Date:	2009-06-04 17:16
Subject:	Success!
Security:	Public
Mood:	cheerful

Signed two contracts today for children's educational fiction with Blake Ed. They are part of the 'Sparklers' fiction series.

I already have three 'Gigglers' with Blake Ed. They are a sensational company to work with and the 'Gigglers' were top class books. Can't wait to see the finished product.

I'm getting great reviews for "Being Bella Wang" in SHiNY mag I'd like to share:

The Fix

As If

Last Short Story. Tansy already had Being Bella Wang on her list of favs for 2008.

The Elephant Forgets - go down to 9 Dec.

That's 4 positives from 4 reviews. A new record for me.

What happens when the marketing machine breaks down?

This is what. Blogs and emails go out to let you know about a great new book by a local author who is not only extremely talented, funny, and hardworking, but extaordinarily generous. Sherryl's given help to every other author she's ever met. So who could let a chance to pay back that kindness slip by.

Not only do you get a great story by one of the best children's writers in the country, it is beautifully illustrated by Tom Jellet. His illustrations are practically synonymous with fun Aussie books.

See Sherryl's email below:

From: Sherryl Clark
Date: 9 November 2008


Subject: The Littlest Pirate and me


Dear family and friends,
I'm trying out something new (well, it's new for me!) and would really appreciate your help. My new picture book, The Littlest Pirate, is out in time for Christmas gift buying, which is great. What's not so great is that nobody knows about it! No publicity that I can see.


So I thought I'd attempt something of my own. If you could forward this email to anyone you know who might be interested (e.g. people with kids and grandkids), that would be an enormous help. And if you have received this email from a friend, if you could forward it on as well, that would be fantastic. I guess I'm trying my own version of "internet marketing"! And hoping you will all help me.


The picture book is wonderful - full colour and in a hardback edition with a jacket. What's even better is that Penguin have priced it for the gift buyers at $19.95. (The average price of a hardback picture book these days is around $28.) It's a longer story, suitable for ages 3 up to 7.
I'm attaching a picture of the cover - it's pretty eye-catching!
I've been told by friends that it's in plenty of bookshops so hope you will consider it as a present for someone, or at least pass this on.
Many thanks.
Sherryl

SHINY a YA SF mag is out now and one of its stories is mine.

Being Bella Wang is a short story where I got to combine a bit of Asian myth with a bit of science fiction and Australian values.

It was a case of writing what I wanted to write (I'd been thinking about writing stories set in SE Asia for years) and editors actually liking it.

Thinking about doing more of that, ignoring the market and writing what I want stuff. It's a lot more fun that way.

Get your copy here:
http://shinymag.blogspot.com/

Or here:
http://girliejones.livejournal.com/1142391.html


In sad news Sputnik 57 is no more. They had two of my stories there, the Clarion one about the Luggage Carousel, and that old odd slapstick SF, Delicacy. All rights revert to me... but what do I do with them?

Reminder: Time for all you self-employed writer types to top up your super with your contribution so the government will match it because self-employed writer types are all low-income earners. Don't leave it till the last day like I usually do.

Pay your BAS for this quarter, start getting all those 07/08 invoices and receipts in a pile and wait for those little yellow slips to roll in from all your part-time jobs and the final BAS sheet to rock up and then you'll only have to put all the amounts into columns the night before you head off to the accountant to get all your tax back. Yes, you're a writer, you didn't make enough money this year, you should get all your tax back. If you don't, look at your record-keeping and ask your accountant what else you should be claiming.

I wandered into the movie room at MacDibble Hotel last night and a movie had already started. I waited till someone got up and stole a comfy chair and settled down to watch. Within five minutes I sat bolt upright and exclaimed: "I recognise that dialogue!" It wasn't a book I'd read, although it was a book I'd attempted to buy without success, so for me to recognise the dialogue was merely me recognising the writer's style. A quick crawl around the floor hunting for the remote in the dark, which cost me my comfy chair and caused a wail of protests as the blue info window partially obscured the movie, proved that the movie was Stardust by Neil Gaiman.

Until that moment, I hadn't registered that Gaiman's style was so distinguishable from other great writers. It felt very English in the movie, so that narrowed it down I suppose, and it was clearly a fantasy mix so that narrowed it down even further but it wasn't until I heard a bit of dialogue that the brain went "PING!"

Of course, in a movie, all that's left of the writer's words IS the dialogue, unless there is a narrator. Anyway, fun movie, great dialogue, watch it and pay attention to that Gaiman style and think about your own style.

I've just completed a webdesign course through Chisholm Institute (92% on the final exam!), in the hope that making webpages for people will provide me with a little more income, and I'm back teaching science fiction in schools around Melbourne. I was teaching SF a few years ago and quickly got through all the children interested in science fiction, so I got a part-time job doing office work instead, but since I've been away, there seems to be a surge in interest in science fiction and other teachers have stepped in and picked up topics like space travel and alien creature building which were some of the things that I did with the kids. I was surprised, but the new interest of the children and other teachers reflected the publishers' interest at the CBC Con recently. Obviously science fiction appeals more people than it used to. I spent years thinking I was some kind of genre geek, when I was clearly just ahead of my time.

This is an argument for following your muse no matter how geeky it may seem at the time.

The CBC conference was in Melbourne this weekend almost gone and I'd been looking forward to it for a while. I couldn't get to Sydney for the SCBWI conference earlier and had to listen to other children's writers rave about how great it was so I was pining for anything to do with children's books to come to Melbourne.

Imagine my disappointment when I found out the tickets to the CBC conference were $800. Welcome reception was an additional $38 and the conference dinner was an additional $125. Clearly these were not prices aimed at authors.

The guest speakers were Shaun Tan and Neil Gaiman and I'd already seen Neil speak at the Melbourne SFF Natcon a couple of years ago and seen Shaun's work at SF cons all over. Also, going through the list of what else was on offer via panels etc, there was a lot of similar stuff/speakers I'd seen elsewhere and with only a few panels I wanted to see, in short, I just couldn't talk myself out of $800.

Luckily, the keynote speeches by Shaun and Neil were open to the public for a mere $25 each and that gave the public entry to the trade room and the general areas and that was all I needed.

Admittedly, there have been SF cons where I've spent the bulk of the con in the bar chatting to other writers, editors etc, despite having paid for the whole con, so to set out to catch the keynote addresses and spend the rest of the time chatting in the general area was at least more honest. And it worked out brilliantly.

Shaun Tan's talk was absolutely gorgeous and I fell in love with every single one of his works instantly, and Neil was his usual articulate self... altho I think I like the speech he gave at the Natcon a couple of years ago better. It was more off-the-cuff two years ago. There was a lot of structure and poetry in today's speech which was beautiful but less personal.

I wandered the stands learning about the publishers and even had a few publishers interested in my work, which pretty much stunned me. Publishers asking me? Then I thought, surely, they'll run a mile when I say those evil words "science fiction"... and I was stunned again. They all seemed to like the idea of science fiction. How many years had I been waiting to meet publishers like this? I even saw a full-on SF terraforming YA novel in the Harper Collins stand. Four years ago I remember having a conversation with an editor at Harper Collins about how YA SF would never be their thing. It wasn't under a local imprint but still... it looks like the tide is turning. I don't know if the golden-age of SF is returning or if SF is joining the mainstream, but I smell opportunities in the air.

So if anyone wants to go to a con and just can't afford it, take advantage of any sessions open to the public or just locate the nearest bar and hang out, laid back and casual. You'll soon meet someone to chat to.

But I have been busy.

A few stories are being held at publishers awaiting decisions, meaning that I heard the call for submissions, I did the writing and I met the deadlines. It's not always easy to get these three things right. I have high hopes... high and desperate hopes. The children's educational market in Australia seemed to slam on the brakes a couple of years ago, but, of course, Australian children need to read Australian-produced fiction, and I think the saving of ELR and PLR means that the government eventually realised that the industry needs a little support. Didn't we have to make a lot of noise before they heard, tho?

It's good to see the publishers moving forwards and calling for submissions. It's very exciting these days. No deadlines can be allowed to pass because they're so precious. The ASA recently published an interesting report on the state of children's writing in Australia, which lends facts and figures to the pinch we're all feeling. You can read it HERE.

Shiny Mag like another sub of mine, and will probably publish it sometime this year. I'm really pleased with the feel of it. It's futuristic mythical YA set in Asia. I'd like to write more stories like this. I think it has a lot of appealing elements. If you like reading Australian-flavoured YA don't forget to pick up your subscription to Shiny. "The Sun People" by Sue Isle in Shiny Issue 2 recently won a Tin Duck so it's now an award-winning emag and still ridiculously priced.

I was one of the finalists in the Julius Vogel Awards announced at an easter weekend con in Wellington. I was beaten in the short story section by Lucy Sussex, and Paul Haines picked up an award for his collection of short stories and novellas Doorways for the Dispossessed. So we West Island Kiwis were suitably happy with the results. Well done Lucy and Paul.

I was interviewed recently at Sputnik 57 who seem unnaturally impressed with my writing abilities. You can read the interview HERE.

The Pony Game (Lothian Books)
ISBN 978 0 7344 1005 4 QBD Bookshop

Welcome to Day 6 of THE PONY GAME Blog Book Tour!

You can revisit previous venues here:

Day 1 - Mon 10 Dec - Tina Marie Clark's What is Happening in my Office?
Day 2 - Tue 11 Dec - Claire Saxby's Let's Have Words
Day 3 - Wed 12 Dec - Sally Odgers' Spinning Pearls
Day 4 - Thu 13 Dec - Jacqui Grantford's JacquiGrantford.com
Day 5 - Fri 14 Dec - Sally Murphy's Scribblings

Bren: Welcome, Robyn, to the final day of your blog book tour.

Robyn: Thanks, Bren, for inviting me to your blog. It's great to be here.

Bren: How has the journey from blog to blog been?

Robyn: It's been great! Fantastic! All of the blog hosts have been wonderful. You are a bunch of friendly - I was going to say nice but I'm not fond of that word - supportive people and I feel honoured to have you as writing buddies. Answering the questions has been an interesting experience too. Your questions made me think - really think. Sure, we think about things ourselves but it's different when other people ask the questions. You've lead me off into different directions, new places I haven't explored before. Thank you for the experience. I appreciate the time and effort everyone has put into this blog tour. I recommend it and am happy to return the favour.

Bren: I like that The Pony Game is different to most pony books because the protagonist doesn't actually have her own pony even though a pony enters the story. I think a lot of children will relate to having to invent a Pony Game. You were also fortunate enough to have the talented and funky Elise Hurst illustrate your cover. Did you meet Elise or have any input into her design? How proud of this book are you? Is there any question you haven't been asked about the Pony Game yet?

Robyn: No, I haven't met Elise. But we now have the same literary agent. I hope to meet Elise one day and tell her how much I appreciated her being a part of "The Pony Game". No, I didn't get any input into her design. I loved her "rough illustrations" and thought she captured the story and characters well. It was almost as if she was in my head and childhood. I'm pleased that she illustrated the book and helped make it as beautiful as it is. So, yes, I'm very proud of it. I'm sure there are questions I haven't been asked yet. But I think we've done a good job, without going on and on forever and boring people to death. We don't want them to end up hating the sound of three little words - "The Pony Game".

Bren: The Pony Game is actually one book in a very busy year for you. You've had seven books published this year and already have six lined up for next year! A few books jump out at me. For instance, Child Heroes, a story about Iqbal Masih, a carpet factory labourer in Pakistan who spoke out about child slavery. What a fascinating and courageous boy. How did you go about putting his story together?

Robyn: This book has an interesting history. I was commissioned by Era Publications to write a book Child Heroes and include three child heroes, one being Anne Frank. It was the US publisher who works with Era that suggested this title and Anne Frank's inclusion. So, off I went to research child heroes on the Internet. I picked three with different backgrounds and themes - Anne Frank, iqbal Masih and The Tree Musketeers. The editor approved my choices and I went to work. However, I soon realised that Iqbal's story was so strong it was taking over the book. I did all my research on the Internet, spent hours poring over information and checking facts. During this time, I fell in love with Iqbal. He became my hero. I finished the manuscript and sent it to the Era editor, pointing out that Iqbal's story shone so brightly it made everyone else look pale in comparison. even though they had their own heroic stories. I didn't hear a word on the manuscript for months. Then I was called into the Era office. Uh-oh! It felt like I was being called to the Principal's office. The editor sat me down and explained that they'd decided to make the entire book about Iqbal. Was I surprised? No, Iqbal has that effect on people. Was I happy? You bet! Iqbal is an amazing boy. He is no longer with us, unfortunately, but I'll never refer to him in the past tense. He lives on. His bravery, selflessness, determination, belief - inspiration - is still part of our lives. As you can see, I'm passionate about Iqbal Masih. You can go HERE to view the cover and see this brave hero.

Bren: Another book I see coming up is Black Baron with Walker Books. Is that a full on glossy picture book? I understand that the protagonist is a racing cockroach. Of course! What an endless source of stories you could have about a racing cockroach. You could even add another story about his cousin from Queensland, the flying cockroach! (I hate how they fly). Tell me all about this new book: How stoked are you? Who is the illustrator? Why a cockroach? etc.

Robyn: "Black Baron" is a novel for 9 to 13 year olds. It will be one of the first books released in a new series, Lightning Strikes, by Walker Books due out in May 2008. I'm very excited about it. "Black Baron" is probably my favourite fiction book and my favourite fictional character. "Child Heroes: Iqbal Masih" is my favourite non-fiction title. It is a novel, so there aren't any illustrations. Why a cockroach? Hmmm... When I started "Black Baron", my aim was to write a funny story for boys. I love writing funny stories for boys. I thought about the things that boys liked and decided to write about bugs. I wanted to be different so I decided on a racing cockroach. At the start, I thought of cockroaches as dirty, stinking, rotten pests. Yuck! They have to die! Then I began writing and pretty soon I was in love with Black Baron. I was faced with a dilemma. My original idea and plot outline meant that Black Baron had to die... dirty, stinking, rotten... But I'd stopped thinking of him that way. Now I thought he was cute, wonderful - a champion racing hero. Did I kill him as I first intended? Or did I let him live? I eventually came up with a different ending I was happy with. You'll just have to read it to find out what happens to Black Baron - and his manager, Jake. I shudder at the thought of flying cockroaches!

Bren: I interviewed you a couple of years ago for my book, "How to Become a Children's Writer" in which you talked about other avenues of income for writers and balancing finding income with finding time to write. I have been fascinated with your career ever since. I think we both started getting children's books published in the same year but, of course, you are up to around 70 children's books now and have launched a career built around writing while I've pussy-footed around working conventional jobs and my mere 25 publications are in multiple genres, medias, and age groups. I feel like a butterfly in a blizzard next to the Rock of Gilbraltar. You seem to have tremendous focus and drive. How do you maintain that drive and what other ways do you bring in income to survive as a writer?

Robyn: Obsession! Honestly, I'm obssessed. Writing is my life. I'm a full time writer now. Having a "proper job" used to frustrate me because I wanted to write while I was at work and work got in the way - or the bosses did. There never seemed enough spare time to write. So I do have an advantage on you now, Bren, because I can commit myself to writing at least 8 hours a day. I think the more you write, the more obsessed about it you become. I never used to be this obssessed about writing. My partner is a writer too, so we talk about writing and writing related subjects a lot. We also work on projects together. We've just written a screenplay together, which felt more like spending quality time together than work. I don't have any children, though my partner does. So we do have child-distractions but on a part-time basis. I find it difficult to do anything other than write. Dragging myself to the supermarket is difficult. And forget housework!
My e-books and writing courses on the Internet bring in some regular income. I do author visits to schools and other paying gigs. Now, I'm working as a screenwriter too. ELR and PLR make a big difference. One of the reasons I can write full time is the fantastic lack of a mortgage. I own my house because, for many years, my husband and I invested in real estate and were able to use the capital gains to pay off our own home. The lack of a mortgage - any loans, actually - means I don't need a huge income to survive.

Bren: Looking through your list of books, it seems that you have very good relationships with some very busy publishers. I know that good relationships with editors has helped me, but, in an age when publishers are projecting themselves more through websites etc, it seems increasingly hard to get to know the people behind the company front and when the people change you can suddenly find yourself pushed away again. How important is the publisher/editor/writer relationship to you?

Robyn: I think the publisher/editor/writer relationship is important. Publishers and editors have to enjoy working with you. In other words, it has to be a positive experience for them. Otherwise, they might think twice about it next time. But I think the most important thing is your writing/stories. It doesn't matter how well you get on with a publisher/editor if they don't like your writing or your stories don't fit their list. I have good relationships with lots of publishers - and they still reject my stories. These publishers like my writing and style. Sometimes I have to work harder to get the stories to fit publishing opportunities and lists. It really is the writing and individual stories that matter. Having said that, publishers do have to want to work with you too. I write stories that I enjoy and feel passionate about and that I think readers will also enjoy. I hope publishers want to publish my stories. If they do, I think you have to be professional and easy to get along with. You know, treat others the way you want to be treated, do the right thing etc. I once heard a publisher say that she didn't want to know a thing about the writer - she didn't care. She made her decision on the strength of the manuscript and writing.

Bren: Thank you, Robyn, for giving us some of your precious time (you could probably have written another book in the time it took to answer all these questions). I think you've worked so hard in the last few years that you deserve to be on a best seller list somewhere and I'm always amazed at your humbleness and your helpfulness towards other writers. I think you're a star. Good luck for the future.

Robyn: Thanks, Bren. I've gone a lovely shade of red. Clashes with my pink T-shirt though. I hope I can inspire others, like my child hero Iqbal Masih. Part of my enjoyment as a writer is being able to help others and give back to the community. A best-seller would be good. I'd like to be able to donate lots of money to the environment, animal welfare and education of children in developing countries. That's my dream. Best of luck with your writing and everything you do. Thanks again for letting me visit your blog. It's been a great pleasure.

Keep up with Robyn at her website: RobynOpie.com or her blog: Writing Children's Books with Robyn Opie

Welcome to Day 1 of the Squeezy Book Blog Tour!

To celebrate the new children's picture book Squeezy Cuddle Dangly Legs we have sent the talented illustrator, Jacqui Grantford, on tour!

Review at Preschool Entertainment

You can follow the tour by attending these venues:

Day 1 - Saturday 10 November - Bren MacDibble's "Beast of Moogill"
Day 2 - Sunday 11 November - Sally Murphy's "Scribblings"
Day 3 - Monday 12 November - Robyn Opie's "Writing Children's Books"
Day 4 - Tuesday 13 November - Pemberthy Bear's "Pemberthy's Ponderings"
Day 5 - Wednesday 14 November - Claire Saxby's "Let's Have Words"
Day 6 - Thursday 15 November - Tina Marie Clark's "What is Happening in my Office?"
and a late host to join the ranks because you can never have too much of a good thing:
Day 7 - Friday 16 November - Sally Odger's "Spinning Pearls"

Jacqui Grantford, multi-talented artist, teacher, mother, illustrator and writer who has just released her sixth picture book: "Squeezy Cuddle Dangly Legs", welcome to the first day of your Book Blog Tour to celebrate this gorgeous new book.

Bren: Jacqui, this book is written by Peter Whitfield who is well-known for his "Zen Tails" and we all know that children, just before they fall asleep as well as 'at the darndest times', make almost zen-like statements, this would seem to match well with your style of realism but made brighter by the use of bright pastels. Was this an easy book to illustrate?

Jacqui: The appeal of ‘Squeezy Cuddle’ is its simplicity, but I think that can sometimes be more difficult. The trick is knowing what to leave out, but to still add a new dimension to the written word. This was my first book where I left lots of negative space, but I think it needs that to capture the feel of the text.

I used models as reference - Sophia, who co-owns New Frontier with Peter, and their daughter Grace. They flew down from Sydney especially so I could take photos.

Originally I had different models, but Peter and Sophia felt that the child was too old and we redid the layout. Sophia and Grace were naturals and you can tell how much they love each other which is so important in telling the story.

Bren: This is the sixth picture book you've illustrated (Jacqui has illustrated six other texts as well) and I've noticed you possess a wide range of styles. You've used a similar style in this new book to "Pemberthy Bear" and "Wishes for One More Day", more sombre colours for "A True Person", a completely different style for "Shoes News" and there's a certain baroque-feel to "Various Faerious" (I love the illustration of the faerie foot with the ring on the toe, btw). Are you conscious of choosing a style to suit the story and how did you choose the style for "Squeezy Cuddle Dangly Legs"?

Jacqui: I’m very conscious of choosing a style and it’s something that I want to develop even more. Colour choice and medium are so important in the story telling. And the fine details in the background also add an extra dimension and clues to the narrative.

With ‘Squeezy Cuddle’, I was sent a copy of ‘Playmates’ by Jane Tanner, so that became my inspiration to a degree. I deliberately kept the pencil lines rough to give it a drawn feel despite the realism. I felt that would add to the innocence of the manuscript.

Bren: You are also the author of two books you have illustrated, "Various Faerious" and "Shoes News". Obviously you must be proud to be solely responsible for the creative content of these books, but you've also illustrated socially important books like "A True Person", and books by other excellent writers. Which book is your favourite so far, why, and what is special about "Squeezy Cuddle Dangly Legs"?

Jacqui: I don’t think I could say that I have a favourite. They’re all special in their own way. ‘Various Faerious’ was my first and I love the fact that my children are in it. ‘Pemberthy Bear’ I love because Pemberthy is such a great character and kids that I read it to simply adore it. ‘A True Person’ is special because it’s such an important topic and has the capacity to do great good.

I read ‘Squeezy Cuddle’ to the kids I teach at Hampton Primary the other day and they loved it. The said the words along with me almost straight away, and got so excited by the bedtime rituals. I think ‘Squeezy Cuddle’ could become a bedtime regular with lots of small children.

Bren: Obviously you're a very talented artist as well as an illustrator. Your painting of Bud Tingwell was not only on display at the Archibald exhibition but also on the cover of the catalogue and invitations. How did you get started in children's picture book illustration and did that help with getting your own two books published?

Jacqui: I owe the start of my career with children’s book illustration to the two Anns at Books Illustrated. For those unfamiliar with Books Illustrated, it’s a wonderful shop and gallery for children’s books in Victoria and is run by Ann James and Ann Haddon. Ann James recommended that I speak to Lothian, so I then had a springboard to approach publishers with.

Bren: What advice can you give to the beginning children's writer and/or illustrator?

Jacqui: If you’re Victorian based then certainly visit Books Illustrated and speak to the Anns, or visit Dromkeen and chat to Kaye Keck. She’s been championing picture books for years.

Persistence is a big thing – keep sending your work out to publishers and go to events to meet with other illustrators or publishers. And if you can find a network to chat to others in the industry then that can be great as well.

PIO is an online newsletter that has heaps of information about the industry and competitions, advise etc for new authors/illustrators. You can email Jackie Hosking at jackiehoskingATaapt.net.au for more information. I’d highly recommend it.

And of course, reading terrific blogs such as this one will also give heaps of tips and ideas.

Keep writing, writing, writing, drawing, drawing, drawing, and sending, sending, sending. Never give up.

Bren: What's in the future for Jacqui Grantford? Are you still writing your own stories or has the increase in demand for your illustrations swallowed up all your writing time? If you're still writing what themes interest you?

Jacqui: The illustration side has seemed to have taken over a little. But I am definitely trying to find time to write still. I love it. I’m developing an idea at the moment, but I’m hopelessly superstitious, so I can’t say anything about it till it’s finished. Silly I know.

I’m hoping to collaborate with you one day on something, Bren. That would be fun. Something very science fiction and quirky.

Bren: Definitely. I was very impressed with the alien characters in your children's gallery. I'm sure that if we teamed up we'd get science fiction quirk standing on its head! Make a note of that idea because I suspect that you'll be terribly busy keeping the big publishers happy with your glorious illustrations for a long time. Thanks for taking the time to visit, Jacqui, and good luck with your multi-creative career.

"Shiny" mag Issue 1 is out now.

"Shiny" is an e-magazine of short speculative young adult fiction. Big on story and low on price, Issue 1 has three great stories:
'Small Change' by Trent Jamieson
'Close to Death' by Eugie Foster
'The Sun People' by Sue Isle

These are getting great reviews, and I'm sure most readers agree with me when I say, I wish 'The Sun People' was a whole novel worth of reading. How all that mood, backstory and ideas got packed into a short story, I'll never know.

"Shiny" will run three issues this year and then decide about next year when it gets here. So don't wait, or you may miss out.

Hotel MacDibble Inmates: 3
Projects of the Week: gardening
Critiqued this week:
Reading this week: Elysium - Catherine Jinks
Writing this week: Bella Wang (YA)

The Blog of Moogill | My Webpage | Mentor of Moogill

It's true! I've had a play placed at the Australian Script Centre.

I wrote the play a few years ago for my son's Grade 1/2 class. The school needed a script for 50 children that was fun and easy to do, and they couldn't find any so they asked me to create a play. Which I did. It is a muddled up fairytale comedy called "The Other 'Other' Tale of the Three Little Pigs".

When they asked me to give it to them again for production this year, I realised that there were probably hundreds of schools who needed plays using large numbers of children but traditional playbooks were out because schools can't afford 50 copies of the same book. Sherryl Clark suggested Ozscript and while I initially thought the age group was too young for Ozscript to be interested, they contacted me and asked me to submit anyway.

"The Other 'Other' Tale of the Three Little Pigs" was produced for the second time, a couple of weeks ago by the local primary school at the highschool hall. All the reviews so far seem to be good:

"My favourite scene was scene three, 'Still Near a Forest". I felt happy at first and confident. In the play the fairy godmother was pretty and cinderella was too! I was a narrator". Divya, Grade 2.

"I like scene 3 because I have the most words in the scene. I feel very very Happy! I like the scene becasue there are lots of characters. I was dressed in a pink dress, 2 pink wings, and a pink crown." Karen, Grade 1

"Scene ten was my favourite because everyone laughed at Rock- Bottom bob when he said “Dead! Bring out your dead! Half price removals!” and Grim Reaper said, “He’s dead on time.” That was funny and excellent." Peter, Grade 2

This has been a wonderful experience for all involved. I have found working with a script that has allowed me to involve up to 60 children to be very unique. The play is funny and enjoyable and at no time did the children lose interest. They enthusiastically learned their lines and took on understudy roles. They were able to develop their acting and speaking skills to a very high level.
The children have thoroughly enjoyed their experience and benefitted greatly from it. Helen, teacher.

Hotel MacDibble Inmates: 4
Projects of the Week: gardening
Critiqued this week: Rhyming picture book for Trudie Trewin
Reading this week: Blind Submission - Debra Ginsberg
Writing this week: Bella Wang (YA)

The Blog of Moogill | My Webpage | Mentor of Moogill

First the winners of the Children's Book Council of Australia Children's Book of the Year Awards >>Click here<<
Congratulations Margo and all the other wonderful creators, well-deserved wins all around.

A friend of mine has just gone off to teach a primary class in Maningrida (about 510km east of Darwin on the coast) for three weeks.

She showed me on a map where it was. Great, I said, you'll be able to go to the beach. Now, I've visited Sumbawa, Komodo, Sumba, and other out of the way places (which are strangely close to Maningrida despite being in another country) so the isolation and lack of unnecessary comforts were no problem to an adventurous backpacker like me.

Then she showed me the literature she'd been given - jellyfish, crocodiles, sandflies, mosquitos, snakes, roaming wild dogs, and advice that states: "if you want to enjoy the water, go boating". Possibly sound advice. Altho my advice, "Don't go outside!" might be even safer.

I read further through her literature. She has to have a permit to have a glass of wine. All alcohol has to be ordered and will be delivered to the Police station and only handed out once every two weeks. Right there, I know I wouldn't survive in Maningrida. If a police station in Melbourne tried to deprive a group of local 40-something women from having their after work wine every night there would be a monumental riot. Now, quite possibly the police station is authorised to supply the average 40 year old Maningrida woman with enough wine so she can have one glass per night but if I lived in Maningrida, in that heat, with the lack of jobs, crocodiles, roaming dogs, sandflies, snakes and mosquitoes, I'd bloody well feel like I DESERVED to drink to excess at least once a week. I feel like that now and my life is cushy by comparison. How do women there cope? It's not like there's counselling or friends groups or ladies golf day or anything laid on for them in Meningrida, is there? It makes me glad that my aboriginal ancestors married into an evil Scottish family and left the country. At least my right to drink whenever I choose has been preserved.

That was a bit ranty and I suppose a lot of drunks do evil things but mostly those are men and younger. I think any 40+ woman has reached a time in her life when she deserves a drink or two without some government department counting like a possessive husband. You know, at this age, we don't stand for possessive husbands.

Anyway back to the Maningrida school. I donated to them a reading pack of 5 Beast of Moogills:

and a copy of each of my other Giggler books. Then I wondered how relevant aliens and science fiction are to kids up there.
I suppose it was relevant to me living on NZ sheep stations but then we had the cold war and mad sf on TV. SF was the bees knees back then. :)

Does anyone know? Unfortunately, I seem to know more about the Indonesian islands north of there than I do about the northern territories or far north Queensland. Which is a bit pathetic when I've just said I had an aborignal ancestor... but you have to remember, I don't have Australian citizenship either. I'm a Kiwi. If you ask me about far north NZ, or Maori traditions, I'll know.

Hotel MacDibble Inmates: 4
Projects of the Week: tree pruning, Rhonda Collin's website
Critiqued this week: 1 (new mentee)
Reading this week: Mortimer Gray's History of Death - Brian Stableford (very very awesome)
Writing this week: A Long Way from Home (YA space opera)

The Blog of Moogill | My Webpage | Mentor of Moogill

In the form of advice.

Advice for children's book writers from Ann Coburn and New Writing North. Anyone who likes Margaret Mahy MUST know what they're talking about. Actually, it's a really great read. Read it through a couple of times. It has an English bias but heaps of good advice.

And some good news for me. My first ever YA story accepted by Shiny Mag. I've been writing YA SF for a while. Haven't sent much out but when I have, it's gained interest.

Also good news is an amazing review at Last Short Story.

Hotel MacDibble Inmates: 4
Projects of the Week: Surviving School Hols while working full time.
Critiqued this week: 0, but 3 last week
Reading this week: Dark Space by Marrianne De Pierres
Writing this week: A Long Way from Home (YA space opera)

The Blog of Moogill | My Webpage | Mentor of Moogill

I've started a little marketing drive for "How to Become a Children's Writer". My publishers don't seem to be getting it to where new children's writers congregate, so I had some postcards printed up, showing the cover and the link to the online bookshop with a small waffle about what a great beginning point this book is for anyone starting out in children's writing in Australia.

This week I started mailing out the postcards, and there I hit my first obstacle and the same obstacle as my publishers: Where do new writers congregate? They don't really, do they? Many meet at courses at TAFE or neighbourhood houses, some city dwellers might wander along to their local Writers' Centre to see if there's any info there, but most just decide that it would be great to be a children's writer and have a go or browse the net.

Not long after they finish their first children's story, they have a need for my How To guide. They look at their story proudly and realise they need to know what's next and wonder:

"Do I need to find an illustrator?"

"Do I need to find an agent?"

"How do I find out if this is any good?"

"What publishers will publish this?"

"How do I submit it to them?"

"How long will they take to reply?"

"What about copyright?"

"What do I do if I get a contract?"

"What the hell is a royalty, a flat fee, an advance?"

"What royalties are standard?"

"Who do I go to for help with a contract?"

"How do I register for public lending rights?"

"How do I find out what publishers want to publish?"

"How do I improve my skills?"

"How do I find out about what's happening in the industry?"

"What organisations can help me?"

"Can I make a living at this?"

I could go on all day about all the nitty gritty questions that new writers face (the answers to which are all contained in "How to Become a Children's Writer") but I think you get the idea.

So... how do I get to them then, at that exact moment of the first complete children's story?

Be top of Gooogle?

Anyway, back to stage one of this marketing drive, I've donated books (out of my own pocket) to NSW and VIC Writers' Centres' libraries, NSWWriters may put an article about it in their members' mag and VICWriters usually write up the latest donated books in their mags. To all the other Writers' Centres I've sent postcards only as they don't seem to have borrowing libraries for their members.

My next move is to send postcards to the tutors of children's writers at TAFEs. The problem there is that the company who designed and commissioned this book are also in the adult education business - competitors. BUT, a friend who completed a Professional Writing and Editing course at TAFE and turned out a great children's book during the course, complained to me that there was a "cone of silence" about what to do with it next. That was hilarious to me, a) because you can't stop children's writers from sharing info about their business, they're the most sharing writers around, b) because an expensive TAFE course hadn't filled him in on all the practical details (and TAFE is meant to be all about practicals), and c) because I love Maxwell Smart. So obviously TAFE students have all the same questions as every other new writer and I'm sure the tutors want to see their students do well. That's why I'm sending them postcards when I know my publisher wouldn't. So tutors, if you get a wad of postcards that you don't want or know what to do with, I apologise.

I really should take out paid ads in magazines and increase the web presence. In fact, web presence may be the one thing that reaches most new Australian children's writers.

Any advice would be greatly appreciated.

Hotel MacDibble Inmates: 4
Projects of the Week: Surviving School Hols while working full time.
Critiqued this week: 0, but 3 last week
Reading this week: Dark Space by Marrianne De Pierres
Writing this week: A Long Way from Home (YA space opera)

The Blog of Moogill | My Webpage | Mentor of Moogill

My children's sf books "Take me to your Leader", "Red Hot Pet" and
"Beast of Moogill" have sold licences to be printed and sold in the US via
Rigby Harcourt Achieve (still available locally via Blake Ed) and eventually I got a nice cheque. Writers hardly ever get nice cheques, so this is big news.

Also this is a lesson in retaining rights in all media, and trying to get published with a company with connections. You never know when a company that has its act together will branch out in a new way. I mean that literally, no publishers have time to keep their authors informed about everything... or often anything. You submit to a void, it seems, and you mail contracts off to a void and sometimes, a cheque comes back... and it really is amazing everytime that happens!

It's been a busy year so far. I've had adult short sf stories accepted by Sputnik 57, Andromeda Spaceways Inflight Magazine, Flashspec 2, Antipodean SF, and Orb Magazine. I've been trying to meet every deadline for children's writers that I have a reasonable chance of being accepted in, and actually wrote a children's short story in two days! Normally I agonise over them for weeks and weeks, but this just flowed. Nothing like a good writing day to make me feel like a "real" writer.

If you're in Australia and want to get out and learn more about writing. Check out your closest writing centre for these upcoming events: On Saturday, 30th June, the NSW Writer's Centre will be holding the 'Writing for Children and Young Adults Festival'. It will be a day of readings, panel sessions, book launches and author talks from Australia's most popular writers for children and young adults. Queensland Writer's Centre will be hosting a masterclass on young adult fiction with James Moloney on Sunday, 12th August. While Victorian Writer's Centre expands the genre with a workshop on writing children's television with Chris Roache on Tuesday, 17th July from 6.30-8pm.

Hotel MacDibble Inmates: 4
Projects of the Week: Getting winter veggies going
Critiqued this week: 0!
Reading this week: The Best of SF
Writing this week: Editing Blurred Horizons

The Blog of Moogill | My Webpage | Mentor of Moogill

When it comes to the craft, no matter what you are writing, there are two things that are worth investing more time developing than any other aspect of craft, number two is 'voice'. 'Voice' is the manner in which you tell the story. The words you choose, the sentence structure, the familiarity you can invoke. It has to be either a voice the reader is used to or a voice that is so compelling it sucks your reader in completely.

I'm quite good at voice. And like all people who are quite good at something, I love it. I love voice too much. I always feel like if I get the voice right, I'm 70% of the way to a great story. I get the impression John Marsden feels this way too. He is an Australian King of voice. Nick Earls is too. They're doing well using great voices. I know this because I have developed a great 'ear' for 'voice'. It looks like most other ears, a couple of piercings, regular shaped lobes, not too big, not too small, not too sticky-outey. I reckon if my 'ear' can learn about 'voice' then it can't be too hard to master.

The reader has to read the story and feel like the protag is speaking using their thought patterns. Writing is not a thing where you try to impress the reader with your prose. Writing is something where you try to show the reader a story using their words. It's a completely giving thing. It is my humble opinion that writing should suck a lot out of a writer. If a writer finds it easy, I immediately suspect that he/she is doing it wrong. Of course, it may just be harder for me than other writers. I'm pretty sure Neil Gaiman writes faster than me, for instance. Of course, he knows people are waiting for what he writes. What I write has to endure months of slogging around looking for a home. That's how it is down here in the doldrumous sea of mid-list writers (is doldrumous a word?).

Things like word choice, tightness, flow, sentence structure, are all very important when trying to get a voice that readers will appreciate and reading great writers is a fantastic way to observe 'voice' in action. You can't get a university degree in 'voice'. It is an intuitive thing. If you have it, you can develop it. The check list in "How to be a Children's Writer' outlines ways to tell if you have an innate knowledge of good 'voice'. If you have 'voice' start paying attention to the way good authors use theirs.

The number one most important thing when it comes to writing is the 'great idea'. It's sad for me. Here I am, all crafty with fantastic 'voice' and I still have to come up with the 'great idea' or it's all for nothing. Sometimes 'great ideas' get published and the author has an off or slightly stilted 'voice'. That's very annoying to me. I know I could write the 'great idea better... but then I didn't come up with the 'great idea'. Let's face it: great 'voice' is something you can develop, great ideas/extrapolation/plots require a higher starting point. But still, they can be developed.

Now the first 100 'great ideas' you dream up will have already been done by someone else. Sad, isn't it? You need to dream up the 100 and 1th 'great idea' or possibly the 200 and 2th 'great idea'. Come on, do you want to be a writer or not? It's not like you're the first person to ever tap on a keyboard! Not only will you have to come up with a rare 'great idea', you'll have to have it in a rare setting, with rare, yet exciting, compelling and somehow familiar characters. Is it too much to ask?

Now, I don't know how other writers do it without using the mediums of speculative fiction. Let's face it, science comes up with a hundred new story ideas a day... it goes where no man has gone before after all... even history and ancient fable reveals a little more of itself every day and the horrors known to man keep increasing and getting messier. Forgive me if I'm being biased, but aren't these all fodder for the speculative fiction writer? I suppose the world is changing so fast there is fodder for comedy, romance and crime fiction as well... okay, I'm genre biased. Anyway, the world provides plenty of opportunities for the next 'great idea', shove it all into your head, let it mix about for a while, and when it regurgitates, all you have to do is combine it with the 'amazing plot' and the 'sensational ending'. Do that and you're 70% of the way to a great story.


Hotel MacDibble Inmates: 4... any minute now...
Projects of the Week: Painting back wall of house
Critiqued this week: 0!
Reading this week: Poor Cruel Folk - Arkady & Boris Strugatski
Writing this week: Oubliette (a children's ghost story based on a true story)

The Blog of Moogill | My Webpage | Mentor of Moogill

Take a look folks. The Beast is due for its third reprint plus Makeover, she may never look like this again!

I'm not sure what is happening with the layout etc, but I do know that the title is getting "How To" added to the front and I have updated a lot of the contacts list. Publishers coming and going, regional writers centres etc. If you have a copy of the book already drop me an email on bren @ macdibble . com and I'll send you the updates.

This is an ever-evolving guide. By the tenth reprint we'll have the ultimate book, it will sit up and read itself while delivering endless cups of tea and massages... perfect.

This is an odd thing to say, but while reading reprint two of the guide to make the updates for #3, I found myself impressed and inspired. I decided I would keep this copy for myself and highlight parts of the advice!

That's not as conceited as it sounds. Remember the great quotes and interviews by Robin Hobb, Anna Ciddor, Jen McVeity, Sherryl Clark, Claire Saxby, Sally Murphy, Robyn Opie, Richard Harland, Marie Alafaci, Tony Shillitoe, and industry professionals like Sophia Oravecz, editor, and Dr Jeremy Fisher, exec. director of the Australian Society of Authors? Incredibly insightful, helpful and generous people.

Also another point in my humble favour is that by helping new writers understand the ins and outs of starting out in the children's writers' industry, it's as if I have frozen the enthusiasm and drive that I felt when I was starting out. The Guide is incredibly encouraging and uplifting.

There is the obvious benefit that if I sat down and tried to recall everything I ever learnt about PLR, ELR, contracts, copyright, ABNs, GST, CAL, research, querys, simultaneous submissions, etc, my memory would fail me. And here it all is.

Also I sweated blood over it for more than half a year back in 2005, and the pain has lessened now. Besides, what's wrong with liking something that you've written? All authors should adore what they've written with some kind of mother wart-hog type passion!

If you've read the guide and what to make suggestions for its improvement or expansion/clarity in any section, please let me know asap before it rolls off to the printers.







Hotel MacDibble Inmates: 5
Projects of the Week: Painting back wall of house
Critiqued this week: 5
Reading this week: Neverwhere, Neil Gaiman
Writing this week: Oubliette (a children's ghost story based on a true story)

The Blog of Moogill | My Webpage | Mentor of Moogill

The question raised from my last post was: "Do you edit as you write, plow through to the end and then edit, use a crit group to discover the nits and gnats in the prose, send it off to a professional editor, or ask your house guests to take a crack at editing for the practice in the English language, and what do you suspect the pros and cons of these approaches might be?

AND the simple answer is a famous quote: Nothing great was ever achieved without enthusiasm (let's take "great" in this case as meaning great story... not world-changing or something mightier).

Enthusiasm is your most important asset so you have to guard and protect that enthusiasm. Editing, picking apart the prose or showing it to house guests as you write could all destroy enthusiasm so I say write it all out before you do anything else.

Prior to writing it out is plot outlining, and bouncing the story off a few trusted individuals who write in the same genre. There is potential there to either increase enthusiasm or deflect you from wasting a lot of time writing something that has been done. If you ask people who read and write in the same genre, they are likely to not only have read widely in that genre but also to have thought about and extrapolated many of the common themes of that genre.

Either they will say something like: "That's excellent. I think lots of readers will love to hear about secret genetic research, it's a hot topic right now with the whole stem cell research thing, and you know, there is a chance to expand into a conspiracy theory if you link it to secret rich people organ transplant, and you can even touch on those urban myths about waking up in baths of ice if you want..." and wahoo suddenly your plot outline takes on another dimension (let's face it, novel plots need many dimensions and most of us only have a couple when we start out on a novel). Or they could say, "Isn't that really similar to that book "Organ Grinders" and I don't remember that doing so well." Then you get to quiz them on the plot outline of the similar book and ask them where they think it fell down, and even read it as background research so you don't repeat someone else's mediocrity (btw Organ Grinders is an excellent book, not at all mediocre - I don't know why it didn't do so well - altho I wish I knew).

I've seen people ask for plot outline feedback at various online groups. Plot outlines can't be copyrighted so if you think that there is a high chance a writer will discover your plot and be so enthused by it that they steal it and write it up better than you ever could, be a little guarded with your questions. It's true that it's impossible that two writers would ever write the same plot up the same way but it is also true that there's no room in the marketplace for two similar books at the same time.

I often bounce ideas off sf or children's writer friends face to face. Normally, I do it after I write the opening scene which is bizarre, but it makes the main character and the situation real to me, and after I have a few drinks. Helps with extrapolation.

Using this method, I always have to rewrite the opening scene when I've sorted out the plot, and sometimes I have to rewrite it from scratch. I have a lot of opening scenes that just don't turn into stories because I've realised at that stage that my idea was mediocre and it needs more: that other new element or a complete overhaul.

I've been thinking a lot lately, especially since a small company offered me a publishing deal on a novel that I just can't get completely satisfied with. What I really want more than a publishing deal on that novel is to write something awesome. Something that kids will pick up and go all word-of-mouth about like Lemony Snicket, or Artemis Fowl, or Eragon. That wow factor. That complex combination of fun, imagery, imagination, empathy, adventure that grabs most kids. Mind you, a nice fat biblio can't hurt especially if I ever write that word-of-mouth novel and need to convince a publisher to publish it.

Once the story is finished, I would suggest writing three short stories to take your mind off it, or get out and paint the house. Then haul it out again and self-edit before sending off to a crit group. Get out a whiteboard (or the side of the fridge) and write out a plot map at the self-edit stage too and see if it is all entirely logical (ie. does any character do something just to further the plot not because that is the logical thing for someone in his position to do?) Pick out the ideas and obvious flaws that resonate with you from the crit group (be selective) change it, and then, if you still think it has potential, send to a professional editor or, if you're confident that the story is not only the best it can be but also better than every other story in any slush pile anywhere and that the grammar is perfect, figure out which publishers do this size/genre/style and make a list from your favourite publisher down to your okay publisher and start mailing. Mail all at once if you want to, or if you think you should respect a publisher's wishes to have exclusive submissions (which you should do ONLY if their slushpile actually has a legitimate turnaround time - check at Duotrope because imho trust has to work BOTH ways) then give them a 2-3 week headstart.

Skip the agents if this is your first novel. Anyone who thinks earning 10% of a first novelist's earnings is a good idea is seriously dodgy. If a publishing company breaks even on a first novel, then it is a success. Give up any hope of making money from writing and you'll be better off.

Some writers hate plot outlines. These tend to be novelists who have the wordspace to ebb and flow and follow their natural instincts. They also know they won't be finished in under a year and that they will have to cut 20,000 words at least in the editing stage.

Short story writers and children's writers generally know the basics of the plot before they start writing. Often there is a twist at the end of short stories that has to be built up to. Not knowing that twist until you get there means going back and taking out accident red herrings, and inserting real ones with the actual clues and destroying the flow of the story. Short story writers like plot outlines even if they deviate from them vastly. And they should never feel hemmed in or stifled by a plot outline. Follow your natural instincts as you write and if it all turns to custard, you've lost nothing because you can always go back to the point at which you deviated from the plot outline and try a different direction.

SUMMARY - Get enthused - get a plot outline - get more enthused about it - write, write, write, and don't let anything interfere with your writing until after it's done, that's how you get started.



Hotel MacDibble Inmates: 4!
Projects of the Week: Tiling laundry
Critiqued this week: 0!
Reading this week: An Abundance of Katherines by John Green
Writing this week: Girly Chomp (a children's science fiction story about hitchhiking the galaxy)

The Blog of Moogill | My Webpage | Mentor of Moogill

Had the news today: "Become a Children's Writer" is due for its third reprint at which time it will magically morph into the more saleable title of "How to Become a Children's Writer".

It raises a couple of questions. Like the size of a print run for one. Looking at my invoices suggests it's more of a print hop than a print run. Oh well, at least keeping it up to date is easy. Another question: "How to" change a title so it is more saleable. Well... how?

It is one of the best selling Top Job Guides so for getting it to that status (the status of a big fish in a little pond) I thank you.

Yes, YOU! Your continued interest in "(something) a Children's Writer" has got it where it is today. It has come this far with its non-saleable title, and that is because of word of mouth and because of a nice little gap in the marketplace that means a book that pulls together all the other information out there and puts them in easy to digest steps is required.

I think Robyn Opie may be the only other person who has done something like this at the beginning level... and I interviewed her for my book so you can't lose.

So thank you for your words of mouths.

SoooOOOooo back to the blog. Now you are all sensible, critical readers, because you've read the previous entries... what is the next topic for this blog? What do YOU want to know?

Don't forget as well as this sensible blog I have my non-sensible/nonsenseable blog at blogspot


Hotel MacDibble Inmates: 5
Projects of the Week: Tiling laundry
Critiqued this week: The Post Office by my anonymous Mentee
Reading this week: Hal Spacejock by Simon Haynes
Writing this week: Girly Chomp (a children's science fiction story about hitchhiking the galaxy)

The Blog of Moogill | My Webpage | Mentor of Moogill

Do you have i-tunes?

Go here and dl the free Guardian series of writing talks:
Guardian Unlimited Free Podcasts

There are interviews with Johnathon Stroud, and Eoin Colfer, including a short piece of Eoin Colfer's Westend stand up show.

There is also a recording of the English PEN: Painting by Numbers forum where Terence Blacker, Russell Celyn-Jones, Louise Doughty and Fay Weldon discuss creative writing courses and whether creative writing can be taught or not... for almost a whole hour!

You can get a lot of Spider Solitaire (prerequisite time-wasting device for all good writers) done while listening to this... and guilt free because you're listening to writers discussing writing!

Interesting points mentioned:
- You can talk too much about something that is ultimately mysterious and random and take the wind out of its sails.
- Writers who write less well at the end of a course than at the beginning. Taking two steps backwards in order to take one step forwards and spoiling the desire to write (something my fellow Clarion writers will agree with).
- Writing courses and the view that creative writing is a career option that you should expect to make a living at.
- Writers for whom attending writing courses becomes a career and whether the gap left by publishing houses and agents (who no longer have time or budgets to edit or nuture new writers) is being filled by the feedback and support writing courses offer.

I absolutly agree with the first two points. I have done a lot of things in the course of improving my writing skills and while I am a better writer now, I have way less confidence and motivation to write. I recently gave up teaching creative writing and took up a five day a week job at a plumbers. The only creative thing I write daily now is creative invoices to explain how the boys spent so much time in your bathroom when they only went to change the washers. It's so much easier to have just one day job and so much more rewarding to have cash in the bank every week. AND according to the Guardian Unlimited PEN discussion, it may be the very thing I need to get back to writing more for myself, to get away from dissecting and get back to enjoying writing.

I'd hoped to increase my creativity but this has largely been unaffected by everything I've done except reading. And reading widely, not just what's hot. I read a lot odd stuff that I love that no one else has ever heard of. The PEN discussion brushed on the topic of homogeny in writers too.

I know I have the skills to write great stories and every story I write is still better than the last but the act of putting the words together the way I want has become extremely painful. I think I know too much. I think I've over analysed the fun out of writing. Clarion helped with that (even tho I adored Clarion). I have even lost confidence with my ability to critique other people's writing to a point.

I still write regularly tho (addict) a few nights a week, and the feedback I get from editors is always good. The fact that it doesn't always translate to sales is confusing but that's what writing is these days. Good isn't good enough. It has to be incredible. I can do incredible. It's just going to take some time.

AND I still believe that learning the basics before setting off on a writing career is going to knock years off your learning curve. Which is why I wrote the book. It's just there's a point at which you must say... "okay, I'm a reasonably good judge of what I like and writing that works... I shall blaze on alone"... without falling into the trap that awaits on the other side, of writers who think they can write when really they can't.

Hotel MacDibble Inmates: 5
Projects of the Week: Tiling laundry (fireplace finished!)
Critiqued this week: Stories by Nidhi Chandra, Ramon Huang, Justin Bell, Samantha Fragias, Dillon Walsh, Jade Leggett, Kahli Garret, Evan Parris, Ebony (these are all children)
Reading this week: So Yesterday, Scott Westerfield
Writing this week: Girly Chomp (a children's science fiction story about hitchhiking the galaxy)
The Blog of Moogill | My Webpage | Mentor of Moogill