Author Interview: When The Smoke Clears by Chrissy Guinery - Surviving the Australian bushfires

Sunday, 7 June 2020

When The Smoke Clears by Chrissy Guinery 
Released: 20 May 2020
Published by: Fifty Days Press
Genre: Non-fiction
Pages: 205
The whole world held its breath as 2020 dawned and Australia was on fire. The final toll was breathtaking: 18 million hectares burned, a billion animals killed, 2,800 homes destroyed.

Even more tragic-the loss of 33 people in the fires. In When The Smoke Clears, fire survivor and author Chrissy Guinery presents the human face behind these figures, through first-hand accounts of the day to day struggle to breathe, to believe, to love-under a pall of smoke and in the path of fire. It's the story of survival that represents the experience of thousands of Australians from the 2019-20 bushfire season, right through to the impact of the coronavirus. And it also begins to answer the question-how do you live, laugh and hope again after your family has been threatened, homes lost, children terrified and the countryside blackened.

When The Smoke Clears is essential reading for anyone in the world who grieved for Australia as it burned, and for anyone at anytime who is wondering where they will find the strength to go on.
When The Smoke Clears is an important release which provides an insightful and raw insight into the experiences of people living on the south coast of NSW who experienced the devastating bushfires last year. Click the link below to hear from Chrissy Guinery, Bateman’s bay Rural Fire Service Captain Ian Aitken and Eurobadalla Shire Mayor, Liz Innes for their take on this book:





Author Interview with Chrissy Guinery

Firstly, congratulations on publishing this book, it is such an important account of the bushfires which presents what happened in such a deeply personal and moving way. What were some of the biggest challenges you came across in writing it?

Time and Tears.

TIME: There was a sense of urgency to get the book out while the topic was 'hot'. I knew the fire victims needed it as a tool to help heal, and others needed it to discover the impact their assistance is having on us all.

TEARS: Lots of tears - some sad tears as I revisited painful, scary and uncertain days, and some happy tears as I recalled all the love and care showered upon my daughter and our community after losing 501 homes to the fire.

Faith is a strong underpinning source of strength that comes through many of the accounts in this book, including your own. How has that shaped the approach you took to both bringing these stories together and having the resilience to keep going even as you saw families around you lose their homes?

Often when you go through trauma, it feels like your world is falling apart so you look for something solid and stable, for me, that's my faith in God. Prayers play a major role in healing through stress, trauma and facing the unknown day after day.

Faith helped us remember we were not alone, and we didn't have to get through it all in our own strength. Leaning on God brought us hope as we lived under a sky of thick smoke for more than 2 months. Hope is what we all needed most, as daily we didn't know if we were going to lose more homes and more lives.  

How did the writing process for 'When The Smoke Clears' differ from your other books 'Room to Breathe' and 'Falling Up Stairs'?

I am an eclectic person, so the books I write are all very different. Falling Up Stairs was lots of zany fun, all about living in a van travelling Australia. Room To Breathe was inspired to help people find a reason to shine after hearing about the staggering suicide statistics of our nation. When The Smoke Clears is a healing journey, it was cathartic and I knew it was to become an essential Australian resource written from the harrowing two months inside the 2019/2020 fires.

Though my books are all different 'flavours', they are all similar in that they are raw and real, and all of them are designed to bring hope and healing.

Was there a particular moment or quote from this book which hold particular significance for you?

There are a few, but I guess the most impacting was an incident the day after my six-year-old grandson's home had burnt down, leaving the family with nothing. I took him some clothes and a toy from his cousin, a little red motor bike. Still in shock, he sat on my knee and played with the toy motor bike for 20 minutes or more before looking up into my eyes and saying, 'I have one toy now, Granny.'

That moment will remain with me forever.  

What is the main message you hope readers will be able to take from 'When the Smoke Clears'?

Together we win. That's one of my mantras. It takes community to rise, to heal and be able to move forward. By linking arms with others, reaching out to help and to comfort, we can get through anything. We were never meant to do life alone.

Do you have any tips on how we can continue to support families and communities that have been devastated by the fires and are still recovering?

Absolutely. Give and Pray.

GIVE: It's a small word with huge impact. Give your time to listen to their stories; validate them. Give your money - either by visiting the small businesses that have struggled since December last year or by sowing into the families themselves.

PRAY: Pray for peace, strength, resilience and hope for families, communities & towns left struggling to rebuild from ruins. 

About the author


Chrissy Guinery is all about empowering others. As a successful author and motivational speaker, Chrissy is renowned for her infectious joy, passionate faith and her desire to see others rise to fulfil their purpose and potential. To achieve this, she has been sharing her life secrets for more than 20 years in a down-to-earth relatable style, leaving people with essential tools for pursuing a more effective and fulfilling life. She is the author of When The Smoke Clears (2020), Falling Up Stairs (2016) and Room to Breathe (2018).

Review & Author Interview: The Long Distance Playlist by Tara Eglington

Saturday, 9 May 2020

The Long Distance Playlist by Tara Eglington 
Released: 30th December 2019
Published by: HarperCollins Publishers Australia
Genre: YA Contemporary
Pages: 424
My Rating: 5 of 5 stars
Told primarily in instant messenger conversations, Skype, emails and texts, this is Jaclyn Moriarty's Feeling Sorry for Celia for the modern teen.

Taylor and Isolde used to be best friends - before THAT FIGHT, 18 months ago. It's been radio silence ever since - until Taylor contacts Isolde to sympathise with her breakup: the breakup that she never saw coming; the breakup that destroyed her confidence and ended her dreams of joining the National Ballet School. Taylor's had his own share of challenges, including a life-altering accident that has brought his hopes of competing at the Winter Olympics to a halt. Isolde responds to Taylor, to be polite. But what starts out as heartbreak-themed Spotify playlists and shared stories of exes quickly becomes something more. And as Taylor and Isolde start to lean on each other, the distance between them begins to feel not so distant after all ...

A boy. A girl. A one-of-a-kind friendship. Cross-country convos and middle-of-the-night playlists. With big dreams come even bigger challenges.
I've been a fan of Tara Eglington's work since her first book, and it's been such a joy to see her work grow since then. In The Long Distance Playlist, there is the same sense of realism and exploring what it is to be a teenager with hopes and dreams, tempered with a multi-modal narrative style and storyline that is so much fun to read!

It can be difficult to balance the activities of the main characters within the wider scope of their lives to create a holistic plot, but here it is achieved with ease. There is so much to learn about not only Isolde and Taylor as they navigate recent challenges and rekindling their friendship, but their families moving through different phases as well. Friendship is also a dominant theme here, which brings some hilarious banter into the mix and great examples of support networks that can make all the difference in an adolescent's life.

The feelings of self-doubt and questioning whether Isolde's dreams of pursuing ballet are worth the effort are definitely ideas teens will relate to. Looking back on all our pasts it's inevitable that we've all gone through these sorts of growth phases which shape us into the people we are today. Taylor's own challenges in his personal life and recovery from injury also highlight the qualities of resilience and courage while still showing that there are times where the 'light at the end of the tunnel' seems far away. It's these balanced and multifaceted characters that are brought to life on the page as their whole selves, which makes this book shine. I also really love the part where Taylor describes some of the golden moments of joy in a family, speaking of seeing his mum where 'the smile goes right up to her eyes'. The message of appreciating the small moments in life that reach right to the heart of our connections with friends and family is something really special in The Long Distance Playlist.

FINAL THOUGHTS

Tara Eglington's unique narrative style depicting realistic and entertaining dialogue alongside themes which are always relevant to teens, is sure to make this book a hit with all YA audiences. Full of heart, hope and a central theme of appreciating those close to us - this is going to be a favourite on my shelf for years to come!



Author Interview with Tara Eglington

Firstly, congratulations on releasing your fourth novel! What were the similarities and differences between writing The Long Distance Playlist and previous works?

Thank you! Of my four books, The Long Distance Playlist is the one that is closest to my heart – probably because I had carried the idea for it around in my mind ever since I was fifteen years old!
In terms of process, and similarities in process when it comes to my books - each one of my novels has been inspired by something personal, but this one – a story about a boy and a girl who are oceans apart, but closer than anything – was especially close to home!

Twenty years ago, there was a boy on the other side of the world, who sent me letters and emails across a four-year period. He was the first boy to call me beautiful, to make me jewellery, to read my short stories and songs, and to MSN Messenger chat (2000 much?) with me for hours about my hopes, dreams and fears. What started out as pen-pals - a boy from a land of frozen lakes and snowy skies, and a girl, from the beaches of Byron Bay – became something much more, as we navigated our way through a myriad of experiences in our late teen years.

The years that I spent writing to this boy, became part of my story, and I always knew that one day, I was going to write a book about a boy and a girl, who lived miles apart, but had a very special connection.*

The difference in process between my previous novels and this one, was probably how I approached the form of the novel. I knew I wanted to write a semi-epistolary novel (a novel traditionally composed of letters or documents) but I also wanted the story to feel very modern – so instead of communicating via physical letters, my protagonists Isolde and Taylor use text, email, skype, IM’s, playlists, and Instagram DM’s to connect with each other. This allowed me to explore how these particular ways of bonding with each other online, can feel just as real, meaningful, and poignant as any in-person interaction or catch-up 

*Note from Eugenia: Tara just posted on her blog about this real-life inspiration here!

One thing I always find shines through in your books is how realistic the dialogue and narrative voices are for your teen characters. How do you go about developing what your main characters will 'sound' like? Does this come before your idea for how the plot will play out or do they run together from the start?

Thank you so much – that’s the ultimate compliment for a YA writer! The process of developing a character’s voice is a really interesting one, and it actually varies for me, with each book.

Taylor’s voice was so strong and clear from very early on in the process. Even before I started to write the novel, I could hear him talking in my mind – whole pieces of narrative would come to me whilst I was brushing my teeth or doing the dishes. Taylor has a real intensity about him – which is probably tied in with being an elite-athlete – but he’s also got this lovely playfulness, and a terrific sense of humour too. So that dynamic was already there, even in the initial sample chapters I wrote for my publisher in early 2018. And as the novel progressed, Taylor became even more real to me. When I was living in Queenstown, I often felt as if I might just to bump into him down on the shoreline, or while skiing at Cardrona!

It’s a funny thing to try and explain – you know, the whole, characters talk to me! quirk that is part of being a writer. Or even trying to pinpoint the sense of say - whilst writing a scene, knowing with full certainty that ‘No, Taylor wouldn’t say that!’ But I guess that’s how characters can drive plot – at a certain point, they kind of take over and start telling their story to you, rather than the other way around!

Sometimes it takes time to work characters out. Isolde was a little bit of a mystery to me for a while – and in that scenario, I often find that the best approach is to work on building up a profile of the character – their unique interests, their family dynamics, their backstory –  and this usually helps me to ‘work out’ who they are. Then the voice will start to trickle through more and more. 

In terms of how I plot my novels, my first book – How to Keep a Boy from Kissing You – was really heavily pre-plotted. When I sat down at the computer every morning, I had a detailed outline I was working to for each chapter.

With my other books, it’s been a bit more of an organic process. Usually I know the beginnings of a book, and some of the major plot points I’m writing to, but there’s also a great deal I’m uncovering and discovering as I go, which is really fun!

The influence of arts and culture are another unique element of your books which I really love! Your first book How to Keep a Boy From Kissing You featured a production of 'Much Ado About Nothing' in the storyline, and here there is Isolde's evolving dream of being accepted into the National Ballet School. What drives you to include these kinds of ideas in your works?

I’m so happy to hear that you enjoy these elements – I love weaving things like art, theatre, and music into my novels because these forms of creativity bring me so much joy! I was very lucky to attend a creative arts high school whilst in my teen years, and I think the way that we learnt, and the things we learnt, have had a big impact on my writing. Our lessons – even things like biology, mathematics, and history – were taught in such an engaging way – for example, say we were learning about medieval history – we would learn the facts and dates of course, but our teachers would be reading us Arthurian legends in English class in the middle of the day, and then in the afternoon, we might be learning metalwork, and making our own copper chalices, or swords. It was really immersive way to learn – I remember my sister’s class built an actual Viking ship!

So during those years, I performed in Shakespeare productions (which of course, found it’s way into How to Keep a Boy from Kissing You), learnt about Dante, Renaissance art and mythology (which you’ll find in My Best Friend is a Goddess) and got to attend the ballet and some opera performances (which forms part of The Long Distance Playlist)!

My family – who are all creatives – have also had a big impact on my books. My father (like Emily’s mum in Goddess) is an artist, and my sister was the youngest student (at the time) to be accepted into a full-time dance school. 

Aside from the slowly-blossoming romance, friendships, family structures and the relationships between teens and their parents are other areas explored really well in The Long Distance Playlist. It's great to see that the parents of Isolde and Taylor also have a role in this book. Did you always imagine the story being much more than a series of interactions between the two main characters?

Absolutely! For me, I loved the fact that Isolde and Taylor’s families have had a long-intertwined history – Isolde’s mum, and Taylor’s Dad dated once upon a time! The two families have spent a lot of time together over the years, and Taylor and Issy have been friends since they were tiny. I’ve always loved YA stories that incorporate family –so it was a delight to be able to explore this in the latest book.

I think sometimes there’s an assumption about parents in YA – i.e. their presence should be minimised because teens aren’t interested in anything outside of themselves etc (which is so wrong!). Our families – their dynamics and unique histories – are a huge part of our identities! When I look back on my teen years, I remember how much of an impact that family had on my life, and my friend’s lives – whether that was big stuff – like parents dying, divorcing, or remarrying – or the more subtle stuff, like the conversations we had with our Mums or Dads about our dreams, our identities, our futures – as we matured, and discovered who we were.

And it’s the same for Taylor and Isolde in the novel. Isolde’s life is hugely impacted by what’s happening to her parents. For Taylor, I really loved that he knew that he could go to his parents for support – as he says – The thing I love most about Mum and Dad is that they never make me feel like what I’m going through is ‘kid stuff’ – you know, less than, or not as valid as adult stuff. And they don’t jump in with ‘shoulds’ or ‘shouldn’ts.’ 

That’s what my Dad was like when I was growing up. I could go to him with anything and he would listen really intently, and try and help, without casting judgement. I know there’s a lot of kids who have that same dynamic with their parents, so I loved having a healthy example of that kind of teen-parent relationship in the novel.

Friendships also play a huge part in the book – and for me, that’s the heart of The Long Distance Playlist. Whether it’s Taylor and Isolde confiding in each other about their deepest fears, or most painful memories, or Finn and Taylor’s easy-going, no-judgement dynamic, or Ana cheering Isolde on with her dancing - these relationships are the place where the protagonists find strength, understanding and courage. 

The idea of including the email trails, messenger conversations (and of course the music playlists!) made the story even more vibrant. Is it more difficult to write in these different modes than just using prose?

Funnily enough I actually found these sections of the novel the easiest to write – I think because the forms (emails, texts, messenger conversations, DM’s, IM’s) are quite conversational in nature, and I’ve always found dialogue easier to write than prose!

I loved incorporating such modern forms of communication into the book. I think texts and DM’s and so forth have a real immediacy to them, and these types of interactions are such a part of our everyday lives – whether that’s texting a friend, skyping a family member, or DM’ing someone on Instagram. So for me, it felt like a really natural way to tell a love story that’s set in 2020.

I think the main challenge with the email and messenger conversations, was probably working out how to convey things like the characters backstories and histories, without falling into ‘telling’ – i.e. if Taylor and Finn are having a skype conversation about Ellie (the girl that Taylor had a crush on at the start of the novel) both boys already know who Ellie is, and are aware of all of the previous interactions Taylor has had with her, etc – whereas the reader doesn’t know any of this, and has kind of ‘dropped in’ mid-conversation! So you have to be quite clever in how you weave that essential information through each medium! 

Without giving too much away, is there a particular scene or quote from the book which is particularly special to you?

For me, the heart of the story, is in these words, by Taylor:


All I know is that there are no guarantees. Anything could change at any moment. The way I want to live is to grab on tight to the people that I love and things I love doing. I want to squeeze every bit of joy out of every moment I have with them. What will come will come. It’s how you live in the meantime that counts.

*Note from Eugenia: This is my favourite quote too!

What are some of the main messages you hope people will be thinking about after reading The Long Distance Playlist?

The Long Distance Playlist is for me, a celebration of friendship. Of the people in our lives, that we can call upon, in the middle of the night, in any time zone - and find understanding, empathy, comfort and love, waiting for us.  Issy and Taylor go through some tough stuff in this novel – but they are able to lean on each other for support. It was the same scenario for me in high school – it was my friends who helped me cope with a wide range of difficult and painful situations. I hope anyone who’s read the book and may be going through tough stuff of their own, is left with a feeling that they can reach out to someone who cares.

The other thing I hope readers might take away from the novel is a sense of hope – the sense that even though life might throw incredibly painful and difficult stuff our way - stuff that might turn every plan we have had for ourselves, upside down – we have the strength inside ourselves to adapt, and to redefine our lives. 

The setting, particularly the New Zealand sections, are so vividly described. When did you realise that this was a place you wanted the story to feature? (Travel recommendations are also welcome!)

It was such a joy to set the majority of the novel in the Central Otago region of New Zealand. I was born in NZ (although I’ve spent the last 30 years in Australia), and I introduced my husband Greg to Queenstown in 2014. We both fell head over heels for the place – it’s the most breathtaking town that sits on the edge of a vast lake, surrounded by snow-capped mountains everywhere you turn! Greg and I have visited every single year since to ski, and even spent 18 months living in QT from 2018-2020.

Each location in the book has a very special meaning to me. The Queenstown shoreline, where Finn and Taylor hang out at the start of the book, was where I would take my lunchtime walk. Jacks Point – where the boys played golf – was actually where my husband and I lived, right at the foothills of the mighty Remarkable Mountains. Cardrona ski-field, where Taylor, an up and coming snowboarder, trains daily, is a mountain I’ve spent winter after winter skiing. So it was such a joy to write about these places, and to bring them to life for my readers. I’ve had some reviewers say that the setting of The Long Distance Playlist is almost a character in itself, and I love that!

I also love the idea of my readers visiting Queenstown in the future! My tip would be to plan your trip for the end of August/beginning of September - the time of bluebird skies, when the mountains are at their most beautiful! Make sure you go for a stroll along the Queenstown shoreline, and up past the botanic gardens. Enjoy a famous fergburger, and then take a gondola ride up to the top of Bob’s Peak, to take in a sunset view of the entire town. Visit Arrowtown, an adorable little village with a fascinating gold-rush history. And a drive out to Glenorchy – just for the views – is something you shouldn’t miss.

I’d also suggest you try your hand at skiing or snowboarding – Cardrona skifield is amazing for beginners and the more advanced.

And if you can, spend a night or two in the Mt Cook/Aoraki National Park – it is absolutely breathtaking, especially from the air (try to do one of the scenic flights, you won’t regret it). 

What are some of your favourite things about writing in the YA genre? Are there any challenges related to writing for this audience?

I love writing YA. I love reading YA. I don’t think that will ever change, because that period of time – those teenage years - continues to be a fascination for me. There’s so much there to explore as a writer – whether that’s the intensity of the emotions, the magnetic force of those real ‘firsts’ – like the first time you fall in love, or have your heart broken, or lose a friendship, or realise your parents are just people, who sometimes make mistakes too – or the potent discoveries of that period  – working out who you are, and what you want to do with your life – it’s all amazing material.

Maybe my head and heart are still stuck there, in some way, because if I close my eyes, I can travel back to that period in a split second – and what I was feeling, thinking, or dreaming of back then, rises up again.

The challenges of the YA genre…. hmm. That’s a hard one. The only thing that comes to mind is that sometimes my characters want to swear, and that’s usually a no-no in YA! But it forces you to be more creative, which can only be a good thing! 

Could you give us a sneak peek as to what you might be working on next?

Ooh, I would love to share – right now I’m in the process of pitching a few different ideas (all YA) to my publisher. I know that’s a little vague (sorry about that!) but I’m hoping I will have some good news to announce in the near future (fingers crossed)!


About the author


Tara Eglington grew up in Byron Bay, New South Wales, wrote The Long Distance Playlist by the shores of Lake Wakatipu, Queenstown, and now lives in Sydney. 

She is the author of four YA novels: How to Keep a Boy from Kissing YouHow to Convince a Boy to Kiss You (titled Kissing Games in the USA)My Best Friend is a Goddess and The Long Distance Playlist, the third of which was a top-ten bestselling Australian YA title in 2016 and a notable for the 2017 CBCA Older Readers Book of the Year. 

Tara’s hobbies, when she’s not writing, include watching endless cat videos on YouTube, planning pretend holidays to the Maldives, and daydreaming about who would play Hayden Paris in the film-adaption of How to Keep a Boy from Kissing You.

Tara loves to hear from readers, so please say hello via contact@taraeglington.com, or @taraeglington on Facebook, Instagram and Twitter.

Cover Reveal & Author Interview: Benevolence by Julie Janson

Wednesday, 22 April 2020

Benevolence by Julie Janson
Released: 1st May 2020
Published by: Magabala Books
Genre: Historical fiction
Source: Publisher
Pages: 345
For perhaps the first time in novel form, Benevolence presents an important era in Australia’s history from an Aboriginal perspective.

Told through the fictional characterisation of Darug woman Muraging (Mary James), Benevolence is a compelling story of first contact. Born around 1813, Muraging is among the earliest Darug generations to experience the impact of British colonisation – a time of cataclysmic change and violence, but also remarkable survival and resistance. At an early age Muraging is given over to the Parramatta Native School by her Darug father.

Fleeing the school in pursuit of love, she embarks on a journey of discovery and a search for a safe place to make her home. Spanning the years 1816–35, Benevolence is set around the Hawkesbury River area, the home of the Darug people, in Parramatta and Sydney. Julie Janson’s intensely visual prose interweaves historical events with detailed characterisation – she shatters stereotypes and gives voice to an Aboriginal experience of early-settlement.
Australian historical fiction is one of my favourite genres, and Benevolence looks set to be a fascinating read that investigates what happened during this time from an Aboriginal perspective.

What sort of research process did you go through looking into your Great-Great Grandmother’s history and what happened at the time the story was set?

The research process for basing 'Benevolence' on my great great grandmother took many years. Originally, I was just curious to find out about the hidden history and secrets of my father's family. My father Neville Janson never talked about the Aboriginal blood in his family, but he said that he felt out of place in the mostly white suburb of Boronia Park in Sydney. He was at home in the bush, catching fish or taking us kids to gather mud oysters along the Lane Cove River.  All his mates called him Jedda, because he was obviously Aboriginal in appearance and behaviour.

I was determined to find out the truth, so I started ordering birth and death certificates. Soon I traced his family to Freemans Reach near Wilberforce in Western Sydney. One side of his mother Ruby's family were descended from convicts of the third fleet and were early settlers along the Hawkesbury River. However, Neville's grandmother had a lost story. She was born in Windsor and her mother was Mary Thomas born at Freeman's Reach Blacks camp. There were missing birth certificates and names missing from certificates. The story had to be pieced together from interviews with elders in western Sydney and the Blue Mountains. I was lucky to have a job as a researcher on www.historyofaboriginalsydney.edu.au. I found out many stories and some fitted our family and others didn't.

My creative imagination filled in the gaps. I decided to change the family names so I had more freedom to imagine the details of my protagonist's life.

Without giving too much away, is there a particular moment or quote in Benevolence which holds a special significance for you?

The more significant scenes for me are when I am able to use my playwrights voice and bring the characters to life as though they are on stage. The jealousy scenes when Mary is confronted by her Reverend lover's wife are some of my favourites. The chapter is called 1830 The New Bride. Anyone who has experienced sexual jealousy and feelings of betrayal will identify with these few scenes! And such fun to write! On a more serious note, I feel connected and confronted by the scenes where Mary is forced to take soldiers up a mountain where a battle takes place and many Aboriginal men are murdered. The terrible truth of this country's history is difficult to read, but essential for reconciliation and facing how the country was stolen. 

Where would you recommend readers go for more information about the Darug nation and history of colonial era Sydney to gain a better understanding from an Aboriginal perspective?

I would recommend the best place for readers to learn about Sydney region's Aboriginal  history is the University of Western Sydney website www.historyofaboriginalsydney.edu.au

Also www.sydneyBarani.com.au and books like "The Parramatta Native Institution and the Black Town" by J Brook and JL Kohen.

Another good one is "Koori Will to Win" by James Miller. 

Are there any other writers or people in your family which inspired you to pen this story?

My mother Jovanna wrote a novel when I was a child. She put it in the bin when it was rejected. She also wrote articles for the Fire Brigade newsletter as Dad was a fireman. Mum is also still a fabulous costume designer and maker and porcelain artist. My artistic talent comes from her English theatre family side, but the story telling is from my dad Neville who was a brilliant storyteller.

How did the experience of writing Benevolence differ from your previous works The Crocodile Hotel and The Light Horse Ghost?

Writing Benevolence was a long tortuous process. I was trying to weave actual history into a creative story and keep faith to my Aboriginal roots.

I could feel the critics saying, “She got the dates wrong!”  Writing 'The Crocodile Hotel' was easier because like many a novelist, that first novel was largely autobiographical. But as my dear mother said: "That novel is true except for the sex. She was a respectable married women at the time. Ha!

The novel 'The Light Horse Ghost' was written very quickly, in six months after a journey to trace my husband's Irish/ English family in Kalgoorlie WA. I loved writing it because I was able to draw on my experience of growing up in a house with my Dad as a returned WW2 soldier. But this novel is set in 1920. Writing fast can make you manic, don't do it. I went a bit mad for a while.

After reading Benevolence, what are some of the main messages you hope readers will be thinking about after turning the last page?

I hope readers realise that Aboriginal people in the Sydney region are often fair skinned but we still carry the blood of our Darug ancestors. 

I want readers to see Aboriginal people as courageous survivors and that people such as my three times great grandmother had to experience the total destruction of her world and the utter dispossession of her rightful country.

Can you give us a sneak peek at what you’re working on next?

I am working on a new novel 'Wilga' about the death of the Darling river, climate change, Aboriginal spirit and death in custody. It is based on my award-winning play 'Gunjies'. I travelled to the Barka river on the Yaama Ngunna Barka corroboree project with Bruce Shillingsworth and was further inspired to write a contemporary novel about North Western NSW.


Photo collection

We were told that we were Hawkesbury River people. This is why I wrote Benevolence. I wanted to recreate that family story.


Julie also kindly shared these photos which are relevant to key aspects of the book:

a. Drawing of the Native Feast with Gov Lachlan Macquarie in Parramatta  depicted in Benevolence
b. Gundungurra mob in Liverpool when Mary is thrown out of Rev Smythe's house
c. Julie at age 12, with her father Neville in the Hawkesbury region
d. Parramatta Native school


About the author



Julie Janson's career as a playwright began when she wrote and directed plays in remote Australian Northern Territory Aboriginal communities. She is now a novelist and award-winning poet. Julie is a Burruberongal woman of Darug Aboriginal Nation. She is co-recipient of the Oodgeroo Noonuccal Poetry Prize, 2016 and winner of the Judith Wright Poetry Prize, 2019.

Her novels include, The Crocodile Hotel, Cyclops Press 2015 and The Light Horse Ghost, Nibago 2018. Julie has written and produced plays, including two at Belvoir St Theatre – Black Mary and Gunjies and Two Plays, published by Aboriginal Studies Press 1996.

{Author Guest Post} Bonnie Wynne on lawyer skills and creative writing

Saturday, 1 February 2020


High-flying lawyer turns courtroom drama into blockbuster novel success. Sadly, I’m talking about John Grisham, not myself. As far as lawyer-novelists go, he takes the crown for most famous. But even Charles Dickens dabbled as a law clerk, and Harper Lee dropped out of an Alabama law school at age 23. So what turns so many respectable legal minds into starving, bohemian artists?

Maybe the real question is what turns creative writers into lawyers. A home truth: law school is where you go when you love writing but also love money. So off I went to learn the law, bright-eyed and eager, with a briefcase full of dreams and unfinished manuscripts about dragons.   

The Venn diagram between lawyer skills and writer skills is basically just a circle, and the most obvious shared skill is ‘sitting down’. We do a lot of that. But the second most obvious is language. Lawyers spend all day wrestling with the written word. Every sentence must pull its weight. These days, I can draft cleanly and hack through superfluous adverbs like a machete through the underbrush. A writer must kill their darlings, and I have no qualms about executing mine on sight. And I like to think it works both ways; that my creative side gives my law writing a little extra pizzazz. My boss may disagree (as he strikes out the word ‘pizzazz’ from my draft).

Law school also teaches you to see an argument from both sides. That’s not so different from the job of a writer: to put yourself in the shoes of somebody else. Imagining the point of view of an orc is a little different from imagining the view of opposing counsel (or is it?), but the principle is the same.

The Ninth Sorceress tells the story of Gwyn, who was raised in a travelling wagon by a stern and emotionally distant father figure. My own childhood was crushingly normal, so I had to imagine the world from her perspective. Who would you become if you were forbidden from having friends? How would you react to the abrupt and cataclysmic upheaval of your life? Those were the questions that intrigued me as I was developing Gwyn’s character.

Lawyers are detail-oriented by nature, and that’s a great skill to develop if you want to write well. My favourite podcaster Tim Clare always talks about crunchy specificity, which basically means steering away from the broad and obvious word choices and picking something with texture, something that suggests a world or a time period or a cultural milieu. It’s putting your protagonist in a clumsily hand-stitched sarafan instead of a shirt and trousers. I often fantasise about tattooing crunchy specificity onto my forehead.

Law school teaches you to be specific, with statutes and precedents and case law. Sure, you can show up in court and ramble about how ‘it’s the Constitution, it’s Mabo, it’s the vibe’. (But please don’t). And sure, you can write about how your wizard’s library smells of dust. But that’s an obvious choice, and it’s not going to wake up the dozing peanut-crunchers in the back row. What else? Floor wax? Woodworm? Buckram? Specific, specific, specific.

That brings me to the next great lawyer skill: research. At work, my browser history would put you to sleep. But at home it would put me in jail. Torture with hot irons. How to dispose of a body. How to make gunpowder. In law and in fiction, it pays to know what you’re talking about. Or if you don’t know, at least you can sound like you do. Research: the backbone of any convincing lie.

One thing every writer needs is discipline. Writing is work, even when you’re enjoying it. It’s tempting to go play video games or watch another episode or pair your entire sock collection. Those things are easier and more fun (well, maybe not the socks). And it’s no surprise that discipline is a mandatory skill in law school. If you’re a natural procrastinator (hello), the terrifying onslaught of essay deadlines and take-home exams will beat it out of you.

You can’t force inspiration – sometimes you turn the creative tap and only a trickle comes out. But you can force your butt into the seat. I wrote The Ninth Sorceress piecemeal over the course of a decade. But I wrote the first draft of Book 2 in just a few months, my fingers clacking at the keys so fast they started getting friction burns. Luckily, the warring wizards of The Ninth Sorceress are a lot more fun to write about than tortious misfeasance.

If my writing career takes off, it would be nice to eventually leave the law books behind. But in the meantime, I owe a lot to my legal training. And if I ever get sick of gods and alchemists, maybe I can try one of those twisty courtroom thrillers. John Grisham, I’m coming for your crown.

THE NINTH SORCERESS, Bonnie Wynne's debut fantasy novel, is slated for release February 13.


About the book


The Ninth Sorceress (The Price of Magic #1) by Bonnie Wynne
Released: 13th February 2020
Published by: Talem Press
Genre: YA Fantasy
Pages: 360
In the blackest dungeon of the Clockwork City, a prisoner lies bound in silver shackles. Who is she? And why are the wizards so afraid of her?

Seventeen-year-old Gwyn has no family and no past. Apprenticed to a half-mad herbalist, she travels the snow-blasted High Country, hawking potions in a peddler’s wagon. Her guardian hides her from the world like a dark secret, and she knows better than to push for answers. But when she discovers she is hunted by the goddess Beheret, Gwyn is drawn into a deep and ancient tale: of chained gods and lost magic, of truths long buried and the rising of a war she never could have imagined. Wizards and their magic-sniffing hounds pursue her – as does a stranger in a smiling mask, who calls her by an unfamiliar name...

But what really terrify her are the dangerous gifts she’s spent her life suppressing. Now, Gwyn must step out of the shadows and take charge of her destiny – even if the price is her own soul. The Ninth Sorceress is the breathtaking first instalment of The Price of Magic, a sweeping fantasy saga full of rich storytelling and tangible magic.

About the author


Bonnie Wynne studied Writing and Cultural Studies at UTS, and completed her law degree at the University of Sydney. After a brief stint in legal publishing, she now works for the Australian government, deciphering ancient law tomes.

She lives in Sydney with her cocker spaniel, Percival Hector (Canine Inspector). When she's not reading or writing, she can be found playing video games, booking her next holiday, or elbow-deep in flour.

THE NINTH SORCERESS is her debut novel and the first book in her series, THE PRICE OF MAGIC.

Author Interview: Seven Sides of Self by Nancy Joie Wilkie

Monday, 20 January 2020

Seven Sides of Self by Nancy Joie Wilkie
Released: 5th November 2019
Published by: She Writes Press
Genre: Short stories
Source: Publisher
Pages: 152
Seven Sides of Self explores seven aspects of an individual — the storyteller, the skeptic, the survivor, the saint (or the sinner), the scholar, the seeker, and the savior. Through the lives of the central characters, Nancy examines themes of battling strong emotions, the lengths we might go to for self-preservation and self-sacrifice, the inability to accept things as different, and taking responsibility for what we create.

Each story seeks to contribute something to our ability to better understand ourselves, the world around us, and the conflicts we all face. Original and thought-provoking, these stories will delight any fan of science-fiction and fantasy.
Author Interview with Nancy Joie Wilkie

How did you first come up with the concept for Seven Sides of Self?

The answer to your question starts with the Preface in the book:

The title and the concept of grouping together these seven stories came to me in a flash. I had just spent the morning exploring my favorite art museum. My mind was full of ideas for new art pieces and projects.  I then made the short drive to the nearby artisan village. After visiting several shops I found myself hungry and walked over to a little sundry shop — “simplyummy.”  I placed my order and prepared myself for a wait of a dozen minutes. By the time my sandwich and salad arrived, I had sketched out the general structure for the book on a paper napkin. As I stepped back out into the hot Southern afternoon after finishing lunch, I carried with me the seeds for ‘Seven Sides of Self’ firmly registered in my mind. Oh, yes — and I had a beaming smile on my face! The Muses had chosen to bless me once again with their spark and inspiration. God bless them!

As for what the title signifies for me—there are little pieces of me in each of those seven stories — hence the title of the collection.

Were there any particular moments during the writing process for this book that helped you learn more about yourself?

The answer to this question is pretty much summed up in the first story of the book (”There Once Was A Man …”).  If one reads that first full sentence of the story, it goes like this: “There once was a man who wanted to write.” The story is somewhat autobiographical and relays the trials and tribulations that one must go through when one first feels the urge to write.

What made you decide to set most of the stories with a sci-fi twist, as opposed to the present day?

Actually, this was not a conscious decision because most of the stories were written before I ever had the inspiration to group these seven stories together as a collection.  So three of the stories (“There Once Was A Man …,” “Microwave Man,” and “Old Mims”) are set more or less in the present day — definitely not on some distant planet or in the far future. Three of the stories (“The Ledge,” “An Intricate Balance,” and “Of The Green And Of The Gold”) are most definitely set in a “sci-fi” realm. The one remaining story (“Journey To Pradix”) is not really set in either the present day or in the far future but rather has more of an epic fantasy feel to it.

And hence — all of this only serves to convey one of the criticisms of the collection — that being that it is very difficult to categorize the book as either pure science-fiction or strictly short story fiction.

What is the main message you hope readers will be able to take from Seven Sides of Self?

Ah, yes, good question! In general, I offer these stories as a means for readers to explore different ways to deal with dreams, fear, curiosity, sacrifice, desire, faith, love. But each story has its own message:

We all struggle to be creative, to be unique.
We all face life-defining decisions.
We are all curious about what’s “out there.”
We all struggle to balance self-preservation with self-sacrifice.
We all want justice for all.
We all strive for certainty that there is something beyond this life.
We all have a need to protect our children.

To sum things up: We all must deal with our emotions.

Without giving too much away, is there a particular quote or story in the collection that holds a particularly special meaning for you?

From “The Ledge”
“Why prolong thought for the sake of being able to think for a few more minutes?”

This line of thinking speaks to me every time I contemplate prolonging the life of someone who is suffering from a terminal illness.

From “Of The Green And Of The Gold”
“By Earth standards, the Color of one’s clothes is trivial; meaningless for all practical purposes.  And yet, in the absence of any other difference, this relatively inconsequential factor has become something monstrous on Aurillia—something that can, if disturbed, invoke nausea, arouse suspicion, and lead to death.  The logical summation of this set of circumstances is that the more identical those within a society are, the less tolerant the society is of differences.  So intolerant of this difference are the Aurillians, that it is the only reason one is put to death on this otherwise crime-free and war-free planet.” This story is really about how we deal with homophobia and transphobia.

From “Old Mims”
“You still can’t convince me your bleeding all over typing paper is good for the soul.  What I can’t figure out is from where do these wretched individuals that you dream up come?  Is there some repository of dark characters in the back of your mind you tap into every time you write one of your stories?  Have you ever thought maybe someone ‘upstairs’ is dropping these folks into your pitiful little brain because He can’t bear the thought of giving them life any other way?  What if a power greater than you or me is pulling all of the strings in this grand ol’ universe and there really isn’t any such thing as individual creativity?”

And this bit of pondering comes from my own thoughts about the Muses.

Could you give us a hint at what you might be working on next?

Sure!

First, there is my music! My fourth collection of original tunes titled “Aurillian Tales” is scheduled for release in early 2020. Several of the compositions are meant to bring a musical element to the stories that mention Planet Aurillia. The opening track titled “Aurillian Sea” mimics the painting described on Page 44 of Microwave Man.” The closing track titled “Aurillian Dream (Casla’s Lament)” attempts to convey the rather harsh punishment that Aurillia gave to Casla (one of the characters in “Of The Green And Of The Gold”). And I think that the overall “feel” of the CD is meant to mirror some of the same feelings that a reader might experience while reading the stories.

I also have a collection of short stories — actually fables — each ending with a moral containing a pair of anagrams. The idea is that the fable will highlight either the humor or the irony of the anagrammic pair (think “present” and “serpent,” or “ocean” and “canoe,” or “listen” and “silent”).

I have started working on a follow-up short story collection tentatively titled “Faraway and Forever.” There are four short stories (“The Natural Order of Things,” “The Wishbringer,” “Half The Sky,” and “The Last Sunday of Summer”) all a bit longer than the stories in “Seven Sides of Self,” and all are in the sci-fi/fantasy realm. I want to explore more fully the Three Laws of Spiritual Mechanics, Mothersouls, and a few other surprises.

And finally, some number of years ago I started a sci-fi novel titled, “The Oaks of Mamre.” It explores one man’s quest for immortality and the lengths to which he is willing to go — even at the expense of other people’s lives.


About the author

Nancy Joie Wilkie worked for over 30 years in both the biotechnology industry and as a part of the federal government’s biodefense effort. She served as a project manager, providing oversight for the development of many new products. Now retired, she composes original music, plays a variety of instruments, and records many of her compositions. “Seven Sides of Self” is her first fiction publication. Nancy resides in Brookeville, Maryland. More about Nancy and her work can be found at www.mindsights.net.