PASS IT ON ISSUE 78
PASS IT ON
Knowledge Is Power
www.jackiehosking.com
Issue 78.
Hi everyone! Welcome to the new look PASS IT ON! I hope you have all had a fantastic week. Thanks to all who have contributed and a special hello to all new subscribers. Thank you also to everyone who has offered support and encouragement, I really do appreciate it. Please enjoy this week's issue of PASS IT ON.
PASS IT ON - issue 79 will be a day late next week as I will be attending the SCBWI Conference in
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WHAT IS PASS IT ON?
PASS IT ON is a weekly, on-line, interactive, networking newsletter for those involved with or interested in the children's writing industry. It is emailed to subscribers every Monday.
PASS IT ON will survive only for as long as YOU, the CONTRIBUTOR, determine. I am the collection point for YOUR submissions. I am one cog in a tool that has the potential, not only to be very useful, but also to be very powerful.
(submission guidelines can be found at the end of the newsletter)
If you wish to receive PASS IT ON - email me, Jackie Hosking at jacket@smartchat.net.au and I will send you the most recent issue of the newsletter and an invoice. If you like what you see, please return the invoice along with your payment and I will add you to the subscriber's list.
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Please contribute as often as you can and be assured that I will treat your contact details with the utmost confidentiality. I look forward to making many more new friends.
Past issues may be viewed at my website www.jackiehosking.com
CONTENTS
GENERAL INFORMATION
SEEKING
REPLIES TO SEEKING
NEW PUBLICATIONS
SPECIAL EVENTS
MARKET OPPORTUNITIES
COMPETITIONS/AWARDS
WRITING COURSES/WORKSHOPS
NEW WORK STYLE SKILLS
HAVE YOUR SAY
ARTICLES
PUBLISHER GUIDELINES
AUTHOR/ILLUSTRATOR PROFILE
YOUR WRITING TIPS
USEFUL BOOKS/WEBSITES
BOOK REVIEWS
INDEPENDENT CHILDREN'S BOOKSHOPS
CRITIQUE GROUPS BULLETIN BOARD
MILESTONES
INSPIRATIONAL QUOTES
ADVERTISEMENTS
PASS IT ON SUBMISSION GUIDELINES
GENERAL INFORMATION
Dear Valued Customers & Media,
Please note that at present our server is down, which prevents us from receiving emails via the following addresses nicole@townsvillewritingschool.com and accounts@townsvillewritingschool.com Our website is also currently unavailable.
We expect this error to be fixed by mid next week.
If you wish to contact us please do so via our private address at sandnsaul@bigpond.com
We apologise for any inconvenience.
Kind regards,
Nicole Bickerton-Saul
Exeuctive Director of Studies
Townsville's
Interesting to see that children's authors are heavily represented on PLR's largest payments to creators 2004-2005 list. When will major publishers give us the respect they seemingly reserve for their writers of adult fiction?
http://www.dcita.gov.au/__data/assets/pdf_file/33241/PLRAnnualReport04-05.pdf
and click on Appendix 5.
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SEEKING
I have seen the term 'speculative fiction' several times lately. I'm wondering if someone can enlighten me as to what it actually means? Thanks, Jane
If anyone has a copy of the HarperCollins Skinny Book, ‘The Great Yackandandah Billy Cart Race,’ written by Wendy Orr and illustrated by Neil Curtis, and would be willing to sell it, could they please contact me.
Thanks, Wendy: wendyorr@wendyorr.com
PIO Issue 67, 21 Nov 05 carried a request from a Jabiru Town Council officer for ‘literacy and numeracy resources which are fun and interesting for young people’. On Dec 7 I sent a pile of my books but have not heard if they arrived safely. Did anyone else answer this appeal? If so, did you receive a reply? If you got a reply with an email address, could you please let me know?
Thanks, Meryl Tobin
Does anyone have copies of The Shape (Allen & Unwin) to sell? It seems the book is out of stock with the company and I only have a single copy left! Contact dibates@enterprisingwords.com
Also, any children’s writers, published or unpublished, in the Illawarra area who would like to participate in a children’s booklovers fun afternoon on 5 March, please feel free to contact me for details.
In last weeks PIO Random House Australia said they were no longer accepting unsolicited mss. They followed this up with :
We welcome submissions made via literary agents and submissions from previously published authors. As a point of interest do they mean authors who have been publsihed before with any publisher, or only published authors who have been published by them???? Did this confuse anyone else? ds
I know there are two different type of markets for children's books, trade and educational. I 'd be grateful if someone would please explain the differences in writing for one or the other.
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REPLIES TO SEEKING
On Public Speaking (To Jitterbug)
Try mooing.
It sounds ridiculous but I'm quite serious. It works. Head into the nearest loo, take a deep breath and go 'mooooooo', sounding as much like a cow as you can. With a bit of practice you can moo silently. With even more practice you can moo under your breath without opening your mouth, so you can moooooo a few seconds before you'll called on to speak without everyone think you've gone bananas.
How mooing works: When you're nervous the pitch of your voice rises. Mooing lowers the pitch and makes you breath slowly and deeply. (Panting cows can't moo). Somehow the very act of lowering the pitch of your voice lessens the feeling of terror. (Silent) mooing is also just ridiculous enough so you start your speech with a smile.
Okay, the effect only lasts for about 30 seconds. But by then you're on your way.
Jackie French.
I read the comment from SB about Google Book print (6 February).
SB doesn’t ask the obvious question — how did SB’s publisher have permission to approve the book being shown on Google? What contract did SB sign to permit this use? Is this use permitted at all under the contract?
The Authors Guild in the
Google is a US$90 billion corporation that is usurping authors’ rights. Regardless of how useful this project might appear at first glance, Google is breaching the law in many of its activities and shows no regard for authors’ intellectual property. As SB demonstrates, authors are willing to include material on Google, but they should not have their right to make this decision themselves usurped by Google.
This is why the ASA supports the stance taken by the Authors Guild in the
Also, with regard to educational publishers offering one-off payments for manuscripts, the ASA is concerned where this prevents authors being able to access lending rights payments and
To Marianne re: ‘How important is a book proposal?’
When I submitted my first Max Remy Superspy novel to Random House Australia, I knew I wanted the book to be the first in a possible series, so I did include a book proposal. I included, (from memory…it was a while ago) a description of the series in general, a breakdown of the main characters and other characters we would meet in later books, a brief description of future storylines, even possible marketing ideas. Basically I wanted Random to know that if they liked Max and took a chance on me, I had more than one book in me. I’ve just finished writing Max Remy Part 8:
Deborah Abela
www.maxremy.com.au
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NEW PUBLICATIONS
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SPECIAL EVENTS
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MARKET OPPORTUNITIES
Partial Rewrite - Children's Novel
A US publisher requires submissions based on current book. Qualified writers should submit resume and be willing to write four–six pages based on current book or submit equivalent original work for the 8-10 year children’s market. Ghostwriting pay for partial rewrite is above 6,000 dollars. Writers must be fluid in first person and boy/girl character development. Very talented editors are welcome. Trademark product book is first in a series of five. Please send inquires to mailto:fivedog@hotmail.com Submitted by DiB
From Author Peter Taylor
The Blue Review is actively seeking submissions for 500 and 1,000 word "How-to" articles about writing YA Novels. Pays on publication (which is March 2006) by Paypal or check. $10 for 500 words. $25 for 1,000 words. We purchase one-time 90 day exclusive electronic rights. For more information go to: http://www.boost4writers.com/BOOST.html and scroll down to our Ezine section.
(This is also a good site to expore.)
BeWrite Books Submission Requirements
UK Company
Novel Submission Requirements | Poetry Submission Requirements
Please read everything below before submitting to BeWrite Books.
For Novelists
BeWrite Books invites submissions from established authors but will also consider work from so far unpublished writers.
We will not accept:
Works in Progress: please send only samples from completed manuscripts.
Manuscripts under 60,000 or over 130, 000 words.
Manuscripts for children (Young Adult novels must appeal to a readership of sixteen or above).
Erotica or works of a pornographic or gratuitously violent nature.
Works expressing extremist racial, political or religious views
Non-fiction books including autobiographies, biographies, cookery, health, or self-help books whether of a practical or *inspirational* nature.
Stage or screen plays.
Fan fiction.
Manuscripts in paper form.
Works in languages other than English.
Manuscripts previously published in print.
More than one submission per person.
Sole-author short story collections.
By submitting to BeWrite Books, the author is specifying that a work is not currently on offer to any other publisher or agent. Please also see our privacy statement.
Submissions
Please fill in the submission form and attach the following: the synopsis, the first 1,000 words of your manuscript and another 1,000 words chosen from within the book in the SAME attachment.
NOTE: A synopsis must not be confused with the 'blurb' on the back of a paperback or jacket of a hardback, which is intended to grab the attention of a potential reader. Our acquisition editors don't want to be teased or kept in suspense; they need to know the whole story from start to finish ... and they need it in a nutshell.
The synopsis for BeWrite Books should be a maximum of 1,000 words and should sketch the characters, their motivations, and highlights of the story including the ending. Unlike the novel itself, the synopsis should tell and not show.
Please read and follow the BeWrite Books manuscript layout requirements described below and adjust your ms accordingly, even on submission of sample words. Failure to comply could result in your work being rejected unread.
You will normally receive notification of receipt of a submission within one week. However, the evaluation process can take much longer.
All proposals to BeWrite Books must be submitted using the BeWrite Books submission form. To submit to the Poetry Department, please fill in the submission form and attach approximately fifteen poems from your completed manuscript. The author's name (or pen name with true name in brackets) must follow the title in the submission. Do not send the entire manuscript. All submissions are expected to be in 10-point Arial type, black ink only, no underlined words or phrases, no pictures or illustrations.
Failure to comply with the above requirements could result in your work being rejected unread.
Cait Myers (Publisher)
caitmyers@bewrite.net
http://www.bewrite.net/modules.php?name=Content&pa=showpage&pid=7
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COMPETITIONS/AWARDS
VOICES ON THE COAST
INAUGURAL WRITING COMPETITION 2006
Description:
For an unpublished manuscript by a new (previously unpublished) author.
A prose story for younger readers (ages 8-13 years) – length up to 30000 words.
Closing Date:
Prizes:
To the value of $2000 (includes a cash prize, travel to receive the prize and the opportunity to visit the Voices on the Coast festival)
$1000 cash prize.
Entry Form
Further Details:
Background:
The Literature Festival, Voices on the Coast, has been in existence for 10 years and offers opportunities for young people on the Sunshine Coast in Queensland to see and hear a wide range of high quality authors, illustrators and performers read and talk about their work.
Young people are stimulated to develop their own skills and one of the associated community events, Emerging Voices, has in recent years encouraged young adults in the region to continue to write and share their stories with the public.
This Competition provides an opportunity for an extension of the scope of this Festival to include recognising some of the talented writers in our midst.
It has been made possible through the support of members of the Maroochy Council, who engaged in initial discussions, and the
Entries are open to all writers resident in
Submission of Entries:
Entries must be the original work of the author submitting the manuscript.
Entries should not have been published previously.
Entries should be presented in double-spaced type in typescript no less than 11 pt and printed on one side of A4 paper only.
(No staples and no plastic sleeves)
Entries will not be returned. (manuscript entries and entry forms will be destroyed after judging)
Each entry should be accompanied by a separate Entry Form.
Entries are to be posted to :
Voices on the Coast Inaugural Writing Competition 2006
P.O. Box 5025
MAROOCHYDORE BC 4558
And must be received by close of business Friday 31 March 2006
All entries will be read by judges appointed by Voices on the Coast, and the short listed entries will then by judged by Ms Leonie Tyle, Children’s Publisher with the University of Queensland Press.
Shortlisted candidates will be advised of their initial selection (end of April)
Winners will be advised by 19 May
Prize-winner will be presented with a cheque at the Launch of the 2006 Voices on the Coast Festival at the University of the Sunshine Coast on Monday 29 May (6-8.30 pm) Travel arrangements to be negotiated.
Runner–up will receive a cheque by post
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WRITING COURSES/WORKSHOPS
FREE WRITERS WORKSHOP
Townsville's
The workshop is held at the Hotel Room, Thuringowa Council Chambers in Townsville. Starts
Clarion South 2007 is open for applications!
Clarion South is an intensive six week residential workshop for writers of science fiction, fantasy and horror. It will run at
Our wonderful tutors for 2007 are Lee Battersby, Simon Brown, Gardener Dozois (special guest editor), Rob Hood, Kelly Link and Janeen Webb.
Applications close June 2006.
If you want to know more about the workshop and our tutors check out the website at: www.clarionsouth.org
The next workshop is on 25th February. My writing has made me a bit slack with the publicity, but hopefully lots of people will come out of the woodwork in time for it to run. Also think about the e-courses. The novel one is being particularly enjoyed by those who are participating in it – Jen Dabbs takes them through all the aspects of novel writing, and they will have theirs about a quarter done by the time they have finished. Good fun!
Dr Virginia Lowe
Create a Kids' Book
www.alphalink.com.au/~vlowe
PO Box 2, Ormond Victoria 3204
ph: 03 9578 5689
fax: 03 9578 3466
mob: 0400 488 100
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NEW WORK STYLE SKILLS
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HAVE YOUR SAY
HAVE YOUR SAY
I know there has been a lot of criticism lately about people selling the rights to their story to educational publishers. I know I have done this and found $1000 per small book quite reasonable although I understand the implications of 'selling out'. I was surprised to see 2 competitions/ magazine opportunities included in last week's PIO. One offered $250 as the prize and then they would publish in an anthology, the other offered $15 or $20 for submissions. I thought this made the educational publishers look positively generous. Jane
FROM AUTHOR Ruth Starke
With all respect to the anonymous author, I don’t see that the ‘carpet’ analogy has much to do with submitting a manuscript. Most publishers are actively seeking new manuscripts and make available guidelines for authors. Finding an unsolicited ms on their desks is not going to be the shock! surprise! of the suburban shopper finding an unsolicited carpet, or the offer of one, in her hallway. In both cases, far from buying a purple, yellow or any carpet, I’d be saying, ‘Piss off! – and what the hell do you know about my interior décor anyway?’
HAVE YOUR SAY
Thanks Sharon Norris for your information on the voices of Winnie the Pooh characters. I am a huge Tigger fan and knew about Paul Winchel, but did not know about John Fiedler. I also remember recently watching another Disney video with my kids ( 5 and 3 yrs) and recognising Sterling Holloway's voice and watching to see if my kids also recognised it. They didn't and it made me think how they are probably more dependant on the visuals at that age than the voices.
ALSO
To Linda Stocks, I would love to hear more about your self publishing experience with Over The Top and I hope to come to your launch on March 30. I have now fully self published 3 books (2 literary magazines and a family history) and am working on a picture book which I would also like to self publish. I have found self publishing a wonderfully rewarding experience, even if it is hard at times. Whilst I haven't fallen into the trap myself, be realistic about what you can sell, what you have to spend and marketing is by far the hardest thing to do. If you know how to market yourself and your book - you could do well. I am using my self publishing experience to build a small publishing business and hopefully one day publish other peoples work on a small scale. Linda, Can you please let us know how it goes?
Kathryn Duncan
HAVE YOUR SAY
Postage paid envelopes that never come back..
I have just received an e-mail rejection letter for a story I sent to the publisher 18 months ago. I forgot they even had it! When I looked back at my records I realised that this ms would have been sent in by land mail with a SASE. Some months later I sent an inquiry letter, again with a SASE envelope. What happens to postage paid envelopes when publishers either fail to reply or as in this case send an e-mail???? Do publishers who don't return mss keep the envelopes and re-label them, pocketing 'our' stamps. I have taken to not sending in SSAE for whole mss anymore, particularly overseas. I simply put in a SSAE for the amount of a single letter and ask them to kindly recycle the paper.
FROM AUTHOR AND MSS ASSESSOR, Dianne (Di) Bates
I thought that new writers who are working on picture book texts might be interested in a small section of a manuscript assessment which I returned to a writer this week. Use of language which resonates is one aspect that time and again I note new writers do not employ.
‘One thing I’ve noticed in both of your texts is that you don’t experiment with vocabulary. In neither story did I see a phrase – even a word – that hinted at "magic". By that I mean there was nothing memorable, nothing "sparky." Ordinary words can become extraordinary if used in the right place. Yesterday I presented a fiction Masterclass where a dozen new children’s writers gave me their manuscripts to read and critique. From all of the thousands of words I read, I only remember one single word that was used in a fresh and original way – it was the word "tipsy", referring to a stand of postcards. You must remember that picture books are a child’s main introduction to written language, so as a picture book author you are burdened with a significant responsibility. Examine every single word you write to see if it "sings" with energy. Study the texts of prize-winning picture book authors and note how they use language.’
The best reference book I know of for new picture book writers and illustrators is Making Picture Books by Libby Gleeson (Scholastic). An award-winning author, Libby regularly offers Writing for Children classes at the Department of Continuing Education at
THANK YOU
Thank you to Margaret Clark and SN for your feedback regarding a name change. It is highly appreciated. EM
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ARTICLES
KEEPING KIDS SCREAMING “MORE! MORE!”
(How to run your school visits while selling your books)
© Dianne (Di) Bates
Di Bates (aka Di Abetes and Dire Straits) starts her author performance in front of 200 fourth graders…
Di: Well, hullo Wollongong Holy Spirit! Today, I'm going to tell you the BIGGEST secret in the world. (Pause). It's a secret about me and all authors ... and teachers too. But it’s… (confidential whisper) … rude!
(Long pause, Di surveys the audience with a wicked grin.)
Di: Do you want me to tell you?
Kids: Yes!
Di: Do you really want to hear? It's really really rude. (Sideways glance at teachers…)
Kids: (shouting) Yes!
Di: Okay then, but you have to promise not to tell a single solitary soul in the whole wide world because it is really really embarrassing and very very rude..."
(By this time kids are hysterical.)
Di: All right then. I’ll tell you this very, very personal secret about me – and your principal, Ms Twistburger, and your librarian… and all the other teachers in your school…
(The secret is then revealed)
Not all my introductions start like this, but this is typical. Sometimes there is a series of jokes or verses (usually vile, but tame enough to pass principal inspection). But be assured, by the time I have introduced myself, the kids know that this “show” is going to be a treat.
Talking to an audience of kids – or adults for that – is like writing the first sentence of your story: you need a mighty good “hook”. Not everyone writes humour and is willing (or able) to be exuberant in front of hundreds of pairs of critical eyes. But “hooking” from the start is essential, as is having a program which is “marketed” to suit the age and interests of your audience, (at the same time fulfilling your purpose, which is to get your book into as many hands as possible.)
For the writer new to school visits, there are many aspects to consider before Launch Date. Sometimes the date comes sooner than expected: your child’s local school would like you to speak to “the whole school” (no payment offered), or you are setting yourself up to take the first gigantic, nervous step of preparing yourself to visit schools (for a fee).
My experience has been that any non-fee paying performance is treated by the school in a cavalier manner; that the more you expect and ask for, the better you are treated. I always charge per student per hour, with a minimum payment per hour. This usually means that I have a minimum of 90 students (three classes) in any one performance, to make it worth my while. Often my husband, the award-winning children’s author Bill Condon, will perform to the infants’ department at the same time I’m performing for the primary. Sometimes we sell our (pre-signed) remaindered books during the lunch period. (It’s a good idea to have the school list your books and prices in a newsletter a few weeks before your visit.)
My experience in booking schools is that most teachers have never had a visiting author and are thankful if you quickly and firmly set the terms and conditions when they contact you. Always confirm the visit in writing immediately the booking is made and at least a week prior to the visit. Know your limits and be clear about what you can or cannot will or will not do. Do you agree to be video-taped? Will you sign scraps of paper (or only copies of your books?) Are you happy for the local press to interview you on the day?
Ask yourself: what space do you prefer to work in? I prefer a hall or a large library with the children seated on the floor. I always arrive early to check out my performance space and to arrange furniture to suit me. I like to have a table at the front where I can display my books. (Always put the teachers around the perimeter of the space; never seat them together where they can chat).
In working with an audience, be flexible and responsive. “Read” your children (and keep reading them) and be prepared to adjust your presentation if necessary. Consider the children’s own stories; what's happening in their lives will colour their response to you. Make good use of props – the bigger and more outrageous the better. If you are handing out photos or illustrations, laminate them so they can be handled and re-used time and again. If you are using Powerpoint or similar, make sure it doesn't distract from the children’s aural experience (ie have few words and more images on screen). Present lots of visual and aural variety. Like a good story, make sure your performance is fast-paced.
Finally, know that the audience has come to hear you talk about your passion. Nervousness is normal and reasonable. Breath deeply! And enjoy your experience.
Dianne (Di) Bates is a well-known children’s author whose most recently published books are Money Smart Kids (Ibis Publishing) and Out of the Blue (Pearson Education). Her forthcoming books are The Hold-Up Heroes (
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Writer Beware
by Victoria Strauss
There are sharks out there in the literary waters. Literary deceptions abound, from fee-charging agents to dishonest book doctors to fraudulent vanity publishers to fake contests. Some of them are staggeringly successful--Edit Ink, for instance, an editing firm that engaged in a kickback scheme with disreputable literary agents and established its own bogus agencies to send yet more business its way, made millions of dollars before writers and writers' groups finally blew the whistle.
Edit Ink's owners were indicted, and ordered to pay fines as well as reparations to the writers they defrauded. But law enforcement isn't very interested in literary fraud, a niche crime that targets a fairly small group of people, and usually involves small amounts of money (per person, that is--in aggregate, literary fraud is a multi-million-dollar-a-year business). The vast majority of sharks go unpublicized and unpunished, leaving them free not just to separate unsuspecting writers from their cash, but to spoil their hopes and dreams.
The good news is that you can protect yourself, with a little information and a healthy dose of caution. Below are some tips and resources to help you do so..........
The rest of the article can be read at
http://www.sff.net/people/VictoriaStrauss/beware.html
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PUBLISHER GUIDELINES
Macmillan Education Australia, 627 Chapel Street, South Yarra, 3141, 'at the moment not taking any fiction or readers, instead focus is on non-fiction textbooks, teacher resorce books and library referenence material.'
Regards Margaret Pearce
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AUTHOR/ILLUSTRATOR PROFILE
Leonie Norrington was born in
Leonie Norrington’s first children's book The Barrumbi Kids was honour book in the Children’s Book Council awards 2003 and shortlisted for the NSW Premier’s prize 2003. The sequel The Spirit of Barrumbi was shortlisted for the South Australian Festival Awards 2004. The Spirit of Barrrumbi and Croc Bait were both on the Notable Book List 2004. The Last Muster 2004 was shortlisted for the WA Premier's prize and on the Children's Book Council's Notable book list 2005.
Leonie also writes non-fiction: Women’s Talk (a collection of conversations with Territorian women)
As an author, Leonie works in schools, presents at literary festivals, the school days associated with literary festivals and gives lectures at literary dinners and luncheons. She runs creative writing workshops for adults and children. She works with both indigenous and non-indigenous communities to record oral histories and experiences.
Workshops:
Let your characters speak: A four to six hour workshop.
Lets write about history: A week long workshop for remote schools where we do interviews and create a book about the history of the community/town.
Writing for your children: Using personal experience and the experience of your community to write children's books that are interesting and relevant to your people.
Festivals and Tours
2003 - Reading Matters - Melbourne State Library – speaker
2003 - Bendigo Xtreme Reading festival – author talks
2003 – Kununarra School tour – author talks and workshops
2004 - Byron Bay Writers Festival – school days and festival panels.
2004 - Online Literature Festival – launch and author chats online.
2004 – Book Week Tour – WA State Library – author talks & wkshps.
2005 - Somerset Literary Festival - author talks and workshops.
2005 - Books North (Townsville Literary festival) - author talks and workshops.
2005 - Ipswich Literary Festival - author talks and workshops.
2005 - Literacy week tour of
2005 - Artist in Residence for Katherine Remote Group schools - workshops.
2005 - Workshops for Adults and Children with the
2005 - Finalist workshop for Nestle Write Around Australia.
Published Children's literature
2002 The Barrumbi Kids - Omnibus/Scholastic - 1 86291 496 6
2003 Croc Bait Omnibus - Scholastic Adelaide - 1 86291 513 X
2003 Spirit of Barrumbi - Omnibus / Scholastic - 1 86291 552 0
2004 Crocodile Jack – Pearson – ISBN 0 12 350791 X
2004 The Last Muster - Omnibus / Scholastic – 1 86291 578 4
Published Non-fiction
1999 Women's Talk - NT University Darwin - ISBN 0-646-38440-6
2001Tropical Food Gardens - Bloomings - Melb - ISBN187647341
Career Highlights
2000 NT Literary Award – Arafura Short Story Award.
2002 Honour Book in the CBC Younger Readers Category.
Short tlisted for the NSW Premier’s Prize.
Shortlisted for the South Australian Festival Award.
2004 Two books on the Children’s Book Council Notable book list
2005 Shortlisted for the WA Premier's Prize.
2005 One book on the Children's Book Council's Notable book list.
Personal Details
Name - Leonie Norrington
Postal Address - PO Box 160 Noonamah 0837
Email - grgravel@austarnet.com.au
Telephone - 0889 785395 0889481700 mobile: 0427577236
Occupation - Journalist / Author / Teacher
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YOUR WRITING TIPS
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USEFUL BOOKS/WEBSITES
BLOOMSBURY.COM writers area - The Writers' area is devoted to writers — published and unpublished. You'll find lots of practical advice, our Reading Club with reading guides, a chance to study online through Bloomsbury's reading courses and links to other sites. There's also free access to our online library of reference books, which includes the Guide to English Literature, Guide to Art and the Bloomsbury Good Word Guide and some fun stuff including competitions to win free books.
http://www.bloomsbury.com/forward.asp?id=134
NEW ONLINE WRITING RESOURCE
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opportunities, and invitations to exclusive events. In addition, all
registered members are provided with a personal web page to promote their
writing business and attract new clients.
Until
of only $44 per year (regular price is $55). Visit
http://www.inkynib.com.au/ to find out more.
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BOOK REVIEWS
Title: that downhill yelling
Written by: Lorraine Marwood
Illustrated by: Ozlem Kesik
Published by: Five Islands Press, 2005
ISBN 1 74 128 094X
Reviewed by Dianne (Di) Bates
It is wonderful to see that Five Islands Press has once again invested in the talents of Australian children’s poet, Lorraine Marwood, having first published Redback Mansion and now her latest collection, that downhill yelling. A regular poetry contributor to the NSW Department of Education School Magazine, Marwood as a writer not only deals with subjects of interest to young readers, but her poetry is imbued with language which is evocative and joyful.
It’s obvious from the titles of Lorraine’s poems (such as "Eucalyptus Christmas" and "Kangaroo") that she is Australian and has an interest in country living ("A Hill," "Cow Tracks and Facts", "Crow Beak"). However, her poems also range across a wide spectrum, including subjects such as motorbikes, space, the classroom, football and the ocean. Showing a strong streak of creativity, Marwood takes ordinary subjects and thinks laterally, at the same time playing with language. One example is the poem "An Itch" in which a cow uses the "splinters of a post/the prickly points of a wire fence/the dry crinkly grass" as substitute back scratchers. In "A Hill", the landscape is personified so the hill "has a chin/shaven clean/of bristle trees." Similarly, in "Sting", taking a school test is compared to the dangers inherent in nature so that "some days/perfectly good/perfectly routine/are wasped and centipeded…"
Marwood’s inventive language is often memorable, with autumn leaves compared to "brown starfish", reference made to "a tree trunked with cat scratches", a description of a "candelabra of cockatoos/on bare grey branches" and graffiti words likened to "zig zag thorns/climbing up so tall." Here’s another wonderful use of words: "the wind might be/ skitching a tree branch/on the galvanised roof."
Most of the poems in this collection are thought-provoking, but many are full of fun, like the book’s opening poem, "Bellywhacker" where a swimming board diver parachutes "up/and down/like a bomberpilot" and "Goose Teeth" where a gander "was the type that would like/knuckle dusters strapped to his feet."
If you are a writer who wants to see how to use language imaginatively and effectively, a teacher who wants to demonstrate to students how to think and write creatively, a person who wants to support Australian children’s poetry publication, or someone who simply appreciates good writing, then that downhill yelling should surely be on your shopping list!
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INDEPENDENT CHILDREN'S BOOKSHOPS
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CRITIQUE GROUPS BULLETIN BOARD
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MILESTONES
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INSPIRATIONAL QUOTES
~You can tell more about a person by what he says about others than you can by what others say about him.~
Unknown
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PASS IT ON SUBMISSION GUIDELINES
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