CBCA ACT Branch Christmas Book Appeal

Veronica Melville (CBCA ACT Appeal Coordinator), Diana Richards (ALIA), Sarah Steed (Libraries ACT), Minister Meegan Fitzharris, Leanne Barrett (CBCA ACT Vice-President), Tania McCartney, James Redden (Harry Hartog Woden) and Jayne Murray (Yarralumula PS)

It's August! Which means Book Week (my favourite week of the year) and also the Children's Book Council of Australia ACT Branch's annual book appeal. I went along to Civic Library today, where Meegan Fitzharris, Minister for Transport Canberra and City Services, officially launched the appeal.

The ACT Branch will be collecting books at a number of sites during August to donate to local charities and refuges, as Christmas gifts for disadvantaged children.

Their 2016 donation target is 1600+ books.

Minister Fitzharris making a book donation

Collection sites are only open during the month of August. Additional locations will be added, so check the CBCA ACT Book Appeal page for updates.

• Libraries ACT branches: Belconnen, Civic, Dickson, Erindale, Gungahlin, Kingston, Kippax, Tuggeranong and Woden
• ALIA ALIA House 9-11 Napier Close Deakin
• Dymocks Belconnen, Canberra Centre and Tuggeranong
• Harry Hartog Bookstore Woden
• Queanbeyan City Library

Let's make 2016 our biggest donation pile yet! and give the gift of books to kids who have so few, this Christmas.

One Word Wisdom with author Kaaron Warren

1. What is the best thing about being an author? 
Creation

2. What�s the worst thing? 
Self-doubt

3. How did writing your novel The Grief Hole make you feel? 
Scared

4. What do you hope it brings its readers? 
Hope

5. What else do you like to do? 
Talk

6. Who has influenced your writing the most? 
Fremlin

7. What has been your biggest career reward?
Response

8. What is the most important contribution an author can make to the world?
Continue

9. What�s your biggest writing goal? 
Infinite

10. What�s next? 
More

Kaaron Warren has been publishing horror and science fiction for more than 20 years. She�s won awards close to home (the Canberra Critics Circle Award) and far away (the Shirley Jackson Award). Kaaron has lived in Melbourne, Sydney, Canberra and Fiji. She�s sold more than 200 short stories, three novels (the multi-award-winning Slights, Walking the Tree and Mistification) and six short story collections including the multi-award-winning Through Splintered Walls. Her latest novel is The Grief Hole (IFWG Publishing Australia) will launch at the Canberra Writers Festival in August 2016.

Pre-order The Grief Hole here, and learn more about 
Kaaron's fabulous books at her website.

Ask Tania: What's the best way to work towards becoming a full-time author?

Dear Tania,
What's the best way to work towards becoming a full-time author?
Cathy

Hi Cathy,

I could write 1000 paragraphs on this! And even then, it would be part-way subjective and would fail to cover all the intricacies and variations and far-reaching tentacles.

Some of us need to work full-time jobs, some of us work part-time, and some of us have the luxury of all the time in the world. Some of us have small kids, older kids, grownup kids, no kids. Some of us are in marriages, some not, some in supportive relationships, some not. Some of us have self-belief and some of us don't. Each author's life situation and journey is unique, and so very many variables contribute to the acquisition (or not) of a full-time writing career.

I could also regale you with the myriad things you 'should' be doing, but honestly? ... other than the fact that each person has a unique life situation that must be navigated around, authorship is changing. Our online world is changing. The way we read books is changing. The way we write and publish is changing. And it's all changing so fast, I reckon by the time you read this, my 'advice' would be redundant.

So, I'm going to go back to brass tacks. I'm going to hand pluck the 'little things' that I've learned in almost 30 years in the writing industry (first magazines, then adult non-fiction, then children's). I reckon if you can resonate with the following stream of consciousness, you stand a good chance of securing full-time authorship.

Bolded entries are especially important. At the end of these points, I'm going to cover Self-Belief and The Flow--also especially important!

Here we go ...

• great work sells; time spent honing your craft is never, ever wasted
• practice, practice, practice--invest in your skills endlessly
• never stop learning
• know your market inside out; live in bookstores whether in person or online; watch what's being published, get to know publisher lists and the work of other creators
• read read read, especially in the genre you want to write in
• write what you love and what calls to you, even if the market doesn't agree
• if you need to work at a full time job, write in your spare time, on weekends and holidays--pass up TV and socialising and all manner of deflections, to dedicate to your craft; this can be tough, but like anything in life, the sacrifices you make for writing are clearly indicative of how much do you want it
• over time, find ways to downscale the full time work you do in terms of hours--then fill those hours with your writing and earning from your writing; over time, if you play it right and dedicate yourself, your writing hours will outweigh the full time work; if your current job would deem this impossible, look for other work
• if you have small children, things will be tougher, of course, but they do grow up eventually; a famous author once told me that I shouldn't even think about being able to achieve an impactful 'career' until my kids were not only older, but had actually left home; so know that one day, you'll have your time (and in the meantime, dedicate what time you can)
• always be curious, and always stretch yourself
• think outside the square and try something new
• learn the formula for storytelling and plot structure, then break all the rules 
• avoid formulaic writing like the plague--surprise your reader
• avoid prescriptive, expositional, predictable, over-written text; write intuitively and don't try to sound like a great writer; rather--BE one
• use your own voice, not someone else's
• avoid overly familiar, typical themes, especially in regard to picture books; if you simply must write about fairies and trucks, do it in an unexpected way
• avoid didactic writing; if you must include messaging, make it barely perceptible, especially in picture books
• never write for publishers or for perceived market gaps; YOU dictate what the market needs (with your fabulous new idea)
• stop asking for critiques of your work; the more others dissect and opine, the faster your work loses authenticity, honesty and clarity; too many cooks DO spoil the broth
• believe in yourself; have faith in your own intuition
• if you do receive criticism, never take it personally, NEVER react badly to it, take what works (or doesn't), let go and move on
• if you get a bad review or an assassination on your character, walk away, let it go, do not respond
• a great idea is far more evocative to an editor or publisher than a perfectly-polished (over-worked) manuscript 
• unique work, with a unique voice is highly sought after
• luck does have a something to do with full-time authorship--but perhaps more than luck--rather being in the right place at the right time; put yourself in situations that increase this 'luck' (you'll find suggestions in this post!)
• always, ALWAYS respond to people in a timely manner--by phone, email, in person; don't leave anyone waiting, even those you perceive 'unimportant'
• always, ALWAYS treat people with respect
• always, ALWAYS thank 
• never look down on, dismiss or judge anyone regarding their work, presence or 'status' in the industry--not only is it mean, you never know who will be whom in five years' time
• ergo, never burn bridges
• excellence all the way--from your beautiful email signature to your carefully proofread manuscript submission
• think twice before gossiping about or deriding colleagues; it's mean and our industry is small
• kindness! generosity! maybe fairydust to some, but you better believe it works
• the vast majority of authors (and illustrators) are smart, intuitive, generous and kind people--get to know them
• give back
• support and uplift your colleagues
• don't look sideways at what anyone else is doing and what they're achieving--put your head down and focus on your own journey
• don't be threatened by anyone else's success--feel genuine happiness for others, even if you don't particularly like their work--there is always enough room in this industry for everyone. Never blow out someone else's candle, because it won't make yours brighter.
• real relationships are everything--get to know people--you may well develop working relationships and opportunities, sure, but you may also make dear lifelong friends and share in immensely rewarding connections and support
• check in on your friends and colleagues--this is a lonely profession--even the high-fliers and those who appear supremely confident, falter sometimes
• never shout about yourself; don't bombard people with sales pitches
• for every promotional post you do, post three that are informative, educational, fun, personal or promoting someone else
• have a solid web presence--a website at the very least; it doesn't have to be fancy, just have one
• don't fret about social networking; have a Facebook page and/or Twitter/Instagram/Pinterest, etc, account and post when you want to!
• be easy to work with and never be demanding
• commit to a writing schedule
• learn ways to streamline your life and kybosh procrastination
• if you are working full-time elsewhere, write at night, on weekends and during holidays--ask yourself, how much do you want this?
• enter competitions and apply for grants
• attend festivals and conferences--they are life-changing and will shuttle your career trajectory into the stratosphere when compared with staying home; meeting publishers personally really does up your chances of becoming known/having work looked at faster/receiving contracts
• get industry involved; this is my TOP TIP and it's huge (and totally underestimated by newbies); do something for your industry; judge awards, support fledglings, volunteer for organisations or festivals, review books for websites, involved yourself with CBCA or SCBWI or ACLA or other children's lit organisations; I frequently volunteer, and founded Kids' Book Review and the 52-Week Illustration Challenge, but you don't have to invest an enormous amount of time and energy--just do SOMETHING!
• if you don't know something, ask others (or google it!)
• try not to use too many exclamation points!!! 
• expect nothing while you expect big things
• BE PATIENT--gaining any kind of industry recognition can take at least three years (if you're active in the industry!)--and most authors wait at least 10 years before making a solid impact with their books
• realise now that much of an author's income doesn't come from books--it comes from events, talks, presentations, school visits and other writing gigs; much of mine comes from ELR/PLR payments, copyright payments, presentations and events; also know that over time, your wage will increase as you have more books on the market and earn more ELR/PLR, copyright and reprint payments
• support other creators--attend book launches and writerly/literary events
• be self-effacing; be willing to look objectively at your work and see where you can do better (we are always improving!)
• tenacity and hard work is as vital as talent, oftentimes more so (there are plenty of supremely talented creators who will never publish because they give up or expect things to be handed to them)
• understand this: you simply must put in the hard yards; this career is HARD WORK ... thank goodness it's so much fun
  
• a hole-in-one IS possible; but how many times are you willing to hit the ball?
• believe in yourself
• have I said 'believe in yourself'?

Self-Belief
Self-belief is a curious thing. It's like the tide--it ebbs and flows, and this affects all of us, no matter where we are in our writing career. Any writer's biggest hurdle is self-belief. It's not publishers or editors or the market. It's how we feel about our own work, and how much we believe in it. (And I'm talking truly madly deeply--in our heart. Our brains can tell us they believe in us all they want. It has to come from the heart.)

Having self-belief doesn't mean we stand on chairs and shout. We can be quiet and have self-belief. We can be shy and have self-belief. But the bottom line is--if we don't believe in ourselves and our voice and our stories, publishers won't, and readers won't.

If we want to make authorship a full-time career, we need to believe in ourselves enough to commit the considerable time and energy required to write full-time. We need to trust, despite the inherent solitude and rejection authors suffer, that our investment will pay off. And we have to MAKE that investment--in ourselves and in our work, always bettering ourselves and our words. Growing, moving, changing. Listening to what calls us ... and honouring that call.

We need to trust that we can still be standing after many years of 'getting nowhere', and that we will not (nay, CANnot) give up. Tenacity is as vital as talent in this industry, and although it's tempting (and normal!) to have moments of 'why am I doing this? will I ever get anywhere?!', we must move through them if writing is our true calling. And get back to writing.

Elizabeth Gilbert once spoke of a very talented writer friend who gave up on his authorship journey because he was tired of getting nowhere. She described him as supremely talented, and she remember being shocked and desperate that he would give up 'so easily', but the fact was this: it didn't mean enough to him. He actually told her that. Writing didn't mean enough to him to continue to suffer the slings and arrows of rejection, editing, and idle waiting. So he moved onto other things, and he did so happily.

Indeed, perhaps some of us think we want to write (it IS fun!) but maybe it's not our truest passion or calling. We get this idea in our heads that it will be a certain way and when it proves otherwise, we might become disillusioned and question our direction. And that's okay. We can move on.

But, if like me, writing is like oxygen to you--you can't live without it--then embrace it, claim it and give it every ounce of self-belief you have. This kind of courage and passion is like a magnet for your full-time authorship desire. It's powerful stuff.

The Flow
On a similar note to Self-Belief, above, I really do believe that we need to do what makes our heart sing, yes, but also what fully absorbs us. When we become lost in our work, that's when we know we're on the right path and have stepped into life's flow. Things come easily, things just sort of 'work out'--the obstacles slide on by, synchronicity is rife, and little miracles pop up with sign posts saying 'this way', 'enter this!' and 'meet such-and-such--she's looking for someone like you'.

When obstacles begin flourishing, when things become fraught, difficult, agonising, unbalanced, or just feel 'off', you've stepped out of the flow, and are, mayhaps, not doing what's right for you. You're standing on the riverbank and the water is rushing past and you're feeling that desperate ache in your chest that you're getting nowhere and are somehow missing out/something is not right. It's like you're pining for something and don't even know what it is. (A friend recently made a big realisation in this vein and has made some huge decisions about her future career, which may lie completely outside the kids' market--so utterly inspirational! and brave!)

But when you step back into the river and relax and go with it, you notice the river is running more gently and more smoothly than it appeared on that riverbank. And you are floating along nicely and you are passing wonderful opportunities and people and they're jumping into the river to float alongside you and you just feel GOOD. You float around obstacles and don't even need to look sideways. Your eyes are on the river--the journey. And you're soaking wet, you're so absorbed.

That's being in the flow.

Finding yourself out of the flow doesn't have to mean your writing career is over. It can simply mean you need to change genre. I've lost count of the times a friend or someone I'm mentoring realises the book they've written is sitting in the wrong genre '... whaaaa? It's a picture book, not a chapter book!' or vice versa. A friend recently made an enormous realisation that her future didn't lie in children's picture books. She was meant to write adult romance. And voila--she's just signed a huge deal with a major publisher of women's romance novels!

Perhaps you just need to change your direction or style or skillset. A couple of years ago, I made the realisation that I really wanted (needed!) to illustrate as well as write. I hadn't picked up a paint brush since my early 20s (I was a prolific illustrator back then) and had no idea where to restart. But restart, I did (via the 52-Week Illustration Challenge) and my first self-illustrated book, Australia Illustrated, is out November 2016. I've also just signed a contract to illustrate a major children's compilation.

If you had told me I'd be doing this even two years ago, I would never have believed you. But I couldn't be happier, more excited or more absorbed by this new, unexpected (deliciously pined-for) turn of events--and all because I just went with the flow. I went with what called me at the time.

Who knows, in six months I might be embarking on another direction--so long as I sit in that river and follow the flow. Who wants to sit on the river bank and watch it all go by? Not me.

So, Cathy, jump in that river. Your full-time authorship awaits.

Tania

ALSO... see my other Ask Tania topics...

See all the questions so far

And check out my Fantastical Flying Creator for priceless tips and exercises on flying high in this jam-packed creative world. Click the poster below for more.

Ask Tania: I'm media-terrified. How do I promote my work without putting my foot in it?

Dear Tania, 

I'll get straight to the point. I'm media-terrified. Interviews unnerve me, as I never know what question is coming, if my responses will sound dumb, if I'm saying the wrong thing, or--worst of all--if I don't even know what to say. This is also a worry when I need to do presentations. How do I promote my work without putting my foot in it?

J

Hi, J,

You are not alone! Even the most seasoned creators experience angst and nerves before an interview or speaking engagement. I don't think I'll ever get used to it, personally, and there's been times where I've literally not slept the night before, I've been so angst-ridden. 

I think the first thing to remember is that feeling nervous is absolutely normal, and is a human  reaction that almost everyone experiences, no matter how confident or seasoned they are. When we really absorb this knowledge and really embrace it, we feel a lot better about ourselves.

I also think that 90% of nerves are anticipation. It's all in the lead-up. It's the 'unknown' that unnerves us (and indeed, you expressed this in your question--not knowing what's coming). Once we're actually IN the interview or the talk, most of the angst melts away as we are operating in the Now, and are not pre-thinking or pre-empting what might happen next.

Of course, there are some people who do pre-think and pre-empt during their interview or talk, and when this happens, mouths dry up, voices start shaking, and stage fright sets in, sometimes rendering the speaker mute. If you find yourself experiencing any of these things (I have once or twice), focus on the moment and what's happening in the Now. Focus on the question, pause, take a deep breath and a drink of water, then speak from the heart. The angst levels will drop rapidly if you can do this.

The second most important thing to remember is that people really do want you to succeed. Audiences and interviewers want a great talk and a great interview. They don't want you to struggle or be fearful. If you're speaking in front of an audience and your voice starts to shake, the audience will feel either awkward or sorry for you, or will feel compelled to back you and ease your fears. Look for an audience member who might be smiling, or engaging you with eye contact, but above all, remember that they do want you to succeed. Better yet, make light of your shaking voice--mention it and have a laugh. Tell the audience you're nervous. Be real.

In all the radio interviews I've done over the years, I've only ever experienced two that were a little 'difficult'--both in terms of confronting questions and/or accusations or inferences, and in terms of the general 'feel' of things. So they're very rare. And I've only experience one talk that was uncomfortable--where the audience was unresponsive and some audience members were cold.

I got through these by being 100% myself, by laughing, by allowing myself to fumble and make mistakes, to make light of those mistakes, and to admit when I didn't know something or couldn't answer a question. 

Once, during a radio interview, the host kept asking inappropriate questions and I just outright told him I wasn't comfortable answering that question, or that the question was irrelevant to the work. He backed off immediately and went onto the next question.

Another great way to skip over a question that you don't want to answer is to respond with a one word answer and then stay silent. It's the host's job to carry the interview, not yours. And good interviewers will immediately sense your reluctance, and happily divert. Bad interviewers will persist or even get snarky--and that's solely their own agenda and has nothing to do with you. I would more than happily end an interview if I was being abused in some way--would not even hesitate (I think that would be exceedingly rare).

On that note, don't ever feel threatened by silence in an interview or talk of any kind. What feels like a half-hour pause to you is only a few seconds in reality, and never feels long to the listener. 

If you find yourself in a situation where you literally don't know what to say, perhaps ask for the question again, and then look for elements in the question that will lead you to something else--or something related to that same topic. If you're still stumped, just tell it is like it is: say you're not sure.

If you are lighthearted, 100% yourself, and 100% real, you really can't go wrong in any speaking situation. And if an interviewer or an audience member is a jerk, trust me when I say the listeners/rest of audience will see it, and it won't be you they'll be rolling their eyes at.

For one of my books, that sometimes attracted externalised political questions, I asked my publicist to pre-inform hosts that I wouldn't be answering political questions (indeed, I was unable to, due to my husband's work). I asked if we could please make it about the book, and nothing else--and every interviewer honoured that. So, that's also an option if you find interviewers becoming consistently pushy over something inappropriate.

I have this saying that I always tell myself whenever I speak publicly:

I know my stuff.

I don't give a stuff. 

I can't even tell you how much this helps with nerves. The fact is, I DO know my stuff, as do you. Anything I'm speaking on or talking about is 100% my knowledge and my experience/work, so I know I can always speak with authority and confidence. And if I'm asked a question that's outside my world, I simply say 'I don't know' or 'not sure, but you could ask this person/organisation'. This doesn't make you look like an idiot. It makes you look real, self-effacing and honest. People love that.

The other is to not give a stuff. When you're speaking or being interviewed, your goal is not to have everyone love and adore you. Your goal is to fulfill the concepts and messages related to the event/topic at hand. So, deliver them, then let go.  

A good thing to remember is that each person will take your words and concepts in different ways and there is absolutely nothing you can do about that. People see and hear through filters and lenses that have nothing to do with you. They twist and manipulate meaning (whether positively or negatively) to suit their own agenda and beliefs. So why stress over what people will think when you speak? It's pointless because if someone wants to think ill of you, you could be pooping rainbows and flowers, and they'll still find fault.

If someone is ever rude or demeaning to you (so very rare!), remember that audiences can see or hear who's being the jerk, and if they can't, they're not worth worrying about anyway.

As for saying something 'stupid', again you are not alone. We all do it. I do it more that I'd like! and it's either from nerves or trying to be funny or goodness knows what--sometimes we just say things we don't mean, or they come out the wrong way. I've made comments during my talks that I STILL have a physical reaction over, years later. I worry what people will think of me over those comments, and again, this is normal! But we really have to remember that if people want to judge us over one comment or slip of the tongue, that says more about them than you.

As for saying something that's taken out of context or even misquoted, I've also been on the receiving end of that, as have most people. It's something that comes with the territory and, unless it's libel, you just have to brush off, no matter how seemingly unfair. I had a journalist from the Canberra Times put her own spin on a long interview for my book Beijing Tai Tai, conjecturing and adding her own two cents to my personal, actual experiences (ie: putting words in my mouth). This is a no-no in journalism, as an interview is NOT about the journalist (just as editing is not about the editor). I'm still surprised the newspaper editor let this one through, but I do realise now that the journalist was enormously inexperienced, and would never get far in her career if she continued to condescend her interviewees.

Remember that all interviews, print, radio, TV, disappear quickly. People don't remember them, and will soon be onto the next thing. 

J, I know everything I've said is probably nothing new to you! I'm also aware that, in the heat of the moment, no amount of philosophising can help. But these things really are worth rehashing, because they're true. And if you can actively live them and repeat them over and over in your mind as your career grows and expands, you'll find yourself far less anxious before any kind of interview or speaking engagement.

Some authors I know have taken public speaking courses, and some have even taken stand-up comedy courses, to help with their speaking journey, and there are many other ways you can up your confidence. Here are some overall tips and reminders for dealing with interviews and talks:

Interviews

• look your interviewer up online; read their bio and find a photo of them--I find this really helps personalise the experience
• ask if the interview will be live or pre-recorded, and how long it will go for
• prepare a handful of questions and answers that are likely to crop up
• make dot points of responses to questions you might expect overall
• have your book on hand, perhaps with some pages marked if you want to read extracts
• have numbers and statistics and quotes on hand if you think they may arise
• have a glass of water nearby
• if you're doing a phone interview at home, be sure your surroundings are quiet
• speak evenly and slowly--don't rush
• pauses are good; silence is good; don't be afraid of either
• be open and warm with your host--they want you to succeed
• try not to say 'um'; this is enormously distracting for the listener; I once listened to a woman use the word 'um' every three or four beats--it was so horrendous, I had to change the station; so be aware of them--pause and take a breath rather than fill it with 'um'
• take long, slow deep breaths before and during the interview (and after!)
• listen carefully to the questions and don't pre-empt things or get lost in other thoughts, as you may miss the question
• if you do miss the question, or don't understand it, ask to hear it again
• be sure to actually answer the question (unless you don't want to!) and don't go off on tangents
• say 'I don't know' or change the subject if topics become difficult 
• for questions you absolutely don't want to answer, take it and lead to something else 'that reminds me of...' 'that leads to a bigger issue...' 'that's the same as when...' this is called 'bridging'
• if the interviewer says something you disagree with or that's inaccurate, don't hesitate to disagree and then state your case calmly and warmly 
• if the interviewer leaves a pause to try to incite you to more comment, refuse it (if uncomfortable); stay silent--the interview is their responsibility, not yours
• if you do say something in error or 'put your foot in it', correct yourself straight away; laugh
• be clear and succinct--don't elaborate too much on one topic, and know when to shut up
• don't talk over the host
• relax and be informal; laugh, respond to banter, keep things light
• be 100% yourself, warts and all
• know your stuff, don't give a stuff

Talks

• know your audience and speak at their level
• make it about your work or presi content, not about you
• organise your content in advance and have it all ready to go 
• practice your presi for length and stick to your presentation time frame; ask for a 5-minute warning bell, if needed (I always do)
• don't speak too fast or too slow; take consistent pause, especially between topics
• don't pace or make repetitious movements (brushing aside a fringe, pushing up glasses)
• stop with the umming 
• speak loudly--make sure everyone can hear you
• vary the tone of your voice so it doesn't become monotone
• never read out the dot-points on your slides; use them as reference only
• look around the room, not at one person
• if someone is scowling at you, know that 99% of the time, they're not upset with you--some people just have odd or negative resting/listening faces--seriously!
• if someone is being openly hostile or rude, rolling their eyes or giving you evils, DO NOT LOOK AT THEM AGAIN! completely ignore them
• be clear and brief, especially when asked questions
• try to speak off-the-cuff, without reading notes--you may surprise yourself how much better your talk is when you trust yourself to speak on the spot
• watch for audience boredom and adjust your energy to suit
• if you have a PowerPoint presi, make the slides attractive and actually viewable! no odd colours or bad contrast/lighting/small type and images/typos
• display your books nearby
• mention any book signings at the end--don't rely on your host to let people know
• leave enough time for questions at the end 
• leave handouts to the end (they are popular)
• relax and be informal; laugh, respond to banter, keep things light
• take deep breaths and sip water when needed
• remember, your audience wants you to succeed
• be 100% yourself, warts and all
• know your stuff, don't give a stuff 
• see my post on Presenting Brilliant Presentations.

I wish you the very best on your interview and speaking journey!

Tania

See all the questions so far ...

Beijing Tai Tai turns Chinese

I loved living in China (2005 - 2009). Absolutely loved it. It changed my life--and the life of my family--in ways too numerous to mention. I think the world would be a very different and far more peaceful place if we, each and every one, had the chance to live in a country that's hugely different from our own. One that stretches and opens our hearts and minds. One that takes us out of our comfort zone and teaches are that we are all, indeed, one race. The human race.

Could you imagine? Yes, the world would be a very different place.

I really miss China and would love to go back and see how much it's changed since 2009. I miss the people, the food, the quirks, the smells, the ceremony. I miss the sweetest and tiniest things, like the call of the nut and seed sellers as they peddle their 3-wheeler carts through the streets. The eye-boggling beauty of the flower and fruit markets. The ceremony of tea.

So, it's a real honour to have Beijing Tai Tai translated for the Chinese market (thank you, Exisle Publishing and Shanghai Joint Publishing Company and Big Apple Agency, Malaysia!

It's quite surreal to see my text in Simplified Chinese, not to mention the interesting (but very Chinese-market-savvy) cover and the even more interesting occasional internal images!

I'm not too sure what this mixture of reto line-drawings have to do with Tai Tai, but I love them all the same--they're so kitsch!

And now to see what the Chinese market thinks of the book...

a dent in my reading stash

Hello!

I've had a truly lovely school holiday break. I had every intention of consistently pausing, reclining somewhere soft, and reading until my eyes crossed ... and I'm pleased to report this actually happened! I know! Of course, reading never happens as much I'd like--but then, is it ever possible to read as much as we'd like? The answer to that question is [Pokemon] No.

I even let the house go (so, today--a massive cleaning spree; even the windows) and just did things that made me smile. I went to galleries and sipped great coffee with my husband, shopped with my girl, cooked and pottered with my boy, caught up with friends, walked in nature, watched period drama and Disney movies, caught up on documentaries and some comedy, and clocked up three or four certificates on Lynda.com (currently studying graphic design and upping my Adobe Illustrator skills).

However. As is always the way, 'work' crept in (even as I dashed and skipped and curled under a blanket to avoid it), so I also worked with my publisher and graphic designer to send Australia Illustrated to print (another sneak peek image at the bottom of this post), signed my very first illustration contract for an exciting National Library book (will reveal more eventually, but all hush hush for now), heard exciting news about some of my books, including an overseas translation for Smile Cry!) and worked on some internal images for one of my junior fiction WIPs.

Of course, none of these things proved at all pesky! But they did get in the way of my reading marathon. Ahem. Nevertheless, here is what I managed to pass my eyes over these past three weeks. I got through a hefty chunk of these two--amazing to the power of a billion times 40!

I also got some old and new classic works though my eyeballs and into my heart:

I also made a larger dent in these (have been struggling a little with both for some time--not sure why, just am; these things happen sometimes ... but they're both worth persisting with):

And I also managed (it's really not a stretch, trust me) to devour some sensational children's books--about three times this amount, in truth, but these are my faves:

I hope you and the kids had a sunshiny, book-ridden winter holiday period and have a productive and fulfilling catch-up time ahead. To set myself firmly back in work mode, here is another illustration peek at Australia Illustrated (out November). Have a fabulous week!

Tx