and a variety of elements of fantasy. How and why did you
come up with this interesting mix?
FW:I love language—its
quirks, its ambiguities, the way it sounds, the way we can play with it;
there’s always an element of play with language in my writing, just
because it’s a passion of mine. (And, if I’m honest, I’m writing for
myself first, before any other reader.) As for those elements of
fantasy…I just can’t explain them! It’s what comes out when I begin to
write.
6. TC: What is the best response you've ever had to a book?
FW:I
don’t know if I could choose a single instance: any time I hear that
someone has enjoyed one of my books, has connected with the characters,
has been moved or delighted or inspired, is a thrill. But one of the
most moving ‘uses’ of one of my books has to be when 'Kisses for Daddy'
was chosen, for a while, by the Storybook Dads program Dartmoor prison
in the UK. The program helps inmates to record bedtime stories onto CDs
and DVDs. These are then sent to their children, helping prisoner
parents to maintain an emotional bond with their children. I was lucky
enough to hear a recording of a prisoner reading Kisses for Daddy to his
son. Some of the prisoners have poor literacy skills themselves, but
are keen to encourage their own children to read. For a book to become a
means of a father expressing his love for his children, and his hopes
for their future, is a beautiful thing. 7. TC: Will there be lots more Sword Girl books?
FW: I
hope so. I’m having a lot of fun with the characters and the setting.
I’ve just finished writing the sixth book (books 5 and 6 in the series, '
The Terrible Trickster' and 'Pigeon Problems', will be published in April
2013) and I still feel like I’m bursting with ideas.
8. TC: On a long haul flight to London, which two books would you take?
FW:Hmmm...That’s
a very different question to the whole ‘desert island’ concept, because
I’m not going to be taking favourite books on that flight but ones I
haven’t read yet. So these aren’t recommendations but, rather, books I’m
keen to read myself. I’ve just started Michael Chabon’s Telegraph
Avenue—he’s a dazzling writer. And if we can delay the flight till
November I’m really looking forward to getting my hands on Barbara
Kingsolver’s new novel, Flight Behaviour. She has a voice that really
gets into my head.
'Kisses for Daddy' (2006), illustrated by David Legge. Children’s Book Council of Australia Honour Book, 2006
'Parsley Rabbit’s Book about Books'
(2007), illustrated by David Legge. Winner of the Children’s Book
Council of Australia Book of the Year: Eve Pownall Award, 2008.
'Captain Crabclaw’s Crew'
(2008), illustrated by David Legge. Shortlisted REAL children’s choice
awards (NSW, Vic, ACT, NT) 2012. Children’s Book Council of Australia
Notable Book 2010.
'A Rat in a Stripy Sock'
(2010), illustrated by David Francis. Shortlisted REAL children’s
choice awards (NSW, Vic, ACT, NT) 2012. Children’s Book Council of
Australia Notable Book 2011.
'Goodnight, Mice!' (2011), illustrated by Judy Watson. Winner: Prime Minister’s Literary Award 2012. Children’s Book Council of Australia Notable Book 2012.
For more information on Frances Watts and her work (HERE)
Sandy Fussell lives south of Sydney (Wollongong) with her husband and two sons. She studied mathematics at university. But it has been history that has been a major inspiration for her writing. She shares in the interview below that she has been interested in history from a very young age. She now works in IT. She is something of an "accidental writer". In her words, "when my eldest son stopped reading in Year 4, I panicked. How could a child of mine not love books?"
Her efforts to work with her son on his reading and writing led her to write for herself. She proceeded to write manuscripts for practice. She wrote nine in quick succession. She showed her eighth effort to a number of people and received good feedback. Her ninth manuscript was 'Samurai Kids' which was accepted for publication in 2006 and was published as her first novel in 2008.
The Samurai Kids series has gone on to be very successful. Book 3, 'Shaolin Tiger' was named as a Notable Book by the Children's Book Council of Australia (CBCA) for Younger Readers in 2010. It was also short-listed in the Speech Pathology Awards in 2010 (Upper Primary Category). 'Polar Boy', was her first stand-alone novel and was short-listed in 2009 for the CBCA awards for Younger Readers. Her second stand-alone novel, 'Jaguar Warrior' was published in 2010 and has received good reviews.
Interview with Sandy Fussell
1. TC: Could you tell the readers of this blog why you wanted to be a writer of children’s books? Was there a special motivation or someone who inspired you to do it?
I am an accidental writer. When my eldest son stopped reading in Year 4, I panicked. How could a child of mine not love books? After failing to find anything he would read, I asked him to write a story to show me what sort he would like. To my surprise he said yes, as long as I transcribed. I’m embarrassed to admit it but I kept interfering. In the end he became so exasperated with me; I was sent packing to write my own story. I haven’t stopped writing since.
2. TC: Do you find the writing process difficult? Which aspects of your writing are most challenging?
It is hard to juggle writing with family and work. If the words are flowing, I have to force myself to put the manuscript aside to attend to other things – like feeding the troops and paying the bills. For me, the most challenging part of writing is chapter 5. That is the point at which I know what happens right through to the end, and I get a little bored with the process of continuing to put words to paper. I’m always tempted to start something new. But in the end I want to share the story so I keep going. From chapter 6 onwards it’s a downhill ride!
3. TC: You write historical fiction, could you tell us why this genre is important to you? What about the characters, from where do they ‘spring’?
I have been fascinated by early history ever since I was a child. I would imagine what it was like to live in a different place at a different time and in particular, what it was like to a kid then. Children had very different lives, responsibilities and adventures hundreds of years ago. A fourteen-year-old boy was a fully fledged samurai fighting for his lord. Most readers think of Ananasanq (Nana) from Polar Boy as very old. When I visit schools I often ask students to guess her age. They hover around 100 years old! But the life expectancy in the polar north was much less than that and Nana was more likely to be about 32.
4. TC: What is the research process like for the writing of one of your novels?
I love research and spend the first month doing nothing else. Then I continue researching as I write. Most of the information doesn’t make it into the book but it creates a sense of time and place which is absorbed almost osmotically into the story.
I pay close attention to the everyday life of my characters - how they lived, what they wore and what they ate. In terms of context, often my readers find these small details more interesting than the big historical events.
For me it is always thrilling when history validates my storyline. I can’t claim it is deliberate but it just keeps happening. For instance in Samurai Kids book 7 which is set in Cambodia, I did not think there were any Japanese people there at the time. That didn’t mean I couldn’t write them in. But then I discovered there is an inscription on the walls of the Temple of Angkor Wat in Japanese dated to exactly the time period I am writing in!
When I was writing Polar Boy it initially began as the story of a boy facing his greatest fear – the polar bear. I also wanted a cultural confrontation. As I researched I discovered the Vikings were coming down from Greenland at the same time and they were called ‘berserkers’ or ‘the bears’. So the bear in Nana’s prophecy about Iluak was really a person all along! Writing historical fiction is about connecting the research dots to form a story.
5. TC: How do you choose the historical periods and the places that you do?
I choose places I’m interested in. I studied Ancient History in high school and at university so sometimes I have a lot of general knowledge about the period such as Samurai Japan or Aztec Mexico. Alternatively it might be a period that has a magical almost exotic appeal for me – even though I may not know many details. I also like to choose periods that are on the edge of well-known times and have drafted a story set in Nubia. Nubia was a black African civilisation that preceded pharaohonic Egypt so while it is not itself well-known; it has a certain geographic and cultural familiarity for young readers who know a lot about Ancient Egypt.
I like to write about a period that is close to a well researched period because it gives me a solid historical base but also allows room for a wider imagining. Samurai Kids is set in the mid 17th century which in Cambodia (the setting for book 7) is the Dark Ages. Not a lot of information is known so I can draw imaginative inferences as long as they are plausible.
6. TC: Of your 8 books, which one was most satisfying for you and why?
That question is so hard. I am always pleased with each novel I finish although I don’t necessarily think my latest is always the best. What will be my most satisfying book is probably unfinished at this point. I have been working on it since 2007 and it has been evolving with me as I (hopefully) develop into a better writer.
7. TC: What has been the most memorable experience in your writing career?
In 2008 I was asked to be the Guest of Honour at the Henry Lawson Festival of the Arts, the longest running arts festival in Australia. Guests are usually high profile members of the arts community but when the chosen guest had to withdraw due to family illness, they couldn’t find anyone to come to Grenfell at short notice. My family live there so my sister suggested me!
I crowned the queen, presented prizes, opened the festival and spoke at the reception. But by far the best part, and my favourite writing memory, was when a local school joined the street parade as Samurai Kids. They stopped in front of the official dais, bowed and yelled ‘Sense’i. I cried. I still do when I think of it. The full account and pictures can be found HERE.
The children of Grenfell dressed as Samurai Kids
8. TC: Are there any children's authors that you particularly admire? Adult writers?
There are many, many authors I admire. The children’s book community is incredibly generous and encouraging to new writers. I am hesitant to list names as I would hate to leave anyone out, but I’ll make one exception. When I first began to write I was invited to a writer’s meeting at author Di Bates’ house. She became my writing mentor, guide and good friend. She still is.
9. TC: Were you taught creative writing in school? Did it help?
I don’t recall anything specific although I am incredibly indebted to the teachers and librarians who fostered my love of reading. I had a strict and often unhappy childhood but these ‘angels of the book’ provided me with somewhere wonderful to hide out.
10. TC: What advice would you impart to aspiring writers?
I used to say ‘Write, write, write. Read, read, read.’ And while I still think that is valuable advice, I would now say: Scribbling every idea into a notebook, be continually looking at the world with an imaginative and slightly askew eye. Honing writing skills is extremely important but perhaps even more important is finding unique story ideas.
11. TC: What has been your favourite response to any of your books?
I get a lot of emails from young readers. Their enthusiasm for the Samurai Kids series is inspiring. They often write to me with story ideas for the next book.
A partially blind girl emailed me (via her mum) to say Taji (who is completely blind) was her hero. One mother wrote to say her child was due to have a serious operation which included a skin graft and he would be on crutches for a while. Part of his preparation was practising to be Niya! Another parent wrote to me to say their China travel plans had changed because after reading Samurai Kids, their young son wanted to visit a Shaolin Temple.
12. TC: Do you have a book that you are working on right now?
I am currently working on three separate books but my priority is the seventh book in the Samurai Kids series. It doesn’t have a title. I have always wanted to visit the Temple of Angkor Wat in Cambodia but that doesn’t look likely in the near future – so I am going there in my book instead.
This is a series about the experiences of a group of samurai children in feudal Japan. Like other stories about Japanese warriors, the narrative is interwoven with the philosophy that is the foundation of their life and training. The diverse samurai kids learn to fight, but always with the noble desire to prevent war. The stories and their characters seek to build just and ethical societies. The books offer a range of characters that represent both genders and children of varied qualities, characteristics and challenges. In the video below you view Sandy talking about her exciting series.
This was Sandy Fussell's first stand alone novel for younger readers (9-12+ years). It is set in a 13th century polar community, a young boy's destiny transforms him from a frightened child into a courageous hero. Iluak, a Too-lee boy, has been told by his grandmother that it is his fate to save his people from a bear. But the mere thought of a polar bear makes Iluak’s stomach churn and he lives in fear of this destined encounter. When Illuak summons the courage to rescue a Northman (Viking) child from a polar bear he realises there is a far greater challenge involved in the prophecy. Two very different cultures are about to collide head-on in this excellent historical .
This is the story of Atl, a young Purepechan slave. It is set in the age of the Aztec empire and a place we know today as northern Mexico. Atl is imprisoned in a box and has been there seven days and awaits death as part of an Aztec ceremony of sacrifice to the Mexican gods. He is not afraid as the anger rises within him and significant twist occurs in his story. A war-party of conquistadors attacks the head temple and Atl’s reputation as the fastest runner in Technotitlan leads the High Priest to set him free to send a message to get help for the Purepechan people. He escapes through hidden tunnels of the temple and heads into the jungles of South America, encountering dangers and collecting companions on the way. It is a fast moving adventure story that 9-14 year old boys will enjoy. It is a well-researched historical narrative that many young readers will find a great read.
Teaching resources
Samurai Kids Website (HERE)
Sandy Fussell's personal site has varied resources and ideas for her books (HERE)
Sandy Fussell's Awards
2009 Short Listed CBCA Children's Book of the Year, 'Polar Boy'
2009 Honour Book CBCA Junior Judges Project, 'Polar Boy'
2009 Short Listed Sakura Medal Chapter Book (Japan), Samurai Kids Book 1 - 'White Crane'
2009 Panda Book Award Middle Readers (China), 'Polar Boy'
2010 CBCA Notable, Samurai Kids Book 3 - 'Shaolin Tiger'
2010 Shortlist Speech Pathology Book of the Year, Samurai Kids Book 3 - 'Shaolin Tiger'
2011 CBCA Notable, Samurai Kids Book 5 - 'Fire Lizard'
2011 CBCA Notable, 'Jaguar Warrior'
2011 IBBY Outstanding Books for Young People With Disabilities, Samurai Kids Book 1 - White Crane
Paul was born on Canvey Island, England in 1954. He was raised in New Zealand and moved to Australia in 1972. His first published work was the Western novel 'Hot Lead-Cold Sweat' (1975). To support himself so that he could write, Collins launched 'Void' in 1975, a science fiction magazine. This was the beginning of a successful publisher career that has sat alongside and supported his writing for many years.
Paul has written many books for younger readers. He is best known for his fantasy and science fiction titles within 'The Jelindel Chronicles' ('Dragonlinks', 'Dragonfang', 'Dragonsight' and 'Wardragon') and his contributions to 'The Quentaris Chronicles' ('Swords of Quentaris', 'Slaves of Quentaris', 'Dragonlords of Quentaris', 'Princess of Shadows', 'The Forgotten Prince' 'Vampires of Quentaris' and 'The Spell of Undoing'). His young adult books published in America are 'The Earthborn', 'The Skyborn' and 'The Hiveborn'. But he has many strings to his bow. He has written over fifty chapter books, around thirty non-fiction hardcover books for the education market (published both in Australia and the US), and two collections of his own stories. He co-edited four boxed sets of anthologies with Meredith Costain ('Spinouts' and 'Thrillogies'), edited twelve trade anthologies, and was the editor of 'The MUP Encyclopaedia of Australian Science Fiction and Fantasy'. Paul pioneered the publishing of adult heroic fantasy in Australia and has done much to raise the profile of Australian fantasy and science fiction.
Interestingly Paul has black belts in both taekwondo and jujitsu, served in the commandos, was a kick boxer, trained with the Los Angeles Hell Drivers and has been a pub bouncer! This experience has been put to good use in his fast-paced cyber-oriented tales, which have culminated in the cyberpunk novel 'Cyberskin'.
Paul has published and written many anthologies, including the young adult anthology 'Dream Weavers' for Penguin, the first original Australian heroic fantasy anthology. This was followed by a similar book called 'Fantastic Worlds' and the 'Shivers' series of children’s horror novels from Harper Collins. Hodder & Stoughton published Paul’s next anthology, 'Tales from the Wasteland' in 2000. Collins has also written under the name Marilyn Fate and he and Sean McMullen have both used the pseudonym Roger Wilcox.
He has received a number of awards including the inaugural 'Peter McNamara' prize, the 'Aurealis' prize for fantasy, horror and science fiction. 'The Glasshouse' (illustrated by Jo Thompson) was chosen by the International Board on Books for Young People (IBBY) as an outstanding book in 2011 and has been shortlisted for the Children's Book Council's Crighton Award for illustrators. He has also been shortlisted for many other awards including the 'Ditmar' for achievement in Science Fiction.
You can find a comprehensive outline of Paul's extensive works and achievements on his excellent websites 'The Worlds of Paul Collins' and a second site (here) and also at Ford Street Publishing where Paul is the publisher.
'Mole Hunt'
'Mole Hunt' is the first book in 'The Maximus Black Files'. It is set in a world where cities can float, people can regenerate at will and humanity has invented new ways to destroy itself. The main character is eighteen year-old, Maximus Black. Maximus works for the Galaxy's law enforcement agency, Regis Imperium Mentatis (RIM). He is charming and brilliant and has a big future ahead of him. He has had a difficult past that included witnessing the murder of his parents when he was just six. He makes it his personal goal to avenge the wrongs he has suffered. He is a cold-blooded sociopath who has a plan that would ultimately plunge the universe into chaos permitting him to take control. There is only one person in his way, an equally clever agent, Anneke Longshadow. Who will triumph?
The story adopts two viewpoints, Black and Longshadow, and moves back and forth as they engage in their deadly encounters. The plot has many twists and turns as they try to outsmart one another, while avoiding endless peripheral obstacles like assassins and alien bounty hunters. For children aged 11-15 who love science fiction it offers a knuckle ride and exciting adventure as they wage their intergalactic battle.
Interview with Paul Collins
1. What contributed most to your love of story in your childhood years?
Alas, I didn't read books as a kid. In fact, there wasn't a book in our house. To this day no one else in my family has read a book nor does anyone show much interest even in what I write. All very peculiar considering my career. I did however enjoy Marvel Group comics such as The Hulk, Spiderman, Daredevil, Captain America etc. All my pocket money went on these comics.
Is there a single reason (or two) that fantasy is so important to you?
When I finally did start reading I enjoyed Fritz Leiber's Fahryd and the Gray Mouser series, and Robert E. Howard's Conan the Barbarian books. I think my earlier fantasy stories owe a lot to them.
2. Why does dystopian fantasy have so much appeal?
If I'm to be honest, I have a rather bleak view of the future. If the human race hasn't got it right yet, and we haven't, then it never will. On a lighter note, with dystopian fiction, young readers get to test out their own belief systems and moralities without getting too close to the real issues – because they get to empathise with the characters in the books instead. It’s commonly set in bleak or post-apocalyptic landscapes where resources are scarce, and features futuristic technology, mind control, violence and war. It's a very fertile medium within which to write. I also have a history of writing within this genre with The Earthborn Wars (The Earthborn, The Skyborn and The Hiveborn), and Cyberskin, a novel I wrote fifteen years before The Hunger Games, but with a strikingly similar plot.
3. Are there examples of childhood fantasy novels (other than those you’ve written or published) that for you broke new ground?
As mentioned, the Marvel comics greatly influenced me. reviewers often refer to my fiction as "filmic" and fast-paced, which of course is what all comics strive to achieve.
4. Do you have in mind a particular reader when you write fantasy?
Most of my work is for 10 to 18 year-olds. The Jelindel Chronicles were for 13+, but adults tell me they also enjoyed them. The same applies to Mole Hunt. A reviewer for The Fringe said he as an adult enjoyed the book, but he isn't the book's target audience.
5. Would your characters in books like Mole Hunt be possible for you to create without your particular lived experience? If you were an accountant, fascinated by growing native violets and who loved nothing more than watching ‘Dancing with the Stars’ each week, would Maximus have been a different character?
I've lived a rather active life, I have to admit. I have two black belts in martial arts, was a kickboxer and was enlisted with 2 Commando Coy for a brief spell in the 80s. A lot of this comes out in Mole Hunt. But if I were your suggested accountant, I doubt I'd have written such a book. Unless of course I was an extremely frustrated accountant!
6. Is your passion for writing or publishing? Are you a writer who edits and publishes, or a publisher who can write?
I started out as a self-published writer. That was a minor disaster, so I started publishing other authors' books and short stories in anthologies. Meanwhile I wrote as a hobby. My daytime job was owning bookstores and working nights in hotels as a bouncer. In the late 90s I began earning more from my writing than I did from the bookshop I had at the time. I realised I'd finally attained my dream job, that of writing full time. So I sold the shop in 2000 and became a full time writer. I'm currently more of a publisher than a writer, although I do have several books lying around that with a little attention will be very publishable.
7. On a long haul flight to London next week, which two books would you take?
One would have to be "How To Make This Flight Go Fast", and the other would be a much slimmer tome because I'm such a slow reader I doubt I'd get the chance to get to it. Maybe something like "101 Sleep Tips For A Long Flight".
8. What is the best response you've ever had to a book?
I've had some great quotes from people like Isobelle Carmody, Ian Irvine, Allan Baillie and Brian Caswell. I quite like Bookseller + Publisher's quote for Mole Hunt: "Bitingly clever and imaginative, a cross between The Girl with the Dragon Tattoo, Dexter and Total Recall".
"Thank you Paul for this wonderful insight into your writing, background and personality." TC
Other Posts
All posts in the 'Meet the Author/Illustrator' series HERE
Anna Branford was born on the Isle of Man in 1975 and spent some of her childhood there as well as in Sudan, Papua New Guinea and Australia. She shares on her website that she "...did lots of.. daydreaming in planes, trains and boats...". She had a pet mouse for a time and loved her piano which she says was the best present her mum and dad ever gave her "...apart from my sister".
She now lives in Melbourne. As well as writing books for children she has a PhD in sociology and teaches this subject at Victoria University. As well as loving writing books for children, her creativity extends making dolls and nests using needle felted wool, fimo and other materials. She has written three books (two have been published) the first of which has been shortlisted in the 'Younger Readers' category of the Children's Book Council of Australia Awards for 2011.
Violet Mackerel is a girl with lots of theories, ideas and interests. She has a family full of love and difficulties, and a longing for a blue china bird. Violet spots a blue china bird at the Saturday markets that is small enough to fit in the palm of her hand. Her Mum has a stall there to sell knitting. Violet wants the bird, but this will cost her $10 and she doesn't have the money. She knows she will have to come up with 'a plot', a brilliant plot! She gives the matter much thought and settles on archaeology as part of the answer to her problem, with a surprising outcome.
This is a delightful short novel for children aged 6-10 years, and will be loved especially by girls. Anna Branford has created a wonderful character in Violet who should sustain interest in the series of books to follow. Sarah Davis has provided excellent watercolour illustrations that appear on monochrome (or greyscale) throughout the book and add to the story, especially the development of Violet's character.
I asked my granddaughter Rebecca (aged 6) to read the book. She devoured it quickly and met me when next I visited with the words "I loved the book. And look, I've made a 'Box of Small Things' just like in the book." This was inspired by Anna's suggestion at the end of the book that her young readers might take a box, label and decorate it and use it to store precious 'small things' just like Violet.
After visiting Dr Singh to have a sore throat checked Violet discovers that she will need to have her tonsils out. She has lots of questions. What are tonsils? Will it hurt? What will it be like to have no tonsils? If her voice changes, will she become an opera star? Perhaps if she makes 'remarkable recovery'... But will she? Once again, Sarah Davis has provided wonderful illustrations that support the story.
I read the first chapter of the book to Rebecca, her younger sister (4 years) and her brother (8 years). All three children enjoyed the book and Rebecca couldn't wait to get it off us to finish it herself. She finished the book in bed before lights out and loved it.
Anna's third book will be out in August and tells the story of Neville and his best friend and next-door-neighbour Enzo who desperately want mobile phones. But their parents are not being helpful. Neville and Enzo make a solemn promise to each other that some way, somehow, they will get a mobile phone.
When two friends put their heads together it’s surprising what they can achieve. But of course, sometimes you have to be careful what you wish for…
An Interview with Anna
1. I can see from your website that you had a number of favourite book series as a child and also loved one of my favourite books, 'Wind in the Willows'. How much of the inspiration for your writing comes from your childhood reading experiences? Are there other inspirations for your writing?
I did read a lot as a child and I’m certain that the excitement and comfort and magic and pleasure I found in books has made me long to write my own books for children. But there are definitely other inspirations too. I have worked with children for most of my life and I am always interested in hearing about the things that they love, fear, long for, find resonant, and think hilarious. Looking after children is also a wonderful excuse to go on reading lots of children’s literature even when you’re grown up!
2. Do you see book series as having a special role for children? What do you see as their great value?
I think there is something special about having a series rather than just a stand-alone title, for some sorts of books. A series gives you a chance to build a sort of relationship with a character, to really understand their world and their life and to see them in all different sorts of situations. When I’m especially enjoying reading a series, I love knowing I don’t have to force myself to read slowly or ration out the last few chapters to make the experience last, since there’s plenty more to look forward to.
3. Judging from your writing and your interest in doll making and music, you are obviously a creative person. To what do you attribute your creativity?
I grew up in a home where creating things was very much a part of everyday life. My father made lots of our furniture. My mother sewed, painted and drew. One Christmas in the Sudan, when I was very small and my sister was just a baby, they made absolutely everything, out of necessity. We had a fully decorated Christmas tree, cloth dolls, a wooden dolls house, a wooden farm, new dresses. Wherever we were, our home was always full of books and there was always something on the record player. So it was a very easy place for my sister and me to be creative too. I also had an aunt who was a truly wonderful children’s writer, Henrietta Branford. As well as being a very inspiring person, knowing her made it possible for me to think of writing books as something that real people, not just faraway and hard-to-imagine people, actually did.
4. Are there any children's authors that you particularly admire? What is it that you admire about their work?
I think there will always be a place in my heart for the authors whose books I grew up with, like Kenneth Graham, Philippa Pearce, Roald Dahl and Beverly Cleary. I think these were writers who taught me to find pleasure in places I might not have thought to look for it myself. Each one, in all different ways, has contributed to making my ordinary world an enchanted place.
But there are plenty of children’s authors I’ve discovered in my adult life who I admire immensely too. When I worked in childcare, that provided me with a wonderful excuse to read contemporary children’s literature. Now that I am writing my own, I can pretend it is ‘research’. But actually I just really, really enjoy it. A few of my great favourites at the moment are Lauren Child, Sally Murphy, Glenda Millard and Sonia Hartnett. Even now, these are the authors who have a knack, for me, of turning the everyday world into a place that can beautiful, interesting and slightly magic.
5. What has been your favourite response to Violet Mackerel so far?
I had a lovely email from a mother who told me that Violet Mackerel’s Brilliant Plot was the first book her seven-year-old had read herself from cover-to-cover. To me that is an amazing honour. I remember the first book I read from cover-to-cover (it was Enid Blyton’s 'The Birthday Kitten') and the tremendous feeling of accomplishment, independence and possibility it represented. It blows me away to think that a child could have had that experience with Violet.
6. Sarah Davis has done a wonderful job illustrating your Violet Mackerel books. How important do you see the illustrations in your books and how do you judge their success?
I love Sarah’s work and feel incredibly lucky to be working with an illustrator and co-creator who has such a beautiful, resonant vision for these characters I am so fond of. I think illustrations are incredibly important. Good illustrations support and further a reader’s own mental imagery, while less successful pictures can distract and even disrupt what is going on in a child’s imagination. I think Sarah has a knack of supplying just enough details to enrich children’s reading experiences, without crowding out their own ideas of how a character or a place or a thing should be.
7. Congratulations on being short-listed for the Children's Book Council Awards. Is it important to have your work recognised in this way?
Thank you! To be honest, I have no real idea how important it is. My daydream, which felt very far-fetched while I was having it, was really just to have one book published. I can still hardly believe even that has really, truly happened. My understanding, though, is that shortlisted books are more likely to be read in primary schools and I find that a wonderfully exciting thought. At my primary school during book week we read Hating Alison Ashley one year and Playing Beattie Bow another. I absolutely loved both and it is a complete joy to imagine Violet being read and discussed in classrooms.
8. What is your current writing project? What has inspired it?
At the moment I am working on a sequel to 'Neville No-Phone', another book being published by Walker Books Australia, due out in August. Neville No-Phone is about a boy who absolutely longs for a mobile phone but whose parents won’t allow him to have one. Neville, his family and his best friend Enzo are a lovely characters to write about and I have great fun with them. They are all inspired by people and situations I know.
Other resources
You can visit the Violet Mackerel website where you will find games, competitions, activities and downloads HERE
This is the second post in my new series on Authors and Illustrators. In each post I provide some background information, look at some of their work and then interview them. In this post I interview husband and wife team Mark Greenwood (author) and Frané Lessac (illustrator) who have worked together on a number of popular children's picture books in recent years.
Both are unique talents and have worked independently of one another. Frané has worked with a wide range of authors of books for younger children. In the early part of her career she was both author and illustrator of a number of picture books. However, in the last 20+ years she has generally worked as an illustrator with other authors. She is of course an accomplished artist. At one stage wanted to make films. Like many creative people she has travelled much, enjoyed observing and living with people of many cultures and has been enriched by the experience.
Mark Greenwood has worked with Frané on seven of his nine books, but he illustrated one himself and also worked with Mark Wilson on one title. His first three books 'Magic Boomerang', 'Outback Adventure' and 'Our Big Island' were prompted by an interest in multicultural literature. In his more recent work he has turned to writing historical narratives for younger children. But Mark has another side to his creative life, for he is an outstanding musician as well. For many years he toured, recording and performing with some of the world's foremost musicians. Now he enjoys working with students of all ages, inspiring and developing their natural curiosity about books, writing and rhythm. He sums up his varied interests this way:
“My task as a writer is to fossick stories that ‘sparkle’ and make us want to read, hear and understand."
Mark is a musician and award-winning children’s author. His books aim to foster a greater appreciation and understanding of Australian myths and legends. Mark enjoys working with students of all ages, inspiring and developing their natural curiosity about books and writing. He has twice won the Western Australian Premier’s Award for children’s books and 'Simpson and His Donkey' was Honour Book in 2009 at the Children’s Book Council of Australia Awards. It also received a US Board on Books for Young People Outstanding International award in the same year. Mark’s latest book is 'Ned Kelly and the Green Sash'. He is married to Frané Lessac and they live with their two children in Western Australia. For more information consult his website.
Frané is originally from New Jersey and is an artist of international renown having exhibited in London, Paris, New York, Los Angeles, and the Caribbean. Residing in Western Australia, Frané now has over 30 children's books published throughout the world. Her work has won Australian and international awards and has been translated into numerous languages. In 2010 she was awarded the Muriel Barwell Award for Distinguished Service to Children's literature. More information about her work can be found on her website.
Mark Greenwood has the ability to take history and turn it into accessible narrative for children that is very powerful. His care with the historical record is evident in his work, but he always seems to be looking for a new angle that might just shed light on a previous telling. This latest book by Mark demonstrates his skill. The story of Ned Kelly has been told so many times, and yet he manages to look at it a new way and centre it in a childhood experience to which many children will be able to relate. He doesn't seek to glorify Kelly, just give us another view. It begins with words spoken by Kelly in the Condemned Cell at Pentridge Gaol:
'I do not pretend that I have led a blameless life, or that one fault justified another, but the public, judging a case like mine, should remember that the darkest life may have a bright side, and after the worst has been said against a man, he may, if he is heard, tell a story in his own rough way'.
The bloodstained sash that Kelly wore at Glenrowan
The narrative centres on the little known story of a green sash given to Kelly as a boy. The book includes brief biographies and fact files on the Kelly Gang along with the true story behind the green sash. The green sash was one of Ned Kelly’s most treasured possessions, given to him when he was eleven years old by Esau Shelton of Avenel, as a reward for rescuing his son from drowning. The public recognition for his bravery was pivotal in Ned’s early days. The sash was to assume poignant significance later in Ned Kelly’s short life when it was last worn beneath Ned’s famous suit of armour, on the day when all his courage was needed. The bloodstained sash was souvenired from the outlaw’s bullet-riddled body after the siege at Glenrowan in 1880. The Green Sash is used to offer a window into the character of a poor barefoot boy who grew up to be the most famous of Australian Bushrangers.
Lessac's wonderful illustrations, painted in bold greens, reds and oranges for the Australian bush, and subdued tones for the goals, greatly adds to the reader's understanding of the times. She brings to life the poverty of the Irish family, struggling to stay alive through drought. The mark of the best illustrators is that they have their own style, born of unique creative experiences and a confidence to add to depth to a story not simply mimic it. In the interview later in the post Frané shares how she was fortunate not to be forced into an unfamiliar style; instead, she was allowed to pursue her own "primitive/naive painting as a legitimate art form". As well as the vitality of her illustrations, she uses a full pallet of colours that children find captivating. The strong contrasts and simple style draw the eye to the key details.
Every Australian and English child who grew up in the 1950s to 70s in Australia would know of the story of Simpson and the donkey he used to retrieve wounded men on the WWI battlefields of the Gallipoli Peninsula in Turkey. This was one of the greatest of all defeats for the forces of Britain, France and of course the Australian and New Zealand armed forces (the ANZACS). In the midst of the massacre of thousands of allied troops and the eight month siege of this isolated beachhead a man and his donkey were responsible for saving many lives, before Simpson was eventually killed on yet another mission.
Mark Greenwood offers a moving story of John Simpson Kirkpatrick and how he and his donkey, Duffy, rescued over 300 men during the campaign at Gallipoli. It traces his life from his home in South Shields in Newcastle (England) and his journey from the Tyne Dock to Turkey. Informed by detailed research, the text includes a brief biography of the man, details of his work at Gallipoli and also the little known story of how one of the many he rescued was actually a childhood friend.
Once again, Lessac's illustrations are a wonderful complement to the story and have a strength of colour that are not controlled by conventions. There are skies of yellow, orange, aqua, purple and all shades of blue. Her unique style draws your eye deep into each plate; no details can easily be missed.
The motivation for this story was a visit by the author to the Fremantle Gaol near Perth Western Australia and the cell that was built especially for a bushranger who was difficult to keep incarcerated. Moondyne Joe was not known for gunfights or holding up stagecoaches in the early days of the colony. It was the convict bushranger's ability to escape each time he was placed behind bars. The early settlers admired him as he roamed the wooded valleys and winding creeks of the Moondyne Hills, wearing a kangaroo-skin cape and possum-skin slippers.
It is difficult to judge from historical records whether Joe was a hardened criminal, or a 'lad' who pushed the boundaries of 'fair' play as he sought freedom. Mark Greenwood does not condemn him, nor defend his actions, yet as a reader, you find yourself willing this young man to freedom.
The simple story is superbly illustrated by the paintings of Frané Lessac. Having visited the Fremantle Gaol I can attest that the pictures are very accurate. The use of varied earth colours also capture the beauty of the West Australian landscape.
As with many of Greenwood's books he adds a glossary of terms and some notes on the convict era that increase the depth of the reader's experience of the book. This is another wonderful book that engages and teaches.
Interview with Mark & Frané
The following brief interview provides an interesting insight into the work of writer and illustrator. To simplify the interview I have framed some of the questions with the book 'The Legend of Moondyke Joe'. If you have any questions of your own please ask them of Mark and Frané and hopefully they will respond.
a) Questions for Mark
1. Could you tell me a little about the inspiration for the book?
I live in a city that is surrounded by what was once regarded as the birth stain of a convict past. I’d often thought about creating a story about our convict past - a fun story, accurate in detail, about the strength of spirit that was nurtured by life in the new colony.
On a trip to the old Fremantle Jail I came upon an unusual, ‘escape proof’ prison cell. That cold, dark, confined space - walls lined with thick timber pegged in with iron spikes, an extra steel plate placed over the barred window - was the spark for the book. Immediately I was drawn to the story of an amazing convict who became a legendary bushranger. Moondyne Joe appealed to me because he had many friends and admirers and won his notoriety for his remarkable escapes from custody.
The aim of the book was to bring to life a legend from convict history, subtly explore the frontier qualities of the Australian bush, and provide children an insight into the early years of settlement. The underlying theme of freedom, independence and determination forms the basis of the historical origins of the Australian legend, and has a universal appeal.
Fremantle Gaol Entrance Today
2. You seem to have done a great job in balancing the 'facts' of Moondyne Joe's life as we know them, the romanticised tellings of his escapades, and your own sense of who he was. How hard was this and how did you arrive at your sense of who Moondyne Joe was?
To get close to Joe’s character and invite readers into his emotions, I imagined the tone of his voice, the way he thought and the way others thought about him. Through research I imagined the bleak windswept shores that greeted convicts in 1853 - and the strength of spirit that was nurtured by life in a sometimes cruel convict colony. Using my ability to dwell in possibility, I tried to conceive what it would be like to meet the bold bushranger face to face. What would he really be like? Defiant, brave, kind or cheeky, innocent or guilty...Moondyne Joe came to life because he was motivated by a goal. The story developed by discovering where the journey took him and what challenges Joe faced.
To do that, I owe special gratitude many people, but particularly Walter Chitty, whose father took food out to Moondyne Joe when he was on the run from the authorities. Walter is an elderly gentleman with a wonderful memory. He was an outstanding source of first hand knowledge of Moondyne Joe.
Through convict stories we get an understanding of daring, wit and opportunism. The ability to keep your nerve, the courage to endure when everything is against you. Laughter in the form of cheek became a Joe’s defence. Humour, laced with bravado, a defining Australian characteristic - the ability to laugh at ourselves – these were qualities that drew me to him.
3. How much interaction did you have with Frané Lessac in producing the final book?
Working with Frané is always a surprise. Although I think I know how she will paint a particular scene when I compose the language, I am always amazed when she brings my characters to life through her art.
We constantly talked about our idea for Moondyne Joe from the beginning of the project so we could visualize the concept together and see it through to the finished book.
Story always comes first. Frané came with me on many of my research trips. Once my text was close to a final version, (after hundreds of rewrites) I handed it over. Frané took the text quite literally and then added the background details not mentioned, details that invite speculation and discussion and give readers a sense of atmosphere and excitement – details that words alone cannot portray. Frané’s work is so detailed that after she’d completed the artwork for Moondyne Joe I was able to give the text a final snip. We’ve found that taking a loss on the words and letting the art tell certain parts of the story always improves a picture book, where visual literacy carries a substantial part of the historical interpretation.
4. How did your interest in historical fiction develop? Were there influential books, people or experiences that motivated or 'nudged' your journey as a writer down this path?
Our past is full of adventures and curious, larger-than-life characters. It is a vibrant and rich vein of material for writers and readers but I wouldn’t have discovered my passion for history if it hadn’t been for a boy who once asked me, “What is Lasseter’s Reef?” Unravelling the story of Lasseter’s treasure of gold took ten years and was the catalyst for an obsession for research that has consumed me ever since.
Now I’m hooked on history. I’m compulsively drawn to foraging through rare bookshops, libraries, curiosity stores, searching for old newspapers and antique maps. I’m curious about the past and have developed a real passion for sifting through research like a detective, analyzing clues, data and evidence. I particularly enjoy going to the places where my stories take place. This helps me to balance creative interpretation with historical authenticity. Finding the remains of Moondyne Joe’s old horse traps hidden deep in the bush, his grave, his escape proof cell, the scene of many of his escapes, was a highlight of the research of this book.
I enjoy the process that comes with discovery. The success of historical fiction depends on the sense of authority an author conveys. Mastering the content is as essential as mastering writing technique. To get to know characters through research is like excavating an archaeological site. You need to brush away layers of time. To reconstruct the life and times of a character requires patience. But without imagination, passion and enthusiasm even a well-documented story can leave readers cold. Writing needs to be accurate but research details should not just be tacked on for effect.
An early image of a dig in search of Lasseter's Reef
Questions for Frané
1. Could you tell the readers of this blog why you became an illustrator of children's books? Was there a special motivation or someone who inspired you to do it?
As a child, being an artist and illustrator seemed a romantic notion. When I moved to the Caribbean island of Montserrat, I immediately fell in love with the people and the place. I began painting the scenery, flora and fauna of the island. I started to exhibit my work and decided the best way to share Montserrat, would be to write a book about the island for children. That was my very first book, My Little Island and I’m happy to say that it’s still in print thirty years later.
2. What have been the greatest influences on your very distinctive style?
I've always loved painting, but never thought I was good enough to be a real artist. Luckily, my art teacher in high school thought I was completely hopeless when he couldn’t teach me perspective, so he left me alone. My school wasn't progressive enough to recognize primitive/naive painting as a legitimate art form.
I spent many weekends in New York City, where I grew up, exploring the finest galleries in the world. I fell in love with artists such as Rousseau, Gauguin and Matisse. Little did I know then how much influence they’d have on my art though out my life with their colour and composition.
3. How much research is required as an illustrator to produce such wonderful images that work so well with the text?
When asked to illustrate a book, I try and visit the place and immerse myself in that environment. If I can’t go, or even if I do, I talk to as many people as possible, visit museums, libraries, see films and read many books on the subject. Sometimes I have to go to dreadful places...like Tahiti or Morocco or Italy.
5. Are there any children's illustrators that you particularly admire?
I admire so many...The genius of Shaun Tan, the humour of Alison Lester, and the craft of Jeannie Baker.
Both Mark & Frané
What has been your favourite response to any of your books?
We were extremely moved when we met a young girl at the Perth Writer’s festival who had stitched together a beautiful cuddly Duffy the Donkey (from Simpson and his Donkey). It was her most treasured possession.
What is your next project?
Our next book is 'The Greatest Liar On Earth – A ‘true’ story.....' published by Walker Books
Books by Mark Greenwood (newest to oldest)
Mark Greenwood (author), illustrated by Frané Lessac, Ned Kelly and the Green Sash
Mark Greenwood (author), illustrated by Frané Lessac, Simpson and his Donkey
Mark Greenwood (author), illustrated by Frané Lessac, The Legend of Moondyne Joe
Mark Greenwood (author), illustrated by Mark Wilson, Fortuyn's Ghost
Mark Greenwood (author & illustrator), The Legend of Lasseter's Reef
Mark Greenwood (author), illustrated by Frané Lessac, Magic Boomerang
Mark Greenwood (author), illustrated by Frané Lessac, Our Big Island
Mark Greenwood (author), illustrated by Frané Lessac, Outback Adventure
Mark Greenwood (author), illustrated by Frané Lessac, Caribbean Alphabet
Books by Frané Lessac (newest to oldest)
a) Illustrated
Mark Greenwood (author), Ned Kelly and the Green Sash Laura Krauss Melmed (author), Heart of Texas Patricia Zelver (author), The Wonderful Towers of Watts
Barbara Ker Wilson (author), The Turtle and the Island
Mark Greenwood (author), The Legend of Moondyne Joe Aleph Kamal (author), The Bird Who Was an Elephant
Rita Golden Gelman (author), Queen Esther Saves Her People
Barbara Ker Wilson (author), The Day of the Elephant
Eric Maddern (author), The Fire Children: A West African Creation Tale
Isaac Olaleye (author), The Distant Talking Drum
Charlotte Pomerantz (author), The Chalk Doll
Mark Greenwood (author), Simpson and his Donkey
Marilyn Singer (author), On the Same Day in March: A Tour of the World's Weather Mark Greenwood (author), Our Big Island
Mark Greenwood (author), Outback Adventure Vashanti Rahaman (author), O Christmas Tree
Monica Gunning (author), Not a Copper Penny in Me House: Poems from the Caribbean
Marilyn Singer (author), Nine O'Clock Lullaby
Laura Melmed (author), New York, New York! The Big Apple from A to Z
Marilyn Singer (author), Monday on the Mississippi
Barbara Ker Wilson (author), Maui and the Big Fish
Jan Wahl (author), Little Gray One
Mark Greenwood (author), Magic Boomerang
Jan Jackson (author), Dragon of Rendonda Anne Rockwell (author), Clouds
Mark Greenwood (author), Caribbean Alphabet
Lee Bennett Hopkins (author), Good Rhymes, Good Times: Original Poems
Irving Burgle (author), compiler, Caribbean Carnival: Songs of the West Indies
Laura Krauss Melmed (author), Capital! Washington D.C. from A to Z
b) Written and Illustrated
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