Thank you to debut children's author KIM RACKHAM for stopping by my blog to discuss her new verse novel for young readers, HANNAH BACKWARDS (published by Riveted Press).

1. Kim, what prompted you to write your debut junior fiction novel HANNAH BACKWARDS? How did you get the idea and what was the writing (and rewriting!) process like?
 
In 2023, after moving on from my teaching job, I found myself in the wonderful position of having time to write and, more importantly, creative space in my head. I knew I was going to write something, but I didn't know what. When I started Hannah Backwards, I was experimenting with writing in verse, and I turned to my childhood for ideas. From my memory of carrying a worry stone (Shiva Shell) in my pocket as a child, I slowly built up a sense of Hannah and her family, then I added a friend, and a teacher, and some classmates... That's when I started to feel that I had something worth continuing with. I started wondering what 'problem' I could give Hannah, so that I could turn a handful of characters into a story.
 
Once I was on the way, Hannah lived inside my head and I loved writing her story. I am a 'pantser', so I don't work with a carefully thought out idea in my mind. I like to let my creative side run a little wild. I worked in Scrivenor, so it was easy for me to write verses from any point in the story, then order them and make sense of them later when I was ready to be more structured. For me, that's when the real work starts.
 
I didn't share my work with anyone until I felt it was pretty close to finished. At that stage, the feedback of other writers (a sister and a friend) is always so valuable. The final re-writing was hard, because at heart, I love it when things are peaceful and loving, and I avoid conflict whenever possible. My story was a bit too saccharin sweet, and while I'd introduced the sense of conflict at one point, a writer friend gently urged me to make it stronger. So I threw out a little of the calm, added in a bit more tantrum, and it definitely made my story better. I am forever grateful for the advice of first readers, who are able to remain more detached from the story than me!
 
 
2. Why did you choose to write the book in verse? What were the joys, and challenges, of writing in this format? 
 
I have loved reading verse novels for many years, since I first discovered Love That Dog by Sharon Creech in the early 2000s. Then along came many more writers of children's verse in Australia, and their books now fill my special verse-novel-bookshelf. I had considered trying some verse of my own, but was overwhelmed with the idea that I might get it 'wrong'.
 
Then finally I had more time on my hands. Instead of writing with the aim of producing something publishable, I just wrote. I experimented with verse and I stopped listening to the negative voice in my head because I was just playing. And once I got further in and my confidence built, it felt right to me.
 
I realised also that there are so, so many verse novels and they all do it in their own way. They don't have to fit a formula. The kind of verse I like to write is made up of lots of short poems, over one to two pages at most. I don't punctuate - I love the look of the words on the page in all their simplicity. It feels and looks poetic to me. And it's okay for me to do it that way when so many authors do it another way.
 
So I think my biggest challenge—the fear of getting it 'wrong'—became my biggest joy—the freedom to do it my own way.
 
 
3. How did HANNAH BACKWARDS find a home with Riveted Press? What was the publication experience like for you? 
 
My journey was a little like yours, Brenton! I entered the JWFK Pitch It! Competition in late 2023, partly because some writing friends had entered and I thought why not? It wasn't until I was shortlisted that I actually started to think this might help me get the break I needed - that very tricky thing of getting your work in front of an editor in the first place. I eventually came runner up, and crossed fingers that the first place getter did not choose an assessment by Rowena Beresford, from Riveted Press, as their prize. I felt my work was best suited to her, and I was lucky—I got that chance.
 
The publication process felt loooooong in the beginning, because nothing much happens when the book is first contracted. It sits and waits its turn. But once edits were happening, and now that release is close, time is flying. I have enjoyed seeing my work go through the process, and the absolute biggest thrill has been seeing the cover art and internal illustrations by Heidi Cooper Smith, and the overall design by Rowena. I love the way my book looks—I couldn't be more thrilled.
 
 
4.  What have you learnt about the experience of publishing and being a debut author that surprised you, challenged you and excited you the most? 
 
Being a debut author is exciting, and also a huge relief, because this is something I have been working towards for many years. It is finally happening! Sharing the news with family and friends was so exciting, and I feel justified for having spent so many years working on something that is so, so important to me.
 
As this is a novel, not a picture book, I wasn't prepared for the feeling of 'sharing' the finished product with others. I knew it would be illustrated and edited and designed, but I didn't expect the feeling of absolute joy I got when I saw the cover and illustrations and the way everything works together. The whole is greater than the sum of the parts! I am so thankful to Heidi and Rowena for their part in this team effort - it is our book. 
 
And the challenges? For me, it is most definitely the idea of self-promotion. Sometimes I would like to go and hide in a cupboard. Of course, that's not possible, and I am working at  building my social media presence, while trying to find a balance that works for me. It's really important to me that I don't let the pressures of the 'writing admin tasks' steal the creative space in my head. So for an unstructured, non-planner like me, the challenge is to plan my time better so that there's room for everything.
 
 
5. Do you have a typical writing process? And what is your writing space like? 
 
In late 2022, I started meeting up with a couple of writing friends on a Wednesday. Cuppas, cake and a chat, followed by a couple of hours in the library. We talk about what we plan to write, we debrief midway, and we celebrate and commiserate together. Wednesdays have become absolutely central to my writing process, because they are protected time. Whatever else happens in my life, my Wednesdays are booked. These sessions keep me accountable and inspired, and they force me to sit still at least for a little while. It is on these days that I make the most headway, and create the momentum to keep writing when I'm on my own.

At home, my writing space is made up of whichever surface I lay my laptop on. Perhaps this is partly because I'm a fidgety person and not good at staying in one seat for long. I can start at the table, transition to laptop on knees on the couch (NOT good for my neck!), then pace around the house while I problem solve in my head. While the lack of library discipline means I don't sit still and focus in the same way, it serves a different purpose. This is where I'm most likely to nut things out when they're tricky, and movement helps me to do that.
 
 
6. What is in the pipeline? Can you share anything you are working on next?
 
The time ahead looks very exciting to me. Hannah will appear again, this time in Izzi's story as she moves to her new home up the coast. Izzi Upside Down will be published by Riveted Press in 2026. I can't wait to have the pair of books in my hands, and I'm glad that Izzi will have her own story too. 

For now, I'm working on another junior fiction verse novel. I'm still at the fun, discovery stage, where I'm free writing a lot and not so worried about putting everything carefully into place. That harder part is just around the corner.

And in 2026, I'm thrilled to be heading to the Blue Mountains for a Varuna Residential Fellowship, to work on another verse novel that I am sitting on for now. The idea of having my own space, but also sharing space, with other writers is both amazing and a little scary, and I can't wait!
 
 
7. Anything else you would like to add, at all?
 
The kidlit community is one of the most supportive communities I know. All writers are hoping so hard for a chance to be published, or published again, and to have some level of success. And yet, the community shares its wisdom and knowledge and opportunities, and freely supports other writers.
 
Thanks so much for the chance to 'speak' about my book on your blog—another opportunity for a writer to be seen and heard. And I hope you enjoy Hannah Backwards!

1. Catriona, congratulations on your latest YA release "Good Luck And Other Lies". How did you get the idea for the story? What was the process of writing it and then finding a publisher like? 
 
The story of Good Luck and Other Lies came from a conversation I had with my daughter, who was unwell at the time. We were discussing what it would be like to win a lot of money. We had recently moved to the Sunshine Coast and were renting a house at the height of the rental crisis in Queensland. My eldest and her partner could no longer afford their rent, so they had temporarily moved in with us. But then the owner needed our house back for a relative, and we couldn't find an affordable house big enough for us to all move into. It was a difficult time for our family. I guess finding the money to buy a house was prominent in all our minds. As we discussed what it would be like to win a lot of money, I suggested I should write a book about a group of teens who win the lotto, and my daughter thought it was a great idea. So, using our situation in the midst of the rental crisis, I started writing Good Luck... 
 
It can take a long time to write a YA novel, and it can be complicated keeping the story in your head! In Good Luck..., there were a lot of characters to keep track of, research to do about AI, and a lot of research to do about what teenagers can and can't own without an adult's input. It was also complicated to find out legally what would happen if teenagers did win the lotto, since there were no case studies I could find in Australia where it had happened. 
 
I submitted the novel to my publisher, they appraised it, and agreed to publish it. It can be a bit easier to get something published once you're already established as an author, as the publisher you're with is already familiar with your writing style, and knows it generally matches the type of stories they publish. 
 
 
2. Your YA novella "Ways to Die Right" is a part of the Rhiza Shorts series. Can you share with our readers a little about what prompted the idea for "Ways to Die Right"? What was the process of writing and rewriting it like as well as a part of the Rhiza Shorts author 'stable'? 
 
Ways To Die Right is about a teen who is putting together a science project about the environmental damage traditional burials can cause. I got the idea not long after my mum died, and I was contemplative about death and burials. Somehow, I came across a Ted Talk about Green Burials; I found the concept fascinating. I guess I was also thoughtful of the volunteers in our society who keep our cemeteries clean, as we were visiting the local cemetery a bit. I wrote the first couple of chapters and submitted them to the other authors in our Rhiza Shorts team, and they thought it was a great idea. Joel, my main character, has Obsessive Compulsive Disorder, so that made the story idea pretty interesting as well. 
 
 
3. What do you know now about the publishing and writing industry that you wish you knew when you first began? 

I guess I have become increasingly aware of what a wonderful community it is. I had to learn pretty early on that you can't write in isolation. You have to put yourself out there, joining groups, attending workshops and seminars, and you need to talk writing with other writers. The same continues once you're published; it doesn't stop, the circles can just change a bit. But you still need other writers and authors in your boat, so to speak. 
 
 
4. Do you have a typical writing routine? And what is your writing space like? 

I actually don't have a typical writing routine! I listen to a lot of podcasts and read other authors' books which inspire me, so I write when I'm feeling that inspiration. I often write the bulk of a story in the school holidays, so I can have a block of time to concentrate and pour into the story. 
 
My writing space is just my lounge room. I have a laptop, so I can move to other areas of the house if I need some space to concentrate on a difficult piece of writing when I need to. But mostly I love to write with my family around me. If I hide myself away in a room somewhere, I feel isolated and I don’t like to be interrupted. So I write where I expect to be interrupted, and am happy to be interrupted, and that works for me!
 
 
5. You have another Rhiza Short "The E-Revolution" coming up. What else is in the pipeline? Can you share anything else you are working on next?

I'm really excited about my E-Revolution novella. I studied History and Politics in my Bachelor of Arts, so this story gave me the opportunity to do a little underlying teaching about the Australian political system, and how teens can be advocates for change.  I use the issue of e-scooters to give teens a voice and hopefully some tools to stand up against decisions they don't agree with at the government level. 


My current work-in-progress also gives me scope to draw on my university studies, as it is a time-travelling adventure! It is historical fiction, set during the Vietnam War. It is an intrusion fantasy, which basically means it doesn't use your typical science fiction mechanisms for time travel. Its working title is Private. My main character, Lenny, is sixteen years old. He would rather game or hang with his deadbeat mates than deal with real life—especially now that his estranged grandfather has moved in, disrupting his space and privacy. While his mates encourage him to make money stealing from shops, Lenny thinks he might make a quick buck from his grandfather’s Vietnam memorabilia.

But when he puts on a set of identity discs he finds in a box marked Private, Lenny suddenly finds himself transported to Vung Tau, Vietnam, 1970. Far from home and far from his gaming console, Lenny is forced to face the real human cost of war. His experiences challenge him to take responsibility and think beyond himself. Nicknamed ‘Private’ by his RAAF squadron, he begins to learn the true meaning of mateship. But it's only when he shows courage and self-sacrifice that he is returned to 2026. Back home, Lenny begins to see his grandfather differently—and realises the one of the most important bonds he made in Vietnam was with someone he already knew: his grandfather.
 
 
6. You are passionate about writing authentic neurodiversity and inclusivity into your stories. Why is this important for teen readers? Are there misconceptions about neurodiversity you wish to counteract by way of writing about it in your books? 
 
I think teens love to read about themselves and their friends in books. They like to see the world in a different light, from a different perspective, and then align it to their own - even if they're not aware that's what they are doing! By including teens with different forms of neurodiversity in my novels, I'm giving them that option. Medical specialists today are increasingly aware of the ways neurodiversity impacts people, and hence, more people are finding they are neurodiverse. So having neurodiverse teens represented in my novels is just normal, everyday life that teens can relate to. The neurodiversity of the teens in my novels is not the focus; it's just a part of who the characters are. It's not something to be solved or overcome, but understood. Which is the way it needs to be in general, everyday life, too. 

If anyone wants to discover more about how I write about inclusivity and neurodiversity into my stories, they can look at my website, which has a page dedicated to it: catrionamckeown.com
 
 
7. Anything else at all you would like to add?

Thanks so much for the opportunity to be interviewed, Brenton, and I wish you all the best with your own writing and publishing journey. Thanks for having me!

​1. What can you tell us about Lexie Moon and the Space Day Disaster? What was the experience like of writing this book, since it is a sequel? Did that make it easier or challenging, since you know the characters already?  
Lexie Moon & The Space Day Disaster is the second standalone book in the Lexie Moon junior fiction series, aimed mainly at the 7-10 year old age group. In this book, Lexie, a young inventor, has been persuaded to invent a device for daytime stargazing for her school’s Space Day. Unfortunately, the notorious gadget thief, Gizmo Lightfinger, returns to cause mayhem again. Lexie and her sidekick/grandad have to find a way to stop him before the world is plunged into darkness forever.
 
I had a lot of fun writing this book and enjoyed the opportunity to spend more time with Lexie and the other returning characters. It was easy to step back into her world, partly because I enjoy being there and partly because this book was written while I was still working on Book #1, Lexie Moon & The Word Burgling Bungle.
 
Some of the challenges of writing a series include ensuring that the voices and characteristics of the returning characters remain the same and that references to other recurring features of the world, such as inventions, are consistent. Spreadsheets help me keep track of everything. I also frequently reread parts of Book #1 to ensure that my language and tone remain in keeping with it. 
 
2. How was the publication experience different for Lexie Moon and the Space Day Disaster this time around, compared to the first book in the Lexie Moon series?  
Lexie Moon & The Word Burgling Bungle was my debut book, so everything in the process was completely new. It was good this time to know a little more about what to expect, including the long periods of waiting followed by high-paced cycles of intense activity.
 
I really enjoyed working with my editor at Riveted Press, Rowena Beresford, for Book #1, and so I was looking forward to doing that again. That has been a very rewarding learning experience both times and has really made me appreciate the level of skill that editors need to have.
 
3. What was it like when you first saw Lauren's terrific artwork bringing your story to life? Do you have a favourite illustration from either of the books?  
I have been completely blown away by Lauren’s illustrations, which look as though she has downloaded a picture from my head, put it on paper and made it even better than I had imagined.
Take for example The Stellascope invention on the cover of Lexie Moon & The Space Day Disaster. In my illustration notes, I said that it looks a bit like a cross between a ship’s binnacle and a telescope with some levers and dials. Lauren drew it exactly the way I had imagined!
In terms of my favourite illustrations, I couldn’t go past the two dogs at the end of The Word Burgling Bungle, but I love all the images of inventions and also the crowd scenes in The Space Day Disaster.

4. What is in the pipeline? Can you share anything you are working on next? Will there be a third book about Lexie?  
Nothing is official at this stage, but I have fingers crossed for book three, so I guess I can say that I’m working on that at the moment.
I also have a portal adventure story that I’m reworking, as well as a concept for a historical fiction that may take ten years to research and write.
At the moment, I’m also developing presentations for some upcoming school visits. My very first as an author! I’m very much looking forward to those.

5. Anything else you would like to add, at all? 
I’m very grateful to have two books in a series out in the world. It has been my dream to be a published author for a very long time, and even two years ago, I couldn’t have imagined it actually happening. I’m very thankful to everyone who has supported me on the way, including Rowena, my critique group and other people who have given me feedback on my writing, my friends, the amazing kids who have read my book, and of course, reviewers, like you, Brenton, who help to spread the word. Thanks again for this opportunity.

What could be better than a visit from not only ONE of my favourite authors, but TWO of my favourite authors?! With one in Adelaide and one in Tasmania, this is indicative of their recent collaboration --- a co-written fantasy novel THE DISAPPEARING CIRCUS (published July 29th, with Riveted Press). Read on to see how HELEN EDWARDS and KATE GORDON co-wrote their latest novel over email, what prompted the idea, why their friendship and mutual respect was an important part of the process, and what they both have coming up next.

Check out the blurb of  THE DISAPPEARING CIRCUS ...

"When Emme and Ivy—two runaway girls weighed down by grief—stumble upon a strange circus on the moors, they are flung together, as they discover a world unlike any other.
Ghostly performers, mythical creatures, and a Ringmistress with dark secrets await them beneath the blood-red Big Top. To save the fading circus from vanishing forever, Emme and Ivy must uncover their hidden talents and put on a show to end all shows. But do they even have talents? And can they discover them in time?

As the girls navigate dizzying trials of magic and mystery, they realize that the circus isn’t just disappearing—it’s somehow connected to the very threads of their pasts. As secrets are unravelled, Emme and Ivy must step into the spotlight and take a chance on themselves and each other, proving that you must always hold onto wonder and that even the smallest sparks of magic can change everything.

A breath-taking blend of magic, mythology, and heart, The Disappearing Circus reminds us that friendship and courage can be found in the most unexpected of places, that the future is ours to hold—and that some stories are too powerful to ever truly disappear..."

Thank you for stopping by, Helen and Kate!

1. Firstly, can you share a little about the story of THE DISAPPEARING CIRCUS? What is your favourite character/moment of the book?

HELEN: The Disappearing Circus is an allegory to grief and hope, told through the eyes of two runaway girls - Emme and Ivy. It's a magical adventure that takes place on a fictional island called Weldlands Island.

Readers can expect a strange circus filled with ghosts, mythological creatures, extinct animals, a dark Ringmistress, and two brave girls who lean into each other and find their way to hope. The setting is a bit like the Tasmanian Midlands mixed with the English moors.

I love all the characters, but have a soft spot for Ohme the Dragon and Cindertail the nuralagus - an extinct Australian mammal about ten times bigger than a rabbit. She's a little like our White Rabbit from Alice in Wonderland.

KATE: I mean, obviously my favourite is Emme, because she's "mine". I'm so very fond of her. I go a bit weird when I'm writing and sort of take on the characters a bit, and this was easy with Emme.

​She's kind of like my inner wild Kate Bush-style ethereal self (the one I wish I was on the outside!), full of fire and courage and uncertainty. I love her to bits.

​And like Helen, I love Cindertail. I'm a sucker for a talking animal and Cindertail is a good one!

2. How did the idea to co-write a book together come up in the first place and how did you come up with the idea for what the book would be about?

HELEN: We were friends on social media and had chatted for a while. We were talking about our writing one day and the idea of writing a book together came up. I had secretly wanted to work with Kate for ages! From there, we brainstormed ideas and found both of us had dabbled with the idea of a story set in an unusual circus. And off we went!
​
KATE: I was sneakily able to read one of Helen's early books before it was released - our publisher knew it was wonderful and she knew I'd love it too! It was so strange reading it, like Helen and I shared a kind of writer brain/voice/vibe, and I knew, if she'd have me, I'd love to work with her. I'm so honoured she said yes!

3. How did two authors (in separate states no less!) collaborate and write a novel together? Email? Phone? How do you divvy up who writes what and what if there is a disagreement?

HELEN: It's all via email. We decide on the story idea and loose plot, and our characters, then work out who starts, and they do chapter 1. Then we riff off each others chapters to the end. We aren't big on outlines! We do need to know where we're going, and will discuss this when we feel it’s needed, numerous times. Sometimes one person may suggest a chapter or section isn't quite working, and the other person will go back to change. For example, with our work in progress, Kate suggested I start earlier on the timeline in chapter 1 than I had done, and I agreed, so went back to develop a new chapter 1. There are never conflicts or issues. We support each other and work really well together.
In fact, we have since drafted a YA together, written book 1 of a JF series - Leni and Mare's Mysterious Museum (stay tuned on that!), and have begun a second illustrated JF series. So expect more Gordon & Edwards stories!

KATE: I'm largely sceptical/antagonistic towards 'the social internets' (as the Green brothers say), but they're good for a few things! Being able to write a whole book remotely is pretty amazing. It's like having one very long, very creative and sometimes very strange conversation. It's really exciting, waiting for the next instalment, like that game we used to play as kids where we'd write a line on a piece of paper, fold it so only the end was shown, and pass it on. It was so much fun and made me fall in love with writing all over again.

​
4. THE DISAPPEARING CIRCUS is published by Riveted Press. And you have both been multi-published by award-winning Riveted Press before. What makes Riveted such a great home for your books?

HELEN: Riveted Press is all about forging unforgettable stories, which is what we are both about too. Rowena Beresford has a remarkable ability to clear away a story and bring out its true heart. She's a brilliant editor and beautiful human who is endlessly patient. We both love working with her and the close relationship she has with her authors is special. She's open to creative ideas and stories that might be a bit unusual, or different, like The Disappearing Circus.

KATE: One word: Rowena. She is one of the most special people I've ever known. She's intensely smart, creative, wise and brilliant as a publisher, but she's also the kindest and most empathetic person you'll ever meet. Being a Riveted author feels like home, and as a neurodivergent author, this is so important. Besides that, I'm so proud to be part of this increasing stable of wonderful authors and books. It's a real privilege to watch Riveted grow and marvel at how far it's come.

5. Do you have a typical writing process, when you write separately? Does it differ when writing collaboratively? And what is your writing space like?

HELEN: My typical writing process is to ponder an idea that calls to me for a time - many ideas do this!. Find the main character/s. Start writing my way into the story. Research as needed (how much depends on if it's historical- there's a LOT more then), write, research, edit, write, freak out (reached the middle of the MS at this stage ), return to what my characters want/need, their problems and voice, research, write, gather speed, fall back in love with the story, obsess about it and dream lines in my sleep, finish! Then it's my favourite part - rewriting, polishing, bringing life and heart to the story. Edits infinity! That is pretty much the same with co-writing except I can bounce off and count on Kate, so there's less freaking out! My writing space is pretty dingy - our dressing room is also my office, next to our bedroom with no door between. I have lots of lovely pictures and inspiration and toys and books around me.

KATE: I'm a mum to two girls, a teenager and a toddler. I am full-time mum and carer to my toddler, who has some extra medical needs and a LOT of extra "wanting to hang out with Mum" needs. I can't afford to wait for a muse - I don't have enough time. I write whenever I get a moment, usually covered in baby food (best case scenario!), sitting on the floor in my lounge room while my toddler pulls every book off her many bookshelves and throws the ones she doesn't want right at me. In fact, that is exactly where I am now. There may be a small copy of a Spot book perched on the edge of this keyboard... 

6. What is in the pipeline? Can you share anything else you are both working on next?

HELEN: A Light on the Rocks, my magical historical middle-grade novel is coming in 2026. It was part of my Fellowship with the SA state library supported by Writers SA and supported by a History Trust grant. It's set across two timelines with dual POVs- one at the Cape Jaffa Lighthouse in 1960 and the other on the final voyage of the ill-fated SS Admella in 1859. It’s a love song to the sea about courage, survival and hope, that shows how being ourselves, noticing the world around us, and making connections with nature, place and each other, are the truly magical things about being alive. 

Kate and I also have book 1 of our first JF series together - Leni and Mare's Mysterious Museum- coming out in 2026. Stay tuned!

The Forest Keepers is my fantasy duology that I've carried since 2019. I'm so excited that Riveted Press is publishing book 1 - Secrets of the Emerald Stone in 2027 and book 2 in 2028. The Forest Keepers is an enchanting eco-fantasy about standing up and standing out, caring for nature, and holding onto hope, in which 13-year-old Calla Rosewind discovers shocking secrets about herself and her family, and is called upon to take a dangerous quest across the last ancient forests of Callistemon with her best friend Isla, in order to save their dying world.

KATE: I have a few things coming up! Aside from Leni and Mare, I have more books in the Secret Detectives Club series, more in the Juno Jones series, a standalone book called The Midlands next year, and a new series centred around a group of young, home schooled, neurodivergent friends beginning in 2027.  2027!!! How is that possible? And hopefully more books with Helen.

THE DISAPPEARING CIRCUS
by Helen Edwards and Kate Gordon
is published July 29 2025 by Riveted Press

Visit Helen online at www.helenedwardswrites.com/

Visit Kate online at kategordon.com.au/

​

1. Congratulations on your new release junior fiction novel The Lost Loot of Lima, illustrated by Sandy Flett and published by Wombat Books. How did you get the idea for the book? What was the writing, and rewriting, process like?
Thank you! The idea was originally a 3,000-word short story for a writing competition which was offered through Writers Victoria in 2016. The theme was ‘My Local Area’. Initially I wanted to showcase all the things that the beautiful coastal town of Queenscliff had to offer. As I researched the area, I discovered the story of Benito the pirate and his buried treasure. I’ve lived near Queenscliff for many years and knew nothing about it! The more I researched the treasure, the more I knew it had to be a key feature within the story.
 
2. How did The Lost Loot of Lima come to be published by Wombat Books and what was the publication experience like for you? 
In 2023 my third YA novel, Summer Change, was published by Rochelle Stephens and the incredible team at Rhiza Edge which is the YA imprint of Wombat Books. I had submitted The Lost Loot of Lima a couple of years prior with no response. Something must have jogged Rochelle’s memory about a pirate story I had written and she asked me about it. I quickly sent her the most recent version of the MS and after some backwards and forward edits, she offered me a publishing contract. Both experiences have been fantastic. I have learnt so much about the publishing process and have been involved every step of the way with both books. I was a little nervous this time to see my story brought to life through illustrations. It is the first time I have had pictures included, but Sandy nailed it!
 
3. Did the first draft change very much compared to the final product? What was your goal with the story when you began writing it? 
I still have a copy of the original submission. It’s not great, ha-ha! But the bones of the original story are there and have been included in the published version. With so many extra words I was able to add a lot more depth, tension and historical research into the storyline. The story line is much richer with many more layers included to connect with the reader. The challenge, once I started researching the history of the treasure, was deciding what to include and how to include it.
 
4. I love the intergenerational relationship between Ben and Nan and also what a special relationship Ben obviously had with his late grandfather. There is so much mystery, action, adventure and humour in the book.  What do you see as the heart of the book? What do you hope readers feel or think when they read the book? 
Growing up I was very close to my great-grandmother. She raised my mother from the age of five so the connection between those two and the connection between Nana and myself was always very special. I cherish my memories of my great-grandmother, so I wanted the inter-generational connection to be important. For me, this is the heart of the book. The mystery, action and adventure were a beautiful bonus to be able to include so it appealed to the younger audience. Because the story has local connections, there are many adults that have taken an interest in the research notes and how it has been included into the story. I have been told by a few adults that they are enjoying reading it together with their young person. I love this because it is a great storyline to read together and discuss.

5. Do you have a typical daily writing process? And what is your writing space like? 
I’m embarrassed to admit this, but as a published author, I am not very regimented in my writing process. Life can get hectic! Sometimes I will write nonstop for days. But other times it can be weeks before I write anything. I used to have a much stricter approach, but sometimes it felt like a chore and took the joy of writing away. So, I took the pressure off, removed word count targets and now I rarely feel pressured to write. Except of course if there is a deadline with editing reviews. But to be honest, editing is my favourite part of the writing process. I learn so much from it.

6. What is in the pipeline? Can you share anything you are working on next?
I have another historical fiction inspired story that I had written as a picture book but it’s just not working. So, I have started to extend it into a similar style to The Lost Loot of Lima. I also dug out a YA story I started years ago but never finished. When I started to read it again recently it made me laugh out loud and I got excited for what it could become so I have decided to play around with that as well. But I love all things literacy and as a teacher, I am passionate about supporting students in this space. I currently teach English as a second language (EAL) students so am about to begin study to complete a Graduate Certificate of TESOL. This will help me to understand literacy approaches for teaching second language speakers more and will take up a fair bit of my time.

7. Anything else you would like to add? 
​Thank you for this opportunity, Brenton. The kid lit community is so supportive and I'm grateful for the connections I've made over the years. I am constantly learning from those around me and always want to challenge myself in new ways. Also, if you ever go to Queenscliff, be sure to look for the sign that marks the area of the buried treasure.
 






















​Melissa believes everyone should Dream Big…Read Often.
You can follow her Instagram https://www.instagram.com/liss_wray
and check out her website: ​https://melissawray.blogspot.com/
and her Facebook page:​
https://www.facebook.com/DreamBigReadOften/
​

Congratulations to Deborah Kelly on her recent release, SKIN, a YA novella in the Rhiza Shorts series (published by Rhiza Press/Wombat Books). Thanks to Deborah for stopping by my blog to answer a few questions about SKIN and more about her fantastic writing career for young people.

1. Deborah, how did you come up with the idea to write SKIN?
When my daughter was ten, a freckle appeared on her otherwise very clear cheek. Because it appeared so suddenly, we had it checked out. It turned out to be a rare type of pre melanoma called a spitzoid naevus which required immediate surgery to have to removed. The trauma and pain of the surgery itself was traumatic enough, but it left quite a large scar across my daughter’s cheek, significantly altering her appearance. In the weeks, months and years following the surgery, she lost her confidence, becoming very self-conscious of the scar and sensitive to people’s reactions to it. Through our discussions about it, what transpired was an opportunity for my daughter to learn that our worth as a people runs far deeper than our exterior appearance, despite the conflicting messages from social media that teenagers are constantly bombarded with. It was also an opportunity to learn about and to accept and embrace difference and diversity of all kinds in the people around us.

2. What do you hope readers will take away from the book?
That our worth runs far beyond skin deep. That our scars are part of our stories. That humanity is diverse in a myriad of ways. And that embracing and learning from this diversity, and sharing in the experiences of others only serves to enrich everyone’s lives.

3. How did it find a home with Wombat Books?
I have several publications with Wombat Books already- a five book junior fiction series called Ruby Wishfingers (Wombat books 2016-2017), a middle grade novel called The Thing about Oliver (Wombat Books, 2019) and a picture book called Little Horses (Wombat Books, 2024). Skin was written specifically for Rhiza Edge as the first book in their new list ‘Rhiza Bites’ –books with minimal words but maximum impact; in other words, bite sized fiction for busy teens. My publishing experiences with Wombat Books and Rhiza Edge have all been overwhelmingly positive – the process has been very inclusive and the greatest of care has been taken with every manuscript every step of the way.

4. Do you have a typical writing process? What is your writing space like?
I often think of ideas when I am out and about and jot them down on paper or on my phone. I have also been known to scrawl ideas on my arm if nothing else was within reach, or on a napkin at a party. I generally rough out an idea on paper before I start typing. But I don’t have a set process each time, every book has come about slightly differently. I write on my laptop at a big glass and steel desk which is also the desk I complete my Uni work at.

​​
5. What is in the pipeline, what are you working on next?
I have a new junior fiction series out next year as well as a middle grade novel. I am currently working on another young adult title.

6. Anything you wish to add? 
Thanks so much for having me on your blog, and congratulations on your upcoming titles!